Steve Provizer
From TikTok to the concert stage, the singer’s unaffected way with the Great American Songbook suggests a hopeful turn in an AI-drenched culture.
Singer Caroll Vanwelden’s “Shakespeare Revisited” brings a flexible voice and adventurous textures to the sonnets, but its melodies and production too often overwhelm the poetry.
Janis Siegel’s first project since the Manhattan Transfer’s 2023 dissolution honors the lyric-driven jazz practice shaped by Eddie Jefferson and Lambert, Hendricks & Ross.
Robert Dattoli’s “Boomer Madness” recounts a picaresque journey through sex, drugs, work, protest, and the cultural upheavals of postwar America—but its reflections on the generation often prove less compelling than its adventures.
At Shalin Liu, Skylark pairs Poulenc’s “Figure humaine” with Civil War–era music in a program of striking contrasts
The Jazz at Lincoln Center vice president of education discusses the growth of Essentially Ellington, the rise in student playing, and the organization’s push for wider access.
“Unfinished” supplies a thoughtful analysis of the relationship between music, musicians, and AI.
Being a one-man or one-woman band while toiling in the shadows is not glamorous work. Over the last 13 years, producer Alex Lemski undertook this role and supplied a great deal of exciting, important music to the people of Boston.
I take a look back at the compelling documentary “Let’s Get Lost” because of the recently released “Chet Baker Performs and Sings: Swimming by Moonlight”, 15 unreleased studio recordings made by the trumpeter.
Arts Remembrance: The Musical Mission of Joel Cohen
His galvanizing presence left an enduring mark on Boston’s musical culture.
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