Music
Exposure is a septet assembled to perform Robert Fripp’s quirkily diverse, overlooked 1979 solo album “Exposure” for the first time ever, in sequence.
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The best way to honor all of those responsible for the Allman Brothers Band was to play like the Allman Brothers Band: be fierce, not nostalgic; be pleasing, not cloying; be generous, not self-indulgent. And The Brothers pulled it off.
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I must confess to hearing some of the Buenos Aires recordings on bootleg LPs, though their sound quality pales in comparison to this Resonance release.
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There are few critics as worth re-reading as the late Francis Davis, whose writings are filled with musical and cultural insight, erudition, literary grace, and, most valued now, humor.
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“Blue Bossa in the Bronx” brings us into a jazz club on a good night. It’s unlike any other Kenny Dorham session, which makes it valuable indeed.
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There are unplanned moments in this three LP collection, times when the musicians seem to be waiting to hear what is going to happen next. Something exciting usually does come out of their interactions.
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It is serendipitous that James Ehnes added Brahms’ two viola sonatas to his repertoire; Patrick Messina, Lise Berthaud, and Fabrizio Chiovetta’s new recording of Bruch’s “8 Pieces for Clarinet, Viola, and Piano” serves the piece admirably.
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A conspicuously inviting account of Béla Bartók’s Duke Bluebeard’s Castle, and a welcome surprise: Aram Khachaturian actually wrote a pretty good piano concerto.
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One thing, among others, that sets Jason Isbell apart from his country scene contemporaries is that he isn’t afraid to break the all-American code of manly stoicism.
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Arts Commentary: When It Comes to Concerts, Go Small
An invaluable way to see live music: one that provides funds to artists who really need it and to the smaller venues that not only deserve support but that also drive business in the local community.
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