Jazz
Most in the Berklee audience seemed satisfied with the chance to be in South African pianist Abdullah Ibrahim’s presence, subdued perhaps, but still casting a magisterial aura.
A trio of jazz albums that dazzle in surprising ways.
“The Old Country” is a wonderful addition to the Keith Jarrett discography. There are no stale leftovers here — this album adds a whole new course to the pianist’s extraordinary banquet.
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.
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