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The more we hear Jane Fonda’s homilies about needing to be “whole” and “self-actualize” the more her personal journey sounds more like a succession of carefully calculated branding exercises.
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Yes, the first-ever recording of a opera that is as wonderful as Berlioz and Wagner said it is.
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Lonnie Holley’s music on MITH sounds like a choir of better angels whose multi-layered voice is hard on the outside and soft on the inside, like so much Alabama clay.
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“I like implication very much; there’s a fiction of implication that I think I’ve championed over the fiction of explication.”
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One of the distinguishing characteristics of this set is the smart, energetic, and ever-changing, relationship between bass and drums.
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British historian Adam Zamoyski has drawn a portrait of Napoleon that is neither flattering nor diminishing.
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Kamasi Washington’s music connected viscerally with a Royale audience that was packed with young people — or at least way younger than those normally seen at a jazz concert.
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Hype Man is a complex and challenging treatment of race relations in the U.S.– indispensable viewing in these days of Trump.
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In this album, saxophonist Ethan Helm has achieved a very personal balance between highly composed sections and solos rooted in harmony and free playing.
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The moral of Jen Silverman’s yarn is straightforward enough: we are in a country where self-transformation has become an end in itself, re-invention a default response to omnipresent banality.
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