Paul Robicheau
Prolific avant-garde composer, saxophonist, arranger, producer, and improviser John Zorn led a sharply attuned band through knotty takes on his Masada songbook.
In Boston, the Boss fused crowd-pleasing anthems with a forceful anti-Trump jeremiad—raising questions even as he roused the faithful
With chemistry forged on tour, the group fuses jazz, punk, and prog into a fluid live assault.
Mike Rivard’s rotating collective has blended dub, jazz, Moroccan trance, funk, electronica, hip-hop, and prog into its heady stew.
The jam-rock vibes and gnarly blues licks that Scofield showcased in many of his projects over the years weren’t evident in Saturday’s laid-back final set of his trio’s two-night stand.
An evening where music steeped in Armenian culture was too often outweighed by the acrobatic complexities of prog rock and jazz fusion.
Kris Davis appeared with her current trio of acoustic bassist Robert Hurst and drummer Johnathan Blake, a simpatico unit that clearly responds to both the pianist’s genre-pushing forms and spontaneous sense of adventure.
Fun may seem like a relative term for a singer who performs fragile, melancholy songs in dim stage light and doesn’t allow photographers, though cell phones rose like stars in her galaxy to record videos.
Steve Reich’s 1976 minimalist masterpiece, performed by Ensemble Signal, was a special event to see and hear live.
Shame’s latest record and Monday’s holiday show at the Brighton Music Hall both prove the twin-guitar quintet has matured in sound and spirit while still flashing youthful spunk.
Arts Commentary: The Last Laugh — Stephen Colbert, Comedy, and Cultural Resistance