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“Ornette was looking for those notes, the ones that feel no pain.”
The album’s set of pieces not only revels in the spirited formal experimentation of the great musician’s music, but its expressive urgency as well.
The play’s swift running give-and-take is chillingly beguiling, its myriad allusions arousing your curiosity as you consider the characters’ positions and conclusions yourself.
For fans of David Lang and/or one of the country’s best choirs, this is a can’t-miss release; Christopher Rouse’s Fifth is about as fresh and engaging a Symphony as the composer wrote; Hub New Music plays the daylights out of Robert Honstein’s Soul House.
The Rental chugs along predictable genre rails, its characters settling into the expected “types” as screws are gradually turned on them by whoever’s surveilling from a distance.
The solo format at Alexandra Palace recalled his recent “Conversations with Nick Cave” tours, a similar chance for the singer to deconstruct his songs at the piano, except that he never addressed an imagined audience beyond his lyrics.
In this documentary, the photographer and his art are not so much defended as explained through the voices of the world’s top models and movie icons with whom he worked.
For an hour and a half, Blu examines himself on Miles, trying to understand who he is and where he comes from.
Filmgoers hankering for some excellent and exciting new documentary features and shorts should check out the Salem Film Festival, which has gone online.
The parallel plot — maybe the real plot — percolates just below the surface: the meta-textual challenge of figuring out how the HBO Perry Mason will morph into something resembling its CBS progenitor.
Arts Commentary: Superman, Spider-Man, and the American Art of Slugging Nazis