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      Bob Koester, Revered Figure in Jazz and Blues, Dies at 88

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      Mr. Koester’s Delmark Records and his Chicago record store were vital in preserving and promoting music the big labels tended to overlook.Bob Koester, who founded the influential Chicago blues and jazz label Delmark Records and was also the proprietor of an equally influential record store where players and fans mingled as they sought out new and vintage sounds, died on Wednesday at a care center in Evanston, Ill., near his home in Chicago. He was 88.His wife, Sue Koester, said the cause was complications of a stroke.Mr. Koester was a pivotal figure in Chicago and beyond, releasing early efforts by Sun Ra, Anthony Braxton, Jimmy Dawkins, Magic Sam and numerous other jazz and blues musicians. He captured the sound of Chicago’s vibrant blues scene of the 1960s on records like “Hoodoo Man Blues,” a much admired album by the singer and harmonica player Junior Wells, featuring the guitarist Buddy Guy, that was recorded in 1965.Delmark captured the sound of Chicago’s vibrant blues scene in records like Junior Wells’s “Hoodoo Man Blues.” It also documented early examples of the avant-garde jazz being promulgated in Chicago by musicians like Anthony Braxton.“Bob told us, ‘Play me a record just like you played last night in the club,’” Mr. Guy recalled in a 2009 interview with The New York Times, and somehow he caught the electric feel of a live performance. In 2008 the record was named to the Grammy Hall of Fame.About the same time, Delmark was recording early examples of the avant-garde jazz being promulgated by the pianist Muhal Richard Abrams and other members of the Association for the Advancement of Creative Musicians, an organization formed in Chicago in 1965. The company’s recordings were not, generally, the kind that generated a lot of sales.“If he felt something was significant, he wasn’t going to think about whether it would sell,” Ms. Koester said by phone. “He wanted people to hear it and experience the significance.”As Howard Mandel, the jazz critic and author, put it in a phone interview: “He followed his own star. He was not at all interested in trends.”For decades Mr. Koester’s record store, the Jazz Record Mart, provided enough financial support to allow Delmark to make records that didn’t sell a lot of copies. The store was more than an outlet for Delmark’s artists; it was packed with all sorts of records, many of them from collections Mr. Koester bought or traded for.“The place was just an amazing crossroads of people,” said Mr. Mandel, who worked there for a time in the early 1970s. Music lovers would come looking for obscure records; tourists would come because of the store’s reputation; musicians would come to swap stories and ideas.Mr. Koester in an undated photo. His store was packed with all sorts of records, many of them from collections he bought or traded for.Chicago Sun-Times“Shakey Walter Horton and Ransom Knowling would hang out there, and Sunnyland Slim and Homesick James were always dropping by,” the harmonica player and bandleader Charlie Musselwhite, who was a clerk at the store in the mid-1960s, told The Times in 2009, rattling off the names of some fellow blues musicians. “You never knew what fascinating characters would wander in, so I always felt like I was in the eye of the storm there.”Mr. Mandel said part of the fun was tapping into Mr. Koester’s deep reservoir of arcane musical knowledge.“You’d get into a conversation with him,” he said, “and in 10 minutes he was talking about some obscure wormhole of a serial number on a pressing.”Ms. Koester said the store held a special place in her husband’s heart — so much so that when he finally closed it in 2016, citing rising rent, he opened another, Bob’s Blues and Jazz Mart, almost immediately.“He loved going into the studio in the days when he was recording Junior Wells and Jimmy Dawkins,” she said, “but retail was in his blood.”He especially loved talking to customers.“Often they came into the store looking for one thing,” she said, “and he pointed them in another direction.”Robert Gregg Koester was born on Oct. 30, 1932, in Wichita, Kan. His father, Edward, was a petroleum geologist, and his mother, Mary (Frank) Koester, was a homemaker.He grew up in Wichita. A 78 r.p.m. record by the Original Dixieland Jazz Band in his grandfather’s collection intrigued him when he was young, he said in an oral history recorded in 2017 by the National Association of Music Merchants. But, he told Richard Marcus in a 2008 interview for blogcritics.com, further musical exploration wasn’t easy.“I never liked country music, and growing up in Wichita, Kansas, there wasn’t much else,” he said. “There was a mystery to the names of those old blues guys — Speckled Red, Pinetop Perkins — that made it sound really appealing. Probably something to do with a repressed Catholic upbringing.”College at Saint Louis University, where he enrolled to study cinematography, broadened his musical opportunities.“My parents didn’t want me going to school in one of the big cities like New York or Chicago because they didn’t want me to be distracted from my studies by music,” he said. “Unfortunately for them, there were Black jazz clubs all around the university.”Music lovers would come to the Jazz Record Mart looking for obscure records; tourists would come because of the store’s reputation; musicians would come to swap stories and ideas.Sally Ryan for The New York TimesHe also joined the St. Louis Jazz Club, a jazz appreciation group. And he started accumulating and trading records, especially traditional jazz 78s, out of his dorm room. The rapidly growing record business crowded out his studies.“I went to three years at Saint Louie U,” he said in the oral history. “They told me not to come back for a fourth year.”His dorm-room business turned into a store, where he sold both new and used records.“I’d make regular runs, hitting all the secondhand stores, Father Dempsey’s Charities, places like that, buying used records,” he told The St. Louis Post-Dispatch in 1993 for an article marking the 40th anniversary of the founding of his record label. “And I’d order records through the mail. Then I’d sell records at the Jazz Club meetings. That was the beginning of my retail business.”He had started recording musicians as well. He originally called his label Delmar, after a St. Louis boulevard, but once he relocated to Chicago in the late 1950s he added the K.He acquired a Chicago record shop from a trumpeter named Seymour Schwartz in 1959 and soon turned it into the Jazz Record Mart. His label not only recorded the players of the day but also reissued older recordings.“He loved obscure record labels from the ‘30s and ‘40s, and he acquired several of them,” Mr. Mandel said. “He reissued a lot of stuff from fairly obscure artists who had recorded independently. He salvaged their best work.”Mr. Koester was white; most of the artists he dealt with were Black.“He was totally into Black music,” Mr. Mandel said. “Not only Black music, but he definitely gave Black music its due in a way that other labels were not.”That made Mr. Koester stand out in Chicago when he went out on the town sampling talent.