The disc mixes classics and originals in a set of tunes perfect for late-night reveries or for anytime sojourns to a place of unhurried passion.
New Fries’ latest effort never fails to stimulate: the band has crafted a record that challenges the idea of what a pop song is and can be — in two very different ways.
Grétry’s Raoul Barbe-Bleue — the story of the original lady-killer, Bluebeard — receives its world premiere recording and it’s splendid.
Yes, Newport Folk’s all about the music, but there’s also a collaborative heart at work — and virtual programming spurred donations for the non-profit’s mission to endure.
Is it any wonder? An opera that angered Louis XIV in 1677 brings enormous pleasure in 2020.
When in doubt, lean towards letting the world in, advises Fontaines D.C.. It’s scary. In fact, you will probably be terrified most of the time. But do it anyway. With eyes open.
This is demanding contemporary music that succeeds at the trick of pulling you in — and makes you glad to be there.
The final, ineluctable quality that Ornette Coleman brought to the table was that he had an individual “voice,” which is the sine qua non and preeminent ethos in jazz.
This San Francisco Symphony release proves to be a fitting send-off for music director Michael Tilson Thomas; there’s much to admire in the Seattle Symphony’s playing of Carl Nielsen’s first two symphonies; fiery energy from both violinist Arabella Steinbacher and the excellent Münchener Kammerorchester make their new disk a gem.
Though it’s inconsistent, Oliver Tree ‘s debut album offers an ample display of songwriting acumen along with his determined eccentricities.