David H. Silverman & Orch-VICTOR 19200-Nights in Woods

Includes Bastard, You To Thank, Jesusland, Landed, Gracie, Trusted, Give Judy My Notice, Late, Sentimental Guy, Time, Prison Food, and more.

Stand Up Records

After Terry Riley's revolutionary In C, it certainly never seemed that the compositionally brash cofounder of the minimalist movement would take on a lyrical bent. But that's what he's done on this collection of pieces for violin, guitar, and percussion. Violinist Tracy Silverman and guitarist David Tanenbaum play warmly and sublimely on Cantos Desiertos, finding pristine melodies and high, arching curves around which to spread their finesse. Tanenbaum gets unbelievably rich tones from his guitar, and his range is the one consistent ingredient throughout these pieces. He duets with Riley's son Gyan, himself an accomplished guitarist, on "Zamorra" and with percussionist William Winant on Dias de los Muertos. Winant's marimba and gongs are especially appropriate for Tanenbaum's resonant string work, fluctuating from an absolute crispness to a milky froth. Where Riley's chamber works, such as Salome Dances for Peace, are intensely rhythmic, these works veer much more stealthily toward a kind of glorious flowering, even if the blooms are in dusky colors and muted, curvy patterns. --Andrew Bartlett

Epic (USA)

After Terry Riley's revolutionary In C, it certainly never seemed that the compositionally brash cofounder of the minimalist movement would take on a lyrical bent. But that's what he's done on this collection of pieces for violin, guitar, and percussion. Violinist Tracy Silverman and guitarist David Tanenbaum play warmly and sublimely on Cantos Desiertos, finding pristine melodies and high, arching curves around which to spread their finesse. Tanenbaum gets unbelievably rich tones from his guitar, and his range is the one consistent ingredient throughout these pieces. He duets with Riley's son Gyan, himself an accomplished guitarist, on "Zamorra" and with percussionist William Winant on Dias de los Muertos. Winant's marimba and gongs are especially appropriate for Tanenbaum's resonant string work, fluctuating from an absolute crispness to a milky froth. Where Riley's chamber works, such as Salome Dances for Peace, are intensely rhythmic, these works veer much more stealthily toward a kind of glorious flowering, even if the blooms are in dusky colors and muted, curvy patterns. --Andrew Bartlett

Epic (USA) ( April 26, 2005 ), Genre: Rock & Pop

Building on the success of David Silverman's Interpreting Qualitative Data (IQD) and Doing Qualitative Research (DQR), this book assembles a team of internationally-renowned researchers who share a commitment to rigorous qualitative research concerned with how social worlds are constructed. The contributors reflect on the analysis of each kind of data discussed in IQD - observations, interviews, focus groups, documents, talk, visual data and the internet - using helpful case-studies. €

What's great for Ben Folds fans —true fans, not the kind who signed on after hearing 1997's un-Ben-like radio hit "Brick" —is that Songs for Silverman picks up right where the excellent Ben-comes-into-his-own Rockin' the Suburbs left off in 2001. These are heartfelt songs: sometimes cheeky and occasionally heartbreaking. "Gracie, " written in a hopeful key for Folds' young daughter, unravels to playful but brilliant piano plinks; "Late, " for the departed singer/songwriter Elliott Smith, sidesteps straight-on sadness to convey a sense of lost camaraderie; and the clear-eyed "Landed, " delivered in Folds' unadorned, tree-trunk sturdy voice, will inspire untold revelations for those stuck in stalled relationships. The music, meantime, maintains its sharp edge: "You to Thank" juts out with the help of a two new players in a celebratory jazz direction, while "Give Judy My Notice" dabbles in country and a chorus swells for "Jesusland." Throughout, Folds' piano work remains a pop-music goodie bag that defies duplication. --Tammy La Gorce

What's great for Ben Folds fans —true fans, not the kind who signed on after hearing 1997's un-Ben-like radio hit "Brick" —is that Songs for Silverman picks up right where the excellent Ben-comes-into-his-own Rockin' the Suburbs left off in 2001. These are heartfelt songs: sometimes cheeky and occasionally heartbreaking. "Gracie, " written in a hopeful key for Folds' young daughter, unravels to playful but brilliant piano plinks; "Late, " for the departed singer/songwriter Elliott Smith, sidesteps straight-on sadness to convey a sense of lost camaraderie; and the clear-eyed "Landed, " delivered in Folds' unadorned, tree-trunk sturdy voice, will inspire untold revelations for those stuck in stalled relationships. The music, meantime, maintains its sharp edge: "You to Thank" juts out with the help of a two new players in a celebratory jazz direction, while "Give Judy My Notice" dabbles in country and a chorus swells for "Jesusland." Throughout, Folds' piano work remains a pop-music goodie bag that defies duplication. --Tammy La Gorce