“When a white guy showed up in a Black bar, it was assumed he was either a cop, a bill collector or looking for sex,” Mr. Koester told blogcritic.com. “When they found out you were there to listen to the music and for no other reason, you were a friend. The worst times I had were from white cops who would try and throw me out of the bars. They probably thought I was there dealing drugs or something.”It was the atmosphere of those nightclubs that he tried to capture in his recording studio.“I don’t believe in production,” he said. “I’m not about to bring in a bunch of stuff that you can’t hear a guy doing when he’s up onstage.”In addition to his wife, whom he met when she worked across the street from his store and whom he married in 1967, Mr. Koester is survived by a son, Robert Jr.; a daughter, Kate Koester; and two grandchildren.Ms. Koester said their son will continue to operate Bob’s Blues and Jazz Mart. Mr. Koester sold Delmark in 2018.Mr. Koester’s record company played an important role in documenting two musical genres, but his wife said that beyond playing a little piano, he was not musically trained himself.“He would say his music was listening,” she said. More

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      Can’s Live Shows Will Be Heard at Last, Thanks to a Bootlegger in Big Pants

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      A series of concert albums by the influential German band were made possible by Andrew Hall, a fan who followed the group around in the 1970s with a Sony cassette recorder hidden in his trousers.In February 1972, following the surprise success of the single “Spoon,” the experimental rock group Can staged a massive free concert in its Cologne, West Germany, hometown. To better entertain the crowd, it punctuated the music with a slapdash circus, including a juggler, a singing saw player and a team of acrobats.The band planned to document the event with a live recording, as well as a concert film directed by Peter Przygodda, who became Wim Wenders’s editor. The film footage turned out fine — shot in part by the renowned cinematographer Robby Müller — but there was a glitch with the audio. “Something went wrong and the equipment didn’t record,” Irmin Schmidt, one of the group’s founders, recalled ruefully in a phone interview last month. Schmidt’s keyboards and Michael Karoli’s guitar were inaudible. The film was rescued with overdubs, but the live album was scuttled.The incident was one of several mishaps that prevented Can from issuing a proper concert album during its 1968 to 1978 existence or since, despite numerous releases on its own Spoon label mining its voluminous archives. (A few odds-and-ends live recordings have arrived over the years.) But later this month, Mute Records will release “Live in Stuttgart 1975,” the first in a series of restored and remastered live albums made possible by Andrew Hall, a British fan who beginning in 1973 followed the group around with a Sony cassette recorder hidden in his pants.“We didn’t talk to each other onstage at all,” Schmidt said. “Everything we had to say to each other, we did with our instruments.”Sandra PodmoreHall’s job as a developmental chemist allowed him to travel, and he organized his schedule to coincide with Can gigs in the United Kingdom and northern Europe. “I think the number of live shows I attended was 44,” Hall said in an email. “I recorded every one.”Hall, who had a 28-inch waist size, wore 36-inch trousers to fit the recorder and threaded microphones down each of his sleeves. He donned a heavy overcoat to camouflage the illicit ensemble. “If the temperature was turned up,” he writes in the album’s liner notes, “I just about melted.”Whenever Hall couldn’t make a gig, he’d ask other fans to send their own cassettes. His bootleg archive ultimately reached several hundred recordings, “most of them in quite a bad technical state,” said Schmidt. “I refused all the time to go through it, but Hildegard is very insistent, and finally she convinced me,” he added, referring to his wife, who has managed the band’s affairs since 1971.The album is the first recording issued under the Can banner since the deaths of the bassist Holger Czukay and the drummer Jaki Liebezeit in 2017. (Karoli died in 2001; the band’s primary vocalist, Damo Suzuki, whom Czukay and Liebezeit recruited when they heard him busking in Munich, remains a globe-trotting troubadour.) For most of the last 40 years, Schmidt, 83, has lived in the south of France with Hildegard.Though they recorded their first several albums in a 14th-century castle, Can uniquely anticipated 21st-century music making. Blending the heady experimentation of Schmidt and Czukay, both former students of Karlheinz Stockhausen — including the use of noise, sampling and minimalist repetition — with the body-moving hypnotic groove generated by the jazz-trained Liebezeit’s drums, Can created a free-flowing improvisatory psychedelia that put the “trance” in “transcendent.”The group inspired multiple generations of post-punk and alternative bands and electronic musicians, and found its way to hip-hop (see Kanye West’s “Drunk and Hot Girls,” among other songs). It also made the opening boast of LCD Soundsystem’s debut single “Losing My Edge,” where James Murphy announced, “I was there in 1968/I was there at the first Can show in Cologne.”In everything Can, Schmidt said, spontaneity was crucial. “When we went onstage, we didn’t even know beforehand what we would play. We just reacted to the atmosphere, to the acoustics, to the public, to the whole environment spontaneously, and started playing something, which we had never played before,” he said. “We didn’t talk to each other onstage at all. Everything we had to say to each other, we did with our instruments.”Despite taping its marathon daily studio sessions, the group neglected to make any board recordings from their live concerts. “We should have,” Schmidt lamented, “but we didn’t and that’s a pity.”The Stuttgart gig derives from a tour around the release of “Landed,” Can’s sixth studio LP and its second without a vocalist, Suzuki having departed in 1973. The four musicians connect in a freewheeling pyroclastic flow not dissimilar from the futuristic fusion of Miles Davis’s electric bands of that period. Karoli’s guitar weaves between inner and outer space until several of the untitled, totally instrumental pieces culminate in freaked-out sonic squalls, outbursts the band called “Godzillas.”The Mute Records founder Daniel Miller saw the band in London on that same tour. “I just wanted it to go on forever,” he said. “I couldn’t believe how they worked together as a band, how they fed off each other in the improvisational sense. It was beyond anything I’d seen before.”From left: Czukay, Liebezeit, Karoli and Schmidt. “There were of course also concerts which were horrible, really bad, because we played without any net,” Schmidt said.Via SpoonSchmidt feels that the Stuttgart gig is a good example of Can’s stage interplay. On the second track, Czukay begins the bass line from “Bel Air” but the melody ultimately