Jazz
Saturday’s finale of a two-night Roadrunner stand, the Dresden Dolls’ first Boston shows since 2017, raged as a celebration of camaraderie and catharsis.
We should be grateful for Ohad Talmor’s wide-ranging curiosity, not only because of the detective work he put into the Ornette Coleman/Lee Konitz recordings, but because of his uniquely varied presentations of these mostly unknown pieces.
In Godwin Louis’s music, prayer seems best expressed in dance.
Thanks in large part to the late Phil Lesh’s influence, the performances of the Grateful Dead developed a signature blend of composition and improvisation.
The music in Avishai Cohen’s album, written and recorded soon after Oct 7, expresses a persistent hopeful gentleness.
This 65-year-old recording features some of the best players in L.A. and it is bright, sharp, and revealing. There’s plenty to marvel at here even if I would have wished for more ballads and fewer Stan Kenton-like brass fanfares.
The recording proves to be both an excellent example of Andrew Hill’s unusual creative methods, particularly the wonderful results he managed to get with ensembles.
If Fernando Huergo’s band of A-list Boston players sounded especially inspired, it was certainly in no small part due to what he was giving them to play.
It was all intense, bracing, and urgent jazz in Austin last week. I don’t know how all y’all spoiled New Yorkers keep your heads from exploding.
“Ornithology: The Best of Bird” might better be described as the best of Bird on Savoy.
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