Thursday, February 25, 2016

New Project: Sergio Cervetti "...and the huddled masses" in Cuba

We're delighted to announce that long-time PARMA composer Sergio Cervetti has signed on to be a part of our April recording sessions in Cuba.

The recordings from Cuba will be included on an album of chamber works with three pieces he has previously recorded, and one additional chamber work to be recorded at a later date.

Even at a glance, it's easy to see how much Sergio's music has impacted the PARMA team over the past seven years. This recording project will be a part of Sergio's tenth release (including compilations) on the Navona label.

Please enjoy this mix of some of our favorite Cervetti pieces from his recent albums.

Saturday, February 20, 2016

Introducing Dayron Ortega, PARMA's Lead Producer in Cuba

PARMA Lead Producer in Cuba Dayron Ortega (walking) inspecting the big band

I am pleased to announce an addition to our staff: Dayron Ortega, our new Lead Producer in Cuba.

Dayron was an instrumental part of the team which created the upcoming release ABRAZO: THE HAVANA SESSIONS, a PARMA-produced double album recorded November 9-13, 2015 in Havana, Cuba.  As with all recording sessions, there were more than a few moving parts and Dayron helped keep some particularly crucial ones spinning in the right direction.

We'll be back in the studio with Dayron again this April for more sessions.  In the meantime, give a listen to a short streaming sampler of selections from ABRAZO below (Dayron was the producer for tracks 1 and 4).

The full album will be released on June 10, 2016 on the Ansonica Records label, but this will give you an idea of just how truly awesome in the actual sense of the word the music really is.

I  know, I know, hair club president, client, Sperling, blah blah blah.  The shit sounds great.

Bob Lord
CEO, PARMA Recordings








Friday, February 19, 2016

Announcing ABRAZO: THE HAVANA SESSIONS and the launch of Ansonica Records


Bob Lord, CEO of PARMA Recordings LLC, has announced the forthcoming release of ABRAZO: THE HAVANA SESSIONS on June 10, 2016 via the newly-minted Ansonica Records label.  A four-track streaming sampler previewing the double-length release, SELECTIONS FROM ABRAZO, is now available online via the Ansonica site.

Lord, who was named in 2015 as one of Musical America’s 30 Professionals of the Year: Key Influencers, first visited Cuba in May following President Obama’s loosening of restrictions imposed by the nearly 60-year old embargo.  Less than a year after these steps towards normalizing relations, Lord returned to the country for the recording of works by living composers with Cuban musicians.

The resulting double-length album, ABRAZO: THE HAVANA SESSIONS, features works for big band, small jazz combo, choir, and chamber ensembles by composers Bunny Beck, Roger Bourland, Donald Bowyer, Margaret Brandman, John Carollo, Timothy Miller, Mel Mobley, and Michael Murray, performed by current or former members of the National Symphony Orchestra of Cuba, the Buena Vista Social Club, Irakere, and many more.

Producing new music by living composers is my passion, and hearing musicians play with this level of preparation, dedication, and ingenuity was invigorating,” says PARMA CEO Bob Lord. “ABRAZO was the natural album with which to launch Ansonica Records, a label that will feature unusual, striking hybrids of genre and style like those heard on the streaming sampler.”

PARMA’s work has been greeted with enthusiasm by both the Cuban musicians and by the composers whose work was recorded.  Composer Timothy Miller commented, “The pianist isn’t playing what I wrote. He’s playing what I wanted.”

Havana native Dayron Ortega, PARMA’s Lead Producer in Cuba, was responsible for managing the production of many of the pieces.  “The changes in the relationship between Cuba and the U.S. are exciting for everyone,” says Ortega, “and I believe that the work PARMA is doing is extremely important for the cultural collaboration between our countries.”

PARMA will return to Cuba in April 2016 for its next round of recording sessions.

Visit the Ansonica site to hear four tracks from ABRAZO: THE HAVANA SESSIONS including:
  • "Warm Winds in Havana, Prelude, Havana Promenade” by Margaret Brandman
  • "Impressions" by Bunny Beck (arranged by Juan Manuel Ceruto)
  • "Alarcón Madrigals, Book 3, Movement 2, Lamentario” by Roger Bourland
  • "Hot Miami Nights, Movement 1" by Timothy Miller

Wednesday, February 17, 2016

Rain Worthington Visits PARMA HQ

On Friday January 22, 2016 long-time PARMA composer Rain Worthington stopped by PARMA headquarters in North Hampton NH for a truly special occasion.