drifts away when nobody joins in. “If we played something which reminded or was near to a song, somebody just came up with it all of a sudden,” Schmidt said. “It was sometimes sort of like a game. You threw something towards the other, and he picked it up, or he didn’t use it and threw it to somebody else. When it worked it was very beautiful and inspiring, even very amusing, using parts of what you have already done, but giving it a totally new direction.”The band’s concerts were usually three hours long, comprising two 90-minute sets. For the live series, Schmidt plans to largely avoid single songs from different nights in favor of entire gigs, “which shows how we structured the set, how the flow was going, the feeling of a real concert,” he said.Can’s improvisatory ethic did not always guarantee consistent results. “You can’t play like this onstage, giving yourself totally up to the atmosphere and to the moment spontaneously, without sometimes risking failure,” Schmidt explained. “There were of course also concerts which were horrible, really bad, because we played without any net.”But even in the worst-case scenarios, there was still potential for magic. “Quite often, when the first set went terribly, people didn’t leave and the second set became really wonderful,” he said. “So the public sort of took part in our efforts to create. It was really like, if it didn’t work, they suffered like us, with us, and if it worked they enjoyed it like us.”The next release will be from the Brighton, England, stop on the same 1975 tour, Schmidt said, but he hopes to feature earlier performances, including potentially a recently discovered 1970 German TV performance.“When I more or less founded this group, I wanted to bring together totally different musical experiences and styles,” Schmidt said. “I wanted musicians who were professionally at home in different contemporary musics like jazz, rock, electronics, and neo-classical music. To bring it together was not easy and created a lot of tension, but that made the music so interesting because when it succeeded, the tension made sense, and created beauty.” More

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      Rough Trade Record Store Has an Unlikely New Home: 30 Rock

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      The Brooklyn shop is downsizing and moving across the river, bringing 10,000 vinyl albums and its live events to Rockefeller Center in Midtown.When the Rough Trade record store housed in a 10,000 square foot warehouse in Williamsburg, Brooklyn, announced it was closing and relocating in January, few could have imagined its new home would be adjacent to the gleaming neon lights of NBC Studios and the towering marquee of Radio City Music Hall.But starting June 1, commuters (should they return) and tourists exiting the subway at 49th Street and Sixth Avenue in Manhattan will find stacks of vinyl behind the window of the latest Rough Trade record shop, at 30 Rockefeller Plaza.“Midtown certainly was not in the script,” said Stephen Godfroy, one of Rough Trade’s owners, in a video interview from his home in Oxford, England, last week. “That’s what makes it exciting for us — to champion emerging artists in a place where people wouldn’t expect it.”Last Tuesday, tubs of Sheetrock, power tools and a small dumpster still filled the 2,100-square-foot space — a former shoe store just under a quarter of the size of Rough Trade’s old Williamsburg location — that will soon house some 10,000 new vinyl records. The windows facing out onto Avenue of the Americas were covered in messaging from its new landlords, the real estate giant Tishman Speyer, advertising an app called Zo, which a representative from the company described as its “tenant amenities platform.”Rockefeller Center may seem a curious spot for Rough Trade, a shop born of mid-1970s London counterculture that spun out into a record label of the same name in 1978. But the Rough Trade stores of 2021 are by now a long way removed from their scrappy beginnings, having split from the label in 1982.“Not being obvious bedfellows, we had to look at the details,” said Godfroy, who has been with Rough Trade since 2003. That included the specifics of the location, sandwiched right at street level between the subway station and “The Tonight Show Starring Jimmy Fallon.”The original Rough Trade shop in London.Rough TradeAs with their other four shops, all in the United Kingdom, the new Rough Trade will continue to host live events, but its partner will no longer be the concert promoter the Bowery Presents. Instead, Rough Trade will be part of the programming at Rockefeller Center, and its Midtown gigs will be held on the building’s 65th floor in the ritzy Rainbow Room, and at surrounding spaces such as the plaza and, in summertime, the ice skating rink.Godfroy said Rough Trade had been considering a move across the East River since the summer of 2019, to better access the ever-growing number of people who want to buy new releases and reissued favorites on wax. Weekday foot traffic was never great in Williamsburg. (Not that Midtown is doing much better at the moment.) And though Rough Trade had maintained its sales numbers online through 2020, the move was “really precipitated by the pandemic,” Godfroy said, which put the necessity of keeping busy every day “into sharp relief.”While Midtown is mostly synonymous with office towers and Broadway theaters, it also has a rich and varied history of record stores — like the former album- and sheet-music emporium Colony Records in the Brill Building, the eclectic D.J. hub Rock and Soul near Penn Station and chains such as Disc-O-Mat. The hostile nature of Manhattan real estate has contributed to many shuttering this past decade.Tishman Speyer and Rough Trade declined to comment on the specifics of Rough Trade’s lease. (Its Brooklyn spot, which it occupied for seven years, is currently available to rent for about $50,000 a month.) But Ben Van Leeuwen, an owner of the store’s soon-to-be neighbor at 30 Rock, Van Leeuwen Ice Cream, said his business received a generous deal even before the pandemic, allowing it to open there in 2019 at a lower risk.