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“I think working at home is the perfect environment for being creative, but at the same time, if you’re not careful, you can become too much of a perfectionist... I spend hours and hours sitting here working on one mix, only to find myself starting all over again the next day.”- Blues Saraceno of Poison

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Editors' Blogs

And All The Music You Can Eat

April 6, 2012

It's been another feast of a week in Boulder and in Denver, and not just the same-old same-old but quite a bit of 20th and 21st century music.

A week ago, on Friday, the Denver Philharmonic Orchestra, one of the region's fine community orchestras, played Debussy's Nocturnes, Bartok's Three Village Scenes (with the Lamont Women's Chorus), and Beethoven's Symphony No. 6.

Last Saturday the Boulder Symphony, another of the region's fine community orchestras, performed a program consisting of Charles Ives' The Unanswered Question, Arvo Pärt's Cantus in Memory of Benjamin Britten, and a world première of Playgrosso by Denver resident Conrad Kehn, followed by Brahms' Symphony No. 4. 

Sunday night at Dazzle Jazz, intrepid innovator Art Lande teamed up with trumpeter Ralph Alessi, to bring their week of clinics at UC Boulder to a close.

Monday night it was classical guitarist Dale Kavanagh in the subscription series at the Lamont School of Music, DU Denver.

Last night, at CU Boulder in the Macky Hall, visiting trumpeter Jon Faddis fronted the university's prime jazz ensemble, largely evoking the spirit of Dizzy Gillespie. Some high notes are still hanging in the rafters...

Tonight was the culmination of a series of guest clinics and lectures at the Auraria Campus of UC Denver, a concert by the John Scofield Trio (Bill Stewart, drums, Steve Swallow, bass). I've just come home from the concert and am happy to report that Sco is as original as ever, his trademark angular licks and personal tone are intact, as is his sense of humor. He and Swallow are probably three times the average age of tonight's audience, but there was not a hint of a generation gap - Sco's music reaches beyond such boundaries as age, whether he plays his bluesy licks, the fast be-bop (like tonight's interpretation of Charlie Parker's Wee), or even tonight's surprising closer, a lilting country waltz that astounded but delighted the audience. It was Sco, so it was the real deal.

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