Jazz
“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.
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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.
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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.
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In Godwin Louis’s music, prayer seems best expressed in dance.
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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.
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The music in Avishai Cohen’s album, written and recorded soon after Oct 7, expresses a persistent hopeful gentleness.
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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.
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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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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.
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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.
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Arts Remembrance: In Memoriam — Tom Stoppard