“Tishman makes a lot of their money off the office space above,” said Van Leeuwen, which creates flexibility for the ground-level stores. “I imagine there are a lot of bigger brands that would have taken that space in a heartbeat and paid a lot more than we’re paying,” he said, but added that it was his understanding that the real estate company wanted to have storefronts that were “local and more artisanal.”Rough Trade’s new neighbors on Sixth Avenue will include Radio City Music Hall and a Van Leeuwen ice cream shop.Amr Alfiky/The New York TimesGodfroy said the store’s significant downsize in square footage, coupled with its status as a tourist destination, will mean that “the cost-benefit analysis is pretty much the same.” To bolster its smaller size, the shop will use mechanical Vestaboard displays to share real-time gig ticket info, sales charts and music news — “They make that chk-chk-chk sound that you get sometimes in airports and train stations,” Godfroy said — and it will also hold records at a new online fulfillment center in Greenpoint.30 Rock was first called the RCA Building when it opened in 1933, and some lost New York City music lore lingers in the neighborhood. In the 1970s, the engineer Don Hünerberg rented a studio above Radio City — previously used by the NBC Symphony Orchestra — and the first Blondie and Ramones albums were tracked there. The avant-garde fixtures John Zorn and Glenn Branca also worked there, as did Sonic Youth for its 1982 debut EP. “The Rockettes would rehearse down the hall which always gave the place a certain ‘kick,’” Thurston Moore, a singer and guitarist for Sonic Youth, recalled in an email.More recently, the arts space National Sawdust presented an “immersive, site-specific choral and movement piece” called “The Gauntlet” at Rockefeller Center in 2019. The internet station NTS Radio hosted live broadcasts there that year; it also programs, with complete creative control, the background music played inside the buildings.Back in Brooklyn, the borough’s biggest record store is now Academy Records, which is currently located in Greenpoint. Its owner, Mike Davis, said that Rough Trade’s departure from the neighborhood had so far not impacted his sales numbers. “We’re both ostensibly record stores, but we’re sort of in a different business,” he said, noting Rough Trade’s emphasis on new releases and his own store’s focus on used vinyl. “They’re kind of catering to a slightly different market.”Josh Madell, a former co-owner of the beloved, now-closed East Village shop Other Music and the current head of artist and label strategy at Secretly Distribution, proposed that this could be “a branding move” for Rough Trade, who might be looking “to drive music fans to their web store as much as to their new brick and mortar shop.” (That’s not dissimilar to what happened when Sub Pop opened its Sea-Tac Airport store in 2014, according to the retail director there.)Madell sees Rough Trade’s move as a positive one for the independent music industry, even as he finds it hard to imagine local record heads traveling to 30 Rock to flip through the stacks. “I don’t think that’s who they’re trying to attract,” Madell said, noting that he had only been to Rockefeller Center in the past decade to visit the Lego store with his daughter. “They’re reaching a different audience.”“Vinyl’s not really an underground medium anymore,” he added. 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      A Jaw-Dropping Philip Glass Opera Is Finally on Video

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      “Satyagraha,” one of the Metropolitan Opera’s greatest stagings of the 21st century, has been released on DVD and CD.For decades, Philip Glass fans have internalized a lesson: If you want to see his operas, plan to buy tickets and attend in person. Don’t expect the stagings to show up on DVD in a year or two, as most prominent productions do these days.Glass has long carefully husbanded the rights to his work. And since founding his own record label, Orange Mountain Music, in 2001, he has been selective regarding releases of some of his operas.This has been particularly glaring when it comes to his trilogy of what became known as “portrait” operas, the stage works of the 1970s and ’80s which made his reputation in the genre. Each is focused on the life of a consequential man of history: “Einstein on the Beach” is an abstract account of that scientist and the development of nuclear technology; “Satyagraha” dramatizes Gandhi’s early activism in South Africa; “Akhnaten” contemplates the Egyptian pharaoh who pioneered monotheism.Glass in 1984, the year “Akhnaten,” the follow-up to “Satyagraha” in his trilogy of “portrait” operas, premiered in Germany.Beatriz Schiller/The LIFE Images Collection, via Getty ImagesA globe-trotting revival of Robert Wilson’s definitive original production of “Einstein” was released on video in 2016, a full 40 years after the work’s premiere. But while “Satyagraha” and “Akhnaten” have received acclaimed recent productions at the Metropolitan Opera, and have been transmitted to movie theaters worldwide through the Met’s Live in HD series, they have been missing on DVD.That is now changing, thanks to a deal struck between the Met, Orange Mountain Music and Dunvagen, Glass’s publishing company. Late in April, the Met released, for the first time, its 2011 “Satyagraha” staging, directed by Phelim McDermott, designed by Julian Crouch, first seen in New York in 2008 and quickly assessed to be one of the Met’s triumphs of the past 25 years.Scenes from the Metropolitan Opera’s production, which is newly available on video.“Satyagraha” is available on DVD and is also downloadable on Apple TV. The audio is available on CD, as well as through streaming services and digital-purchase storefronts. The Met and Dunvagen confirmed in emails that the deal also includes the release of “Akhnaten” across a similar range of formats next month.“Satyagraha,” which premiered in 1980 and was the middle child of Glass’s portrait trilogy, is where the composer began to write for more traditional operatic orchestral forces, and for unamplified voices. He left behind the fully non-narrative approach of “Einstein on the Beach” (1976), while maintaining that work’s stylized pageantry.The scenes of “Satyagraha” depict recognizable events in Gandhi’s life, but instead of a biopic-style libretto, the Sanskrit text is made up of selections from the Bhagavad Gita, which Glass said he imagined Gandhi pondering during his time in South Africa. In the first scene, for example, the text’s discourse on the morality of conflict is reflected, dreamscape-like, in the opera’s action, as Gandhi confronts his fears regarding direct political action. The use of the Bhagavad Gita throughout keeps the opera enigmatic and poetic, endowing Gandhi’s evolution from lawyer to activist with epic grandeur.“Satyagraha,” which premiered in 1980, is where its composer began to write for more traditional operatic orchestral forces, and for unamplified voices.Sara Krulwich/The New York TimesThe Met’s “Satyagraha” realizes the work in a way that Achim Freyer’s 1981 staging in Stuttgart, Germany — long out of print on DVD — never really did. (Among other things, Freyer’s punk couture designs were never quite right for this opera, and have aged poorly.)In McDermott’s production for the Met, the images are dazzling throughout, with surreal, giant figures conjured out of newsprint in a gesture at Indian Opinion, the newspaper Gandhi founded. At the opera’s climax, the influence of Gandhi’s nonviolent protest on the work of the Rev. Dr. Martin Luther King Jr. is rendered explicit with slow-motion, hushed profundity.Given the work’s stylization and the many repetitions of the text, the Sanskrit doesn’t need to be followed word by word to understand its implications. McDermott’s production selectively projected English translations onto the set, and the new DVD captures those projections well enough to do without full subtitling.Until now, the only available audio release of “Satyagraha” was a CBS Masterworks recording from 1985, which features synthesizers very prominently in the mix alongside the New York City Opera’s orchestra and