Sumner Coy

Travis Emmett

Prolific classical guitarist Gyan Riley's new album Sprig is an ecosystem of emotive instrumentals emerging from an intimate recording session in Joshua Tree's remote Harrison House.

"A sprig is this singular unit that can grow and expand outward in any sort of direction- there's endless possibilities," says Riley. "I really liked that as a compositional idea."

The University of Arkansas' Lyrique Quintette's upcoming album is their first in over a decade, representing six composers from across the Western hemisphere. After more than a year of hard work they're excited to show the public what they've been up to.

"It covers different Latin rhythms, and it has that flavor of dancing," says basoonist Lia Uribe. "I can imagine as  I'm playing the movement and the gestures while dancing that we're trying to emulate."

"It's definitely a labor of love," says Timothy Thompson.

When most people hear the name Godzilla, it's destruction that comes immediately to mind- but as part of their live-scoring of the 1954 film, Ryan Cockerham's music and sound design class at the Arkansas Arts Academy reconstruct the soundscape.

"There is no documentation of Godzilla, because Toho is very protective of what's distributed," says Cockerham. "So this film just exists as a film. There's no screenplay, there's no nothing."

The Symphony of Northwest Arkansas joins forces with the Fayetteville Jazz Collective to bring a night of iconic film music to the Walton Arts Center at 7pm on Saturday, March 10th.

Executive director Matthew Herren and Fayetteville Jazz Collective member Ben Harris joined Katy Henriksen at KUAF studios to talk about their passion for film scores and how their visual connections have tremendous power in the popular imagination.

Ryan Cockerham's Shadow Ensemble reunites with the Trillium Salon Series for an intimate one-time concert at Artist's Laboratory Theater to live improv score Carl Theodor Dreyer's 1928 silent classic The Passion of Joan of Arc

The Ensemble's ever-changing lineup is much smaller for the evening's totally improvised score, utilizing primarily violins, synthesizers and filtered vocal stylings to reflect the film's sparse visual landscape.

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