To say Rain’s new album DREAM VAPORS (out now on Navona Records) 
has been a long time coming would be an understatement. The album is many years in the making, spanning several recording sessions in two different countries.

To celebrate her debut solo album, Rain brought lunch in for the whole PARMA team. 
Thanks, Rain!

In the video below, watch Rain talk about what makes DREAM VAPORS so special as she holds the 
album in her hands for the first time.




Friday, February 12, 2016

February Releases Out Now on Navona, Ravello, and Big Round Records!

FIGMENTS
NV6023
Mark Dal Porto | Richard Campanelli | David Nisbet StewartPaula Diehl | Jason Lovelace | Mel Mobley




Navona Records presents FIGMENTS, a compilation of eclectic contemporary works for chamber ensemble that highlight the dramatic, the mysterious, and the inventive through diverse instrument combinations and use of extended techniques. The album features music by composers Mark Dal Porto, Richard Campanelli, David Nisbet Stewart, Paula Diehl, Jason R. Lovelace, and Mel Mobley. Read More


CELLO MUSIC FROM AUSTRIA- HUNGARY
NV6024
Sam Magill | Beth Levin





The regions of Austria and Hungary have a rich history of music, art, and culture, where composers such as Beethoven, Artur Schnabel, and Emanuel Moór, among many others, developed their craft and influenced the traditions of European art music. On his debut release on Navona Records, CELLO MUSIC FROM AUSTRIA-HUNGARY, cellist Sam Magill presents works by Beethoven, Schnabel, and Moór that not only expand the cello repertoire and illustrate the cellist’s virtuosity, technical aplomb, conviction, and expressiveness, but enrich our understanding of these composers, their music, and their heritage. Read More


DREAM VAPORS
NV6025
Rain Worthington





Music can possess the power to take hold of our emotions, guiding us along an imagined journey that stirs our inner being, a concurrently unique and familiar experience. New York composer Rain Worthington writes music to captivate the listener, creating textural and lyrical worlds that are inhabited by various colors and tones. On DREAM VAPORS, her full-length solo debut on Navona Records, the composer offers a selection of her orchestral works, presenting intense dreams, intangible perceptions, and musically evocative elaborations. Read More


FRESH DIMENSIONS
NV6026
Craig Madden Morris | Paul John Stanbery





The modern romanticism of composer Craig Morris is one simultaneously deeply personal and broadly meaningful. His albums DREAMS (2011) and CIRCLE OF LOVE (2015), both on the Ravello Records label, in large part deal directly with musical representations of universal emotional states and concepts. Read More


WISDOM-LOVE-ETERNITY
NV6027
Michael G. Cunningham





On his latest release on Navona Records, WISDOM-LOVE-ETERNITY, composer Michael G. Cunningham presents a collection of his choral works, performed by the Kühn Choir of Prague conducted by Marek Vorlíček, which explore the spiritual element of the human condition, addressing the uncertainty of death, the inexpressible emotion of love, and humans’ search for an understanding of God. Read More


VIOLIN FUTURA
NV6028
Piotr Szewczyk





In 2005, violinist and composer Piotr Szewczyk developed the Violin Futura Project, a collection of commissioned miniatures for solo violin that highlights over thirty international contemporary composers and how they are re-imagining the solo violin. “The purpose of the Violin Futura Project,” says Szewczyk, “is to sample the creative environment of our times by showcasing the wide variety of styles present in the 21st century, and to create a body of new solo violin repertoire.” Navona Records presents the album release of Szewczyk’s project, VIOLIN FUTURA. Read More


MISERY
NV6029
Michael J. Evans





Fusing together the areas of visual art, music, literature, and history, composer Michael J. Evans presents his multimedia project, MISERY, on Navona Records. Taking inspiration, text, and imagery from Russian author Anton Chekhov’s (1860-1904) tale of the same name, the composer’s work can serve multiple functions:  an anti-concerto for bassoon, the soundtrack for an illustrated graphic novel or silent film, the music for a stage work (dance, pantomime, shadow, or puppet theater), or any combination of the aforementioned. Read More


