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Christopher Hollyday’s Telepathy is a keeper, Chris Pasin’s Ornettiquette is an excellent outing, Jake Ehrenreich’s A Treasury of Jewish Christmas Songs is uneven, and for some long winter nights Abigail Rockwell’s Autumn Noir might be just the ticket.
John Heginbotham may be making modern dance but he gives us the gift of classicism: discovery within form.
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.
Yes, the first-ever recording of a opera that is as wonderful as Berlioz and Wagner said it is.
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.
“I like implication very much; there’s a fiction of implication that I think I’ve championed over the fiction of explication.”
One of the distinguishing characteristics of this set is the smart, energetic, and ever-changing, relationship between bass and drums.
British historian Adam Zamoyski has drawn a portrait of Napoleon that is neither flattering nor diminishing.
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.
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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