Jon Garelick
A particular guttural sequence of phrases from accordionist Ted Reichman suggested a musical cadence, and I felt myself respond with the jazz fan’s involuntary noise of appreciation: “Unh!”
The whole band demonstrated an expressive variety of mark-making, as visual artists like to say: lines and squiggles and blotches, graceful or rude.
The magic in Eliane Elias’s performances is in how easily she slips from one musical dialect into another.
At the New Orleans Jazz & Heritage Festival we tend to gravitate to the locals and other “regional acts” from around the world and hope, most of all, for those surprises — artists unlike any we’ve seen before, anywhere.
There are few critics as worth re-reading as the late Francis Davis, whose writings are filled with musical and cultural insight, erudition, literary grace, and, most valued now, humor.
A Boston jazz critic’s notebook — three shows at Regattabar and one at the Lilypad.
Music is one of the ways we experience time — Satoko Fujii and the musicians in “GEN” make it disappear.
Put Bill Charlap in that camp of brilliant jazz originals who have plied their trade by playing songs by other people and making them definitively their own.
“PoemJazz” is a project where music and poetry reinforce each other, where the declaimed poetry works like the sung line of a song — though Robert Pinsky never sings or pretends to.
The Annual Francis Davis Jazz Critics Poll at Mid-Year — Listomania! Confessions of a Bad Voter
So what am I saying? That the system is imperfect, corrupted by bad voters like me (there must be a few others who didn’t listen to even close to everything on this list — show of hands?)
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