Music
Stripped of trip-hop trappings, Beth Gibbons’s fragile voice commanded through a ghostly filter effect as she sang with edgy emotion, peaking in the tagline, “How can it feel this wrong?”
Despite — or maybe because of — all the global turmoil, an awful lot of compelling music was heard at Big Ears.
The apocalyptic overtones of the Mekons’ music come across as alarmingly real as ever.
Three powerful albums showcase the imaginative visions of Arturo O’Farrill, The John Santos Sextet & Friends, and Rachel Therrien’s Latin Jazz Project.
Guest conductor Dima Slobodeniouk and the Boston Symphony Orchestra invited listeners to a meditative evening of music.
The Sphinx Virtuosi is terrific: the group’s unified tone and articulations, impeccable responsiveness and technique, and command of stylistic nuance are all of the first rank.
With so many cooks, flaws were inevitable. But the effort was noble, and hearing Terence Blanchard’s beautiful trumpet sound in Symphony Hall was a transcendent experience.
Roger Clark Miller’s latest solo electric guitar ensemble album showcases him at his best, blending avant-garde experimentation with familiar guitar rock textures.
Everyone who loves jazz, or makes a living somewhere in its world, owes a debt to many of the hard-working and under-paid writers of the Jazz Journalists Association (JJA).
What is most striking here is Paul Bley’s patience as a pianist, his practice of playing a chord or even a couple of notes and letting them hang in the air as if he were an outside observer, listening to their gradual fading.
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