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Axel Krygier wisely treats the album’s framing concept as lightly as possible, turning Monsieur Bigfoot into a sort of Everyhominid who offers existential-woe comments on a variety of subjects.
The 18th Annual Jewish Film Festival approaches its end with two compelling cinematic looks at Jewish history.
The New Orleans JazzFest is made for omnivorous gluttons, which makes it a perfect complement to the region’s cuisine.
It is Kristen Wiig’s committed performance, along with director Shira Piven’s skill at comic timing, that grounds the satiric comedy’s absurd premise.
À la Vie, screening as part of the 18th Annual Jewish Film Festival, is easily the best film I have seen so far this year.
A cursory scan of audience reviews on the Ticketmaster website suggests that Rundgren’s current tour was disappointing his fans on a scale probably not seen in rock music since Bob Dylan went to England in 1966.
Radius Ensemble’s final performance of the season touched on examples of musical fantasy, worldly angst, and spiritual transcendence.
Not everybody loves the documentary Last Days in Vietnam. Director Rory Kennedy responds to some of the criticism.
I wondered why the Elders Ensemble program so consistently portrayed the elders as somber and withdrawn.
Music Commentary Series: Jazz and the Piano Concerto — The Straddlers, Part Two
I would like to think that there are more composers working today who think of themselves as beyond category.
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