DOUBLE TAKES AND TRIPLE PLAYS
RR7925
Joseph Koykkar





Composer Joseph Koykkar, described by American Record Guide as writing “music with a crystalline kind of clarity and rhythmic urgency that places him among the more exciting of contemporary composers,” presents his debut full-length release on Ravello Records DOUBLE TAKES AND TRIPLE PLAYS. Featuring works spanning a 20-year period in the composer’s career, this album exemplifies Koykkar’s practical approach to writing, dictated by the bounds and the interplay within chamber ensemble combinations, occasionally using computer-generated sounds. Read More


THE ENCHANTED GUITAR FOREST
BR8943
Alex Lubet | Maja Radovanlija





Transporting the listener to a mysterious and enthralling sonic world, composers and guitarists Alex Lubet and Maja Radovanlija present their debut release on Big Round Records, THE ENCHANTED GUITAR FOREST, which captures the duo’s Eastern European, specifically Jewish and Balkan, heritage. Read More

Wednesday, February 10, 2016

Michael J. Evans MISERY - "A Way In"

Ever since we've began working with DC composer Michael J. Evans, we have known him to push boundaries and innovate new ways of sharing messages and music.  From our first release together, BLOOM, a collection of chamber works, to our last project, CIPHER, a spoken word and piano release of variations and translations, Evans has consistently evolved and impressed those around him. 

About one year ago, Evans came with us to the Czech Republic to record what has become his next project, MISERY, a 40 minute long anti-concerto for bassoon and orchestra.  MISERY is inspired by the Chekhov short story of the same name.

Rather than follow the traditional format of recording and releasing strictly audio, Evans commissioned a visual artist to set his recording to an animated story, creating a marriage of visual art, music, literature, education, and history.  The result is a unique work of art that introduces a new way of presenting and sharing music:



Evans has always had a way with words (and music!) and sharing his interpretations on art and culture.  We wanted to share a few words from Evans about this distinctive project: 

"What is MISERY?
It’s a multimedia project. But, more than that, it’s a way in.

A way into what?New music for one thing. If you asked people on the street, how many would say they recently listened to “21st century classical” or new music? Probably very few, to none.

In reality they listen to it all the time: commercials, movies, video game, TV shows. The reality is that it is out there, being heard all the time. So why isn’t it more accepted? Why aren’t more people packing into new music concerts the same way they pack into a new art exhibit?

Some of it has to do with the way we think of and market our music. There’s an intimidation factor: people think they won’t like or understand it. My way into the standard repertoire of Bach, Beethoven etc. was through cartoons when I was younger. The way in for today’s audiences, are films, commercials, and TV shows, but they are unaware that they are already in.

We need to credit composers and performers more when our work is being used for something, and let people know that they are hearing new music. They need to know that this piece exists alone and was not composed specifically as background music for some program. And, if they enjoy it, they can get it.

Another set of issues are the vestiges of the last century for both composers and the audience. For composers to write something at all consonant or accessible meant you weren’t a “real” or “serious” composer.

Even if you “started out” as a serious composer, the greater the success and acceptance you gained by the mainstream, the more suspect your music became, and the more suspect you became as not being a “real” or “serious” artist. The idea being that if someone who didn’t have a PHD in music could get it, then it clearly wasn’t intellectual enough. That was a problem with the music establishment and a lot of critics and fortunately that is changing, though it still may take a while.

It’s not enough to have a concert in a bar or places other than a traditional concert hall, although it is one way to get the work out there. I think we need to present works in a way that we experience them with visuals etc. not always, but sometimes.

It’s also a way in to classic literature, mythology etc. Again, ask a kid to read Chekhov, Kate Chopin, or something else, and unless it is required, most kids won’t do it. Give them a graphic novel, or a DVD of the same story and you will have their interest. It’s the same for most adults too. We have become so accustomed to receiving our information in a multimedia setting that it just makes sense to do it.

Now, I know film adaptations of books can be terrible, and that is why they can be discouraged. In school, part of the lesson might be getting a person to read words, which a film adaptation would not address. The projects I'm experimenting with now address this issue. The text of the story appears in MISERY the same way a graphic novel would. It is not edited down, but is the actual text, so the person is reading the story while watching the story unfold. 

