Music
I’d have to give the edge to Dave Liebman in terms of innovative creative reach. But Lakecia Benjamin more than holds her own in how she gives re-vitalizing attention to some very important musical roots.
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Childish Gambino is hamstrung by ambition, but 3.15.20 still contains a bevy of enjoyable songs, including one or two tracks that brush against brilliance.
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When I think of Bill Withers I think of just three handclaps. It’s my favorite example in his music, or just about anyone else’s, of the power of restraint — not slamming and flailing about to shift a groove into overdrive.
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Musicians Aaron Halford and Matty Michna describe their journeys to Boston and ponders their futures beyond The Hub.
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Bob Dylan’s new song not only articulates the madness that undermines the American experience, but supplies a certain kind of corrective, a tonic, for that kind of insanity.
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An 1829 opera about Elizabeth I and her supposed lover — enlivened by underhanded threats, virtuous resistance, remorse, and an attempted poisoning — proves well worth reviving.
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The new album demonstrates just how versatile a singer/songwriter Mike Mattison really is.
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Ironically, Mixing Colours is best experienced by taking in its video presentations.
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Soprano Ruby Hughes’ album is fine, well played, sung, and programmed; baritone Christoph Prégardien delivers vocal works by Mahler, Alexander von Zemlinsky, and Max Reger with warmth; soprano Diana Damrau is in her glorious prime singing the songs of Strauss.
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Arts Remembrance: Flutist Doriot Anthony Dwyer
Doriot Anthony Dwyer was a virtuoso flutist, one who could coax brightly burnished tones out of the instrument.
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