Music
A Boston jazz critic’s notebook — three shows at Regattabar and one at the Lilypad.
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Nash Ensemble’s new album captures much of what makes Claude Debussy’s chamber music so fresh and beloved. Orion Weiss’s Arc III is smart, timely programming, dispatched with insight and care.
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Whether he’s playing in the middle, on the edge, or is just flying out on his own, veteran tenor saxophonist Mark Turner reconfirms on these three new releases that he is still finding his own way.
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Sir Simon Rattle and Bavarian Radio Symphony Orchestra solve the riddle of Gustav Mahler’s Symphony No. 7. The conductor and the London Symphony Orchestra also offer a refreshingly impish, characterful traversal of music by Kurt Weill.
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This H + H Society performance suggested Handel’s genius for generating joy.
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Music is one of the ways we experience time — Satoko Fujii and the musicians in “GEN” make it disappear.
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The album’s message about the triumph of A.I. is unconvincing, but the music, with its variety of sounds and tempos, its zigzaggy shifts, written and improvised, is totally engrossing.
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The singer/guitarist rolls the dice every night, playing it loose and gritty with drummer Patrick Keeler, bassist Dominic Davis, and keyboardist Bobby Emmett, who deftly hack away at revolving song choices from White’s broad catalog and beyond.
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An excellent new album by the ad hoc ensemble Kenny Wheeler Legacy. It is impossible not to think of how the great trumpeter Kenny Wheeler would have sounded over these updated arrangements with such top-drawer musicians and excellent production.
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There are similarities between Randall Blythe’s music and his prose; both acknowledge the inescapable turmoil, darkness, and tragedy that bedevils everyone.
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