Category: music

Twenty-three-year-old jazz vocalist Norah Jones surprised many Sunday night by dominating the Grammys’ major awards, “capturing the marquee categories of year’s best album, record and new artist. The surprise win for Jones has cemented the reputation for the Grammys as an unpredictable entertainment gala.”

A Complete list of all the winners.

This Grammy production was actually fun to watch as entertainment. “The producers bucked conventional award show wisdom and dumped the host as an unnecessary element. They emphasized performance and kept the pace as frantic and energetic as the music being honored.”

The music recording industry is in trouble. “The uncertainty facing the major recording labels has led a wave of others to seek new paths, either voluntarily or involuntarily. ‘It’s a business without a business model today because unfortunately it’s predicated on people actually buying CDs. I don’t know about you but my 12-year-old, he’s burning them pretty fast. That’s the reality and it was coming and everybody closed their eyes to it’.”

The Kronos String Quartet has lately been preoccupied with sounds from out of this world – outer space. Sounds collected from the cosmos have been incorporated into the music. “What’s amazing about the noises is how organic they are – sometimes you feel they could be the sounds of insects or whales. The visuals, too, make the universe seem conscious – the Sun close up seems like a living body, with a pulsing heart.”

Fifty years after Prokofiev’s death, his operas are taking on different meanings from when they were first created. “Perhaps the art of Soviet Russia will come to resemble the art of revolutionary France. For a while, for decades after the Terror, there were paintings of David’s that caused such horror that they could scarcely be shown – for David was notorious as a supporter of terror. But then that part of their meaning drained away. For 50 years Prokofiev wrote operas. In the 50 years since his death, these works have begun to make their way. It’s the slowness of the process that’s impressive -the slowness and, to be sure, the sureness too.”

When a singer like Norah Jones has a big success – more than 4 million albums served – theories about why abound. “Overlooked in all this conjecture is the essential trait of Jones’ music, the thing that makes it appeal to all those constituencies: It’s quiet. Intimate. Drawn to human scale. Come Away is the first multi-platinum success in years to suggest that a singer doesn’t have to shout, physically or metaphorically, to be heard. Now that is radical.”

There are too many categories at the Grammys. Way too many. “This year, the 45th annual awards are up to 104 categories, including completely indistinguishable ones like best R & B album and best contemporary R & B album; more are doubtless on the way.” So with all those statues waiting to be given out, why are the Grammys so singularly incapable of rewarding musicians who deserve it?

“A perennial anticlimax for classical fans is the fact that, although a blue-ribbon committee of classical specialists determines the Grammy nominees… the opportunity to cast votes for the winners is thrown open to all Recording Academy members, including many from nonclassical genres. In previous years, they appear to have picked classical winners on the basis of artist name recognition and weight, in tons, of marketing materials behind each album.” Of course, since almost no one watches the Grammys to see who wins the classical awards, we might as well just decide now who ought to win. Gwendolyn Freed is up to the task.

“Like it or not, the music industry is in a free fall, and things are about to change. The very foundation on which the business is structured – selling music to stores – is eroding at an astonishing pace. Sales of recorded music have fallen about 16 percent over the last two years. By contrast, sales of blank CDs jumped 40 percent in 2002, and users of the biggest online file-trading service, Kazaa, outnumber what Napster ever had.” So what’s next? Well, that depends on how quickly the industry is willing to accept the move to digital music, and embrace new paradigms. So far, though, the big labels seem content to bitch and moan and watch their business go down the drain.