chorus.That energetic recording and others from Glass’s CBS years did a lot to popularize his music. But is the nervy, aggressive, computer-age precision of the synthesizer on the CBS recording the best way to evoke Gandhi’s gradual organization of mass protests at the end of the second act? If you’re playing the music as background, perhaps it doesn’t matter. But if you’re tuned into the drama, the autopilot momentum of synths seems out of place in a story about such concerted effort and up-and-down struggle. The conductor Dante Anzolini, along with the Met’s orchestra and chorus and the tenor Richard Croft as Gandhi, create a more affecting groundswell (including a subtler use of synthesizer) over the same minutes.Through his career, Glass has emphasized adaptation — and the validity of multiple perspectives on his catalog. Creating a one-and-only approach has rarely been the goal. In his 2015 memoir, “Words Without Music,” he wrote, “This is what I know about new operas: The only safeguard for the composer is to have several productions.”If a work can survive its first decade, he adds, “we might begin to form an idea of the quality and stature of the work in its third or fourth production.” This was and remains a sadly rare phenomenon. The opera world loves its premieres; less so, its third or fourth productions of a contemporary piece.But Glass’s fame, and the quality of both “Satyagraha” and “Akhnaten,” have allowed them to be explored again and again over the past four decades. This means that there will, inevitably, be interpretations that are stronger than others. This newly released “Satyagraha” is not just one of the best Met productions of the 21st century. It also immediately takes its place among the essential releases in the storied career of an instantly recognizable voice in contemporary music. More

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      Al Schmitt, Maestro of Recorded Sound, Is Dead at 91

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      The winner of multiple Grammys, he engineered or produced records by Frank Sinatra, Ray Charles, Paul McCartney, Bob Dylan, Jefferson Airplane and many others.Al Schmitt, who as a boy watched Bing Crosby and the Andrews Sisters record music in his uncle’s studio, and who went on to become a Grammy Award-winning engineer for a long roster of artists including Paul McCartney, Bob Dylan, Frank Sinatra, Ray Charles and Diana Krall, died on Monday at his home in Bell Canyon, Calif. He was 91.His death was confirmed by his wife, Lisa Schmitt.For more than 60 years, Mr. Schmitt brought deft engineering skills and a sixth sense about what made a song great to his collaborations with dozens of musicians and singers. He was renowned for his ability to make subtle but critical changes during a recording session.His gentle, informed guidance from behind the recording console was an essential, if unseen, element in 15 of Ms. Krall’s studio albums.“It’s how he heard things,” she said by phone. “Sometimes he’d adjust the mic a bit or put his hand on my shoulder and say, ‘It’s OK.’ I don’t know if he was adjusting the mic or me.”While recording at Capitol Studios in Los Angeles, she added, “Al would say, ‘Why don’t we bring out the Frank Sinatra stool?’ And you’d do the best take in your life.”Mr. Schmitt, whose engineering credits also included Sinatra’s popular “Duets” albums in the 1990s, won 20 Grammys, the most ever for an engineer, and two Latin Grammys. He also won a Trustees Award for lifetime achievement from the Recording Academy in 2006.In 2005, Mr. Schmitt’s contributions to Ray Charles’s own duets album, “Genius Loves Company,” brought him five Grammys. (He shared four with others, for album of the year, record of the year, best pop vocal album and best engineered album. One of the five, for best surround-sound album, he won on his own.)As an occasional producer, his credits include albums by Sam Cooke, Eddie Fisher, Al Jarreau, Jackson Browne and, most notably, Jefferson Airplane. In his autobiography, “Al Schmitt on the Record: The Magic Behind the Music” (2018), he described the zoolike atmosphere during the recording of the Airplane’s album “After Bathing at Baxter’s” in 1967.“They would come riding into the studio on motorcycles,” he wrote, “and they were getting high all the time. They had a nitrous oxide tank set up in the studio, they’d be rolling joints all night, and there was a lot of cocaine.” In spite of those obstacles, “After Bathing at Baxter’s” was well received, and Mr. Schmitt went on to produce the group’s next three albums.A tamer atmosphere existed in 2015, when Mr. Schmitt engineered “Shadows in the Night,” Mr. Dylan’s album of songs associated with Frank Sinatra. (Mr. Dylan produced the album under the name Jack Frost.) Between sessions over three weeks, they listened on Mr. Dylan’s small player to Sinatra’s renditions of the songs that they were about to record.Mr. Schmitt recalled that they were trying not to approach each song “in the same way” that Sinatra had, “but to get an idea of the interpretation,” he told Sound on Sound magazine in 2015.“We then would talk for maybe a couple of hours about how we were going to do the song,” he said.He was initially uncertain about whether Mr. Dylan could sing the Sinatra standards, he said, but he was thrilled by what emerged from the speakers from the start.“If there was something slightly off-pitch, it didn’t matter because his soul was there, and he laid the songs open and bare the way they are,” he told Sound on Sound. “He also wanted people to experience exactly what was recorded, hence no studio magic or fixing or turning things or moving things around and so on.”Mr. Schmitt at the 2014 Grammy Awards in Los Angeles with the 20th and final Grammy of his career, which he won for the Paul McCartney DVD “Live Kisses.” He also won two Latin Grammys and a lifetime achievement award.Frazer Harrison/Getty ImagesAlbert Harry Schmitt was born in Brooklyn on April 17, 1930. His father, also named Albert, made PT boats at the Brooklyn Navy Yard and later worked for a printing company and for a record processing plant. His mother, Abigail (Clark) Schmitt, was a homemaker.In his Uncle Harry Smith’s recording studio in Manhattan, Al discovered his future.“I loved my mother and father, but life with Uncle Harry was glamorous,” Mr. Schmitt wrote in his autobiography. (His uncle had changed his surname from Schmitt.)At first his father escorted him to the studio on weekends. But by age 8 Al was taking the subway on his own. He reveled in listening to Crosby, being asked by Orson Welles if he believed in Martians (soon after Welles’s nation-rattling radio broadcast of a Martian invasion in “The War of the Worlds”) and being taken to bars by his uncle and his close friend Les Paul.His uncle put Al to work — setting up chairs for a big band, cleaning cables. And Al learned about the proper placement of musicians in a one-microphone studio.After Mr. Schmitt was discharged from the Navy in 1950, his uncle helped him get a job as an apprentice engineer at Apex Studios in Manhattan. He had been working there for three months, still not certain of his capabilities, when he was left alone in the studio on a Saturday. He was taken aback when the members of Mercer Ellington’s big band arrived, along with Mr. Ellington’s father, Duke.Fearful of fouling up the session, he fetched a notebook with diagrams about how to set up the seating and place the microphones. He apologized to Duke Ellington.