Film adaptations can be poorly made due to an economic factor. So much is driven by the movie studios trying to turn out blockbusters and make a profit. It is the film establishment, as well, that is part of the problem. Capitalism and profit are another part of it: this idea we have that if something doesn’t make money it is not of value. Forget the cultural value, or the message: if it doesn’t sell it’s not valued, at least here in the US.

That being said, I do believe we are seeing the arts moving into a post-capitalist environment. What it will eventually look like will depend on lots of factors. There is experimentation with basic income in a few countries right now. If profit or making a living was not a motivating factor, and artists, including sound engineers, producers, etc., were all free to create and collaborate, without having to pay the expenses and worry about where their next meal was coming from, and, if those projects and collaborations were valued as contributing to the culture of the country and the world, then who knows what we might see and experience.

This multimedia project idea is a way in for composers too – a way in to film. There are so many composers now, and so many want to do film scores. That’s great. It depends on their motivation, however, as to whether or not the current system is going to actually be good, or work for them. I wonder if they realize that, barring a few notable exceptions, they are basically being hired to creating a product that matches the vision of some director. It is the director’s film, they choose a composer to continue that vision, and in many instances dictate the style of music.

The model I’ve created turns that paradigm on its head. The composer takes a story, and essentially becomes the director. The composer declares their independence and autonomy. More composers should be doing this. With this model, the composer is not subservient to a director or anyone. And the story unfolds differently. The end result is driven by the story and the music. The flow is different. Because it is, in essence, a “silent film”, (except even in those days the film was created first, and then music), the music and the story become the focal point. The visuals serve to enhance the story, but come after the music."
- Michael J. Evans
MISERY will be available this Friday, February 12th.  Evans will be celebrating the release with premiere showings of MISERY three times over the next week in Washington DC.  Details for the performances are below:


February 13th - Martin Luther King Jr. Memorial Library 3:30 PM

February 16th - West End Interim Library 7:00 PM
February 18th - Busboys and Poets 6:30 PM


PARMA on Spotify: Valentine's Day

Valentine's Day is right around the corner and love is in the air, a love of terrific music that is! PARMA is here to help you celebrate with a selection of passionate love songs specifically designed to entice sparks and create lasting flames.

PARMA went way back in the catalog to 2009 in order to bring you old favorites such as the Ravello classic BLOOM from composer Michael J. Evans and the Big Round album PEGGO: IN LOVE by Peggo Hodes. Of course, the playlist would be incomplete without Craig Madden Morris' Ravello release CIRCLE OF LOVE which perfectly captures the blossoming and growth of new love.

Whether you're celebrating with a loved one or spending the night alone, please sit back, relax, and and let the PARMA Valentine's Day playlist get you through the holiday.



Thursday, February 4, 2016

New PARMA Artist: Ferdinando De Sena

Please join us in welcoming Florida-based composer Fred De Sena to the PARMA community! 

We’ll soon be recording roughly half an hour of duos and trios by De Sena and releasing these in combination with a selection of his electronic/electroacoustic works for a full program of his music.

The finished CD will include the following pieces:
  •  “Deceptive Clarity” for flute and guitar
  • “Art Market” for fixed media
  •  “Eyes of Resurrection” for violin and harp
  • “Pulsonic Turn” for violin, clarinet and piano
  •  “The Wind From the Fire” for guitar, mandolin and electronic sound
  • “Anima Mea” for flute and alto saxophone
  • “Spalding’s Bounce” for tenor saxophone, cello and piano
  • “Lasting Virtue” for flute and viola

Fred served as Director of the Electronic Music Studio at the University of Miami and now teaches composition and electronic music at the New World School of the Arts, also in Miami. 

He is a former student of PARMA Artist Dennis Kam (whose "String Quartet No. 1" we recorded just last weekend), and the two keep in regular contact.

Fred’s music was also recently featured on the SCI release: ONYX. Check out his composition "Logic and Retoric" from this release below, along with a collection of other recordings on his SoundCloud page: www.soundcloud.com/fred-desena, and stay tuned for news about the upcoming full album: