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Saxophonist Owen Broder’s efforts to keep Johnny Hodges’ music alive is more than just mere imitation. It is a fitting tribute to a musician who deserves to be listened to more.
Cindy Lee’s “Diamond Jubilee” is nothing if not immersed in its own inner world. That’s part of its complexity, its strength, and its beauty.
Lyle C. May reminds us that large numbers of men sentenced to death have been exonerated, and that at every level the apparatus of the carceral state is erratic at best and dramatically biased against minorities and the poor.
“Hollywood’s Imperial Wars” is at its best as a bold and informative survey of the movies that the studios felt it was “credibly possible” for them to make after Vietnam.
This is my kind of music, a tight latin jazz outfit that embraces great horn charts and explosive percussion.
You either go full Hollywood CGI, or you pare it down to the poetry of it.
Whatever else 2024 has in store for queer filmmakers and audiences, there’s likely to be nothing else that’ll put a smile on your face quite like “The People’s Joker.”
It’s not hyperbole to suggest that Dan O’Brien’s “True Story: A Trilogy” represents a distinctive achievement in theater history.
Classical Music Commentary: What’s Next for the Boston Symphony? — Lessons from the Past