“I’m sorry, this is a big mistake,” he recalled telling him. “I’m not qualified to do this.”“Well,” Ellington said, “don’t worry, son. The setup looks fine, and the musicians are out there.”Over three hours, Mr. Schmitt said, he successfully recorded four songs.He worked at other studios in Manhattan before moving west in 1958 to join Radio Recorders in Los Angeles, where Elvis Presley had recorded “Jailhouse Rock” and where Mr. Schmitt in 1961 was the engineer for both the celebrated album “Ray Charles and Betty Carter” and Henry Mancini’s “Breakfast at Tiffany’s” soundtrack, indelibly featuring the Mancini-Johnny Mercer song “Moon River.”Mr. Schmitt was nominated for a Grammy for “Breakfast at Tiffany’s,” but he did not win. His first Grammy came the next year, for his work on Mancini’s score for the film “Hatari.” (He was also nominated that year for “The Chipmunk Songbook,” by Alvin and the Chipmunks.)After five years at Radio Recorders, Mr. Schmitt was hired by RCA Studios, where he moved into production. He left RCA after three years to become an independent engineer and producer.Those years were among his busiest as an engineer. In 2018, during an interview on “Pensado’s Place,” an online series about audio engineering, he remembered one two-day period.“From 9 to 12 I did Ike and Tina and the Ikettes; we’d take a break, and from 2 to 5 I’d be doing Gogi Grant, a singer with a big band, and that night I’d be doing Henry Mancini with a big orchestra. The next day, Bobby Bare, a country record, and then a polka record.“I hated polka music,” he added, “but what I’d concentrate on was getting the best accordion sound anybody ever heard.”Mr. Schmitt began his career after leaving the Navy and continued working well into the digital age.Chris SchmittMr. Schmitt kept working until recently, helping to shape artists’ sound well into the digital era. His most recent Grammy, in 2014, was for Mr. McCartney’s DVD “Live Kisses.”In addition to his wife, Mr. Schmitt is survived by his daughter, Karen Schmitt; his sons, Al Jr., Christopher, Stephen and Nick; eight grandchildren; five great-grandchildren; his sister, Doris Metz; and his brothers, Russell and Richy. His previous three marriages ended in divorce.In 2015, Mr. Schmitt received a star on the Hollywood Walk of Fame.Speaking at the unveiling of that star, the record producer Don Was said that Steve Miller had recently played him several new songs.“I listened for a minute and I said, ‘Did Al Schmitt record this?’” Mr. Was said. “He was taken aback and said, ‘Yes, how did you know?’ I said, ‘Because your vocals sound better than I ever heard them before.’” More

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      Bob Porter, Jazz Producer and Broadcaster, Dies at 80

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      Hundreds of albums bore his name, notably reissues of classic material. And he helped make WBGO the biggest jazz radio station in the New York area.Bob Porter, who as a record producer guided the reissue of vast swaths of the classic jazz canon, and who as a broadcaster helped build WBGO into the largest jazz radio station in the New York City area, died on April 10 at his home in Northvale, N.J. He was 80.The cause was complications of esophageal cancer, his wife, Linda Calandra Porter, said.Rock ’n’ roll had mostly eclipsed jazz in the public ear by the time Mr. Porter produced his first album for Prestige Records, the organist Charles Kynard’s “Professor Soul” (1968), for which he also wrote the liner notes. Mr. Porter began regularly producing sessions for the label, mostly in the soul-jazz style of the day, including outings by the saxophonists Gene Ammons and Sonny Stitt, the organists Jimmy McGriff and Charles Earland and the guitarist Pat Martino, among many others.He went on to take part in the creation of hundreds of albums as a producer and author of liner notes for a variety of labels. Much of that work was on boxed sets and reissues of archival material.He won a Grammy in 1978 for his liner notes to the five-disc “Charlie Parker: The Complete Savoy Studio Sessions,” which he also produced. He later won the best historical album Grammy in 1986, for producing the compilation “Atlantic Rhythm and Blues 1947-1974, Vols. 1-7.”Interviewed that year by Rolling Stone, Mr. Porter recalled putting together the Atlantic box alongside Ahmet Ertegun, the label’s famed co-founder. Some of Atlantic’s original master tapes had burned in a fire, so Mr. Porter drew upon his network of fellow vinyl collectors to track down original pressings. His main goal, he said, was accuracy and completeness.“We tried to list in copious detail everything we could about the original recording date — the singers, the bands, every piece of information we could unravel,” he said. “The most important thing in doing any work of this nature is that you get it right.”But he also wanted to make a historical point about how social history shapes genre. “We decided to stop in 1974 because that, in a sense, marked the end of an era,” he said. “When you get into disco and rap music, you’re really talking about something that’s very different. The conditions in the country were a lot different when this music was being made. I think that the demise of soul and R&B may ultimately be viewed as a casualty of integration.”In the 1980s, jazz’s commercial fortunes perked up, in thanks partly to the advent of compact discs, which led listeners to buy reissues of old albums. Working most often with Atlantic, Mr. Porter led the remastering process for CD reissues by the likes of Duke Ellington, Ray Charles and Lester Young.As soon as WBGO hit the airwaves at 88.3 FM in 1979, broadcasting out of Newark but reaching across New York City, Mr. Porter started volunteering as a host. Two years later he began a daily show, “Portraits in Blue,” which went on to be syndicated by NPR stations around the country and would continue for the next 40 years. He later hosted two additional shows: “Saturday Morning Function,” which focused on R&B and jump blues, and “Swing Party,” heard on Sunday mornings.On his own podcast earlier this month, Nate Chinen, the director of editorial content at WBGO, called Mr. Porter “a Mount Rushmore figure when it comes to Newark public radio — someone who was on the air, really, from Day 1.”Robert Sherwin Porter was born in Wellesley, Mass., on June 20, 1940, to David Porter, who ran the financial advisory firm David L. Babson & Company, and Constance (Kavanaugh) Porter, a homemaker. The eldest of four siblings, Bob attended Whittier College in California, where he studied English before serving in the Army, stationed in Fairbanks, Alaska.In addition to his wife, he is survived by his brothers, John and William Porter; a sister, Linda (Porter) Owens; a son from a previous marriage, David Porter; two stepsons, Michael and Rick Tombari; and a granddaughter.After his military service, he returned to Whittier to complete his degree. While still in school he began contributing to DownBeat magazine. His articles caught the attention of Bob Weinstock, the head of Prestige, who was impressed by Mr. Porter’s erudition and offered him a job with the label.Mr. Porter’s passion for the artistic and cultural history of African-American music stretched back to its earliest known recordings, and he was deeply knowledgeable about blues as well as jazz.He received awards from various music societies and foundations. In addition to his two Grammys, those included a 1986 W.C. Handy Award (now known as the Blues Music Award) from the Blues Foundation and a 2003 Community Service Award from the Bergen County chapter of the N.A.A.C.P. In 2009, he was inducted into the Blues Hall of Fame.Mr. Porter became a published author late in life, self-releasing “Soul Jazz: Jazz in the Black Community, 1945-1975” in 2016. That book gave a detailed history of the jazz musicians who were especially popular in Black communities just after World War II, but who at the time had rarely come under the gaze of white critics.A white writer himself, Mr. Porter felt compelled to redress the omission. “Black communities had their own heroes, and Black fans of jazz had their own way of responding to the music,” he wrote in the book’s preface. “I have helped dozens of researchers and writers through the years, and I always hoped that one of them would tackle this untold story. Nobody did, and now most of the greatest players are gone. Thus, I decided to do this myself.” More

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      Ethel Gabriel, a Rare Woman in the Record World, Dies at 99

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      For much of her more than 40 years at RCA, Ms. Gabriel was a producer, overseeing “Living Strings” and other profitable lines.Ethel Gabriel, who in more than 40 years at RCA Victor is thought to have produced thousands of records, many at a time when almost no women were doing that work at major labels, died on March 23 in Rochester, N.Y. She was 99.Her nephew, Ed Mauro, her closest living relative, confirmed her death.Ms. Gabriel began working at RCA’s plant in Camden, N.J., in 1940 while a student at Temple University in Philadelphia. One of her early jobs was as a record tester — she would pull one in every 500 records and listen to it for manufacturing imperfections.“If it was a hit,” she told The Pocono Record of Pennsylvania in 2007, “I got to know every note because I had to play it over and over and over.”She also had a music background — she played trombone and had her own dance band in the 1930s and early ’40s — and her skill set earned her more and more responsibility, as well as the occasional role in shaping music history. She said she was on hand at the 1955 meeting in which the RCA executive Stephen Sholes signed Elvis Presley, who had been with Sun Records. She had a hand in “Cherry Pink and Apple Blossom White,” the 1955 instrumental hit by Pérez Prado that helped ignite a mambo craze in the United States.She may have produced or co-produced the album that contained that tune, but April Tucker, lead researcher on a documentary being made about Ms. Gabriel, said details on the early part of her career were hazy. Ms. Gabriel often said that she had produced some 2,500 records. Ms. Tucker said officials at Sony, which now holds RCA’s archives, had told her that the number may actually be higher, since contributions were not always credited.In any case, by the late 1950s Ms. Gabriel was in charge of RCA Camden Records, the company’s budget line, and was earning producer credits, something she continued to do into the 1980s.In 1959 she began the “Living Strings” series of easy-listening albums, consisting of orchestral renditions of popular and classical tunes (“Living Strings Play Music of the Sea,” “Living Strings Play Music for Romance” and many more), most of which were released on Camden. The line soon branched out into “Living Voices,” “Living Guitars” and other subsets and became a big profit-generator for RCA — which was not, Ms. Gabriel said, what the boss expected when he put her in charge of Camden, a struggling label at the time.“I’m sure he thought it was a way to get rid of me,” she told The Express-Times of Easton, Pa., in 1992 (too diplomatic to name the boss). “Well, I made a multimillion-dollar line out of it, conceived, programmed and produced the entire thing.”Ms. Gabriel with her fellow producers Don Wardell, left, and Alan Dell at the 1983 Grammy Awards. They shared the award for best historical album for “The Tommy Dorsey-Frank Sinatra Sessions.” Ed and Nancy MauroThere were other profitable series as well. Ms. Gabriel was particularly good at repackaging material from the RCA archives into albums that sold anew, as she did in the “Pure Gold” series. In 1983 she shared a Grammy Award for best historical album for “The Tommy Dorsey-Frank Sinatra Sessions” By the time she left RCA in 1984, she was a vice president.Yet, unlike the top male record executives of the era, she rarely made headlines. Ms. Tucker, an audio engineer, said she had never heard of Ms. Gabriel until one day she went searching to see if she could find out who the first female audio engineer was. She brought Ms. Gabriel to the attention of Sound Girls, an organization that promotes women in the audio field, and soon Caroline Losneck and Christoph Gelfand, documentary filmmakers, were at work on “Living Sound,” a film about her.Ms. Losneck, in a phone interview, said they had been hoping to complete the documentary by Ms. Gabriel’s 100th birthday this November.Ms. Losneck said Ms. Gabriel had survived in a tough business through productivity and competence.“She knew who to call when she needed an organist,” she said. “She knew how to manage the budget. All that gave her a measure of control.”Many of the records Ms. Gabriel made fit into a category often marginalized as elevator music.“It’s easy to look back on that music now and say it was kind of cheesy,” Ms. Losneck said, “but back then it was part of the cultural landscape.”Toward the end of her career, as more women began entering the field, Ms. Gabriel was both an example and a mentor. Nancy Jeffries, who went to work in RCA’s artists-and-repertoire department in 1974 and had earlier sung with the band the Insect Trust, was one of those who learned from her.“Being a woman and having ambition at a record company in those days was something that just didn’t compute with most of the male executive staff, but I was fortunate enough to land in the A&R department at RCA Records, where Ethel was established as a force to be reckoned with,” Ms. Jeffries, who went on to executive positions at RCA, Elektra and other record companies, said by email. “She had developed a couple of deals that, while they weren’t particularly ‘hip,’ generated a lot of income and financed some of the more speculative workings of the department. Lesson one: Make money for the company and they will leave you be.”Mr. Mauro summarized his aunt’s career simply:“She was successful early on when the playing field wasn’t level.”Ms. Gabriel, interviewed by The Cincinnati Enquirer in 1983, had a succinct explanation of her ability to thrive in a man’s world.“I didn’t know I was somewhere I shouldn’t be,” she said.Ethel Nagy was born on Nov. 16, 1921, in Milmont Park, Pa., near Philadelphia. Her father, Charles, who died when she was a teenager, was a machinist, and her mother, Margaret (Horvath) Nagy, took up ceramic sculpture later in life.Ms. Gabriel studied trombone in her youth and formed a band, En (her initials) and Her Royal Men, that played in the Philadelphia area. While at Temple she began working at RCA in nearby Camden putting labels on records and packed them before advancing to record tester.Ms. Gabriel at her home in Rochester, N.Y., in 2019. She had a succinct explanation of her ability to thrive in a man’s world: “I didn’t know I was somewhere I shouldn’t be.”Living Sound FilmAfter graduating in 1943, Ms. Gabriel continued her studies at Columbia University and worked at RCA’s offices in New York, including as secretary to Herman Diaz Jr., who led RCA’s Latin division. She spent a lot of time listening in on studio sessions, and by the mid-1950s trade publications were referring to her as an “RCA Victor executive.”In 1958 she married Gus Gabriel, who was in music publishing. The couple counted Frank Sinatra as a friend. In a 2011 interview with The Rochester Democrat and Chronicle, she said that in 1973, when her husband was dying in a hospital, she walked into his room one day and found his nurses in a tizzy.“I asked, ‘What’s wrong?’” she recalled. “They said, ‘Oh, everybody got autographed pictures from Sinatra!’”Ms. Jeffries said that Ms. Gabriel had always mentored the women at the company no matter where they were on the corporate ladder. But her helping hand was extended to men, too, as the producer Warren Schatz found out when he joined RCA in the mid-1970s, as the disco wave was building.He had an idea for an album that might catch that wave, he said, and she came up with $6,000 to get it made. It was by the Brothers and included a song, “Are You Ready for This,” that became a dance-floor staple.“So Ethel basically started my life off at RCA,” Mr. Schatz said in a phone interview. Soon he was vice president of A&R, and she was reporting to him.“Whatever she wanted to do, I would just say yes to,” he said. “She was so calm, and so knowledgeable, and so self-sufficient.”Ms. Gabriel left RCA in 1984, in part, she said, at the urging of Robert B. Anderson, a former U.S. treasury secretary, who persuaded her to turn over to him her retirement package — more than $250,000 — so that he could invest it in the hope that the proceeds would finance future music ventures. The money disappeared, and Mr. Anderson, who died in 1989, was later convicted of tax evasion.Ms. Gabriel lived in the Poconos for a number of years before moving to a care center in Rochester to be near Mr. Mauro and his family. As she died at a hospital there, Mr. Mauro said, the staff had Sinatra songs playing in her room. More

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      Virtual Concerts to Watch

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      Looking for signs of a return to normal? Sitting back to enjoy a live-music performance might be a good place to start.The performing arts have endured a year like no other, but the decimation of touring and in-person shows has in no way squelched music fans’ love of a live performance. And in many ways, the pandemic has yielded creative new ways for artists to engage with their listeners.Since March 2020, for example, the wildly popular Instagram Live series Verzuz, created by Timbaland and Swizz Beatz, has recruited some of the biggest names in rap, hip-hop and R&B for nostalgia-driven battles. Highlighting their musical oeuvres and mimicking D.J. battles, each artist plays a song, then their opponent follows with one of their own works, chosen with the intention of one-upping. Engaged audiences argue passionately about the victor. (In a testament to their popularity and relevance, the voting rights activist Stacey Abrams appeared on a November show featuring the Atlanta artists Gucci Mane and Jeezy to promote voting in the Georgia Senate runoffs.)At the same time that small concerts with socially distanced audiences are gradually beginning to return, livestream musical events allow the unvaccinated and those across the country to take part in intimate shows from some great artists. Here is a selection of performances in the coming week that are worthy of a festival lineup, but with a comfortable front-row seat guaranteed.March 30Pandora LIVE Powered by WomenPandora is honoring Women’s History Month with a streamed all-female event, hosted by Hoda Kotb, which will include performances by Jazmine Sullivan and Gwen Stefani. They will also sit down with the fellow artists Becky G and Lauren Alaina for a round-table discussion on issues facing women in music. 9 p.m. Eastern, free for Pandora members; pandoralivepoweredbywomen.splashthat.com/PRApril 2Blind Boys of Alabama Easter Weekend SpecialThe Grammy-winning gospel group will perform a Good Friday show to celebrate the Easter holiday with a slate of new and old hits. The ensemble began performing in the late ’30s — its first members were children attending the Alabama Institute for the Negro Blind — and since then there has been a rotating roster of band members, many of whom are visually impaired. The socially distanced, in-person show, held at Nashville’s City Winery, will be livestreamed. 9 p.m. Eastern, tickets start at $18; boxoffice.mandolin.comApril 3Emmylou Harris and Steve Earle, “Woofstock at the Winery”Steve Earle, who was recently featured on a cover of “The Times They Are A-Changin’” to benefit Feeding America, will perform live with the country-music icon and avid dog-rescuer Emmylou Harris. Filmed at City Winery Nashville, the performance will benefit the animal charities Crossroads Campus and Bonaparte’s Retreat a canine-rescue initiative founded by Ms. Harris and located on her property. 9 p.m. EST, tickets $15; form.jotform.com/210543759066156April 4Dionne Warwick At Home With YouThe legendary songstress has had a very busy past year, increasing her fan base by becoming a must-read on Twitter, appearing on the third season of “The Masked Singer” (she was disguised as a mouse) and popping up for a guest appearance on the Gladys Knight vs. Patti LaBelle Verzuz battle. Ms. Warwick, who was nominated for the Rock & Roll Hall of Fame in February, will be performing two virtual shows on Easter Sunday, plus another two on Mother’s Day. She is also expected to resume touring in October. 2 p.m. and 8 p.m. EST, tickets $20, boxoffice.mandolin.com/pages/dionnewarwickApril 4Verzuz: Isley Brothers vs. Earth, Wind & FireThe Verzuz battles have become one of the singular joys of quarantine Following the esteemed pairings of Snoop Dogg and DMX, and Alicia Keys and John Legend, the Isley Brothers and Earth, Wind & Fire will appear in the next round of the beloved series, the first time that two bands have duked it out on the series. 8 p.m. EST, free to view on Instagram Live @verzuztv or on Triller. More