Music
It’s rather melancholy to think that this incarnation of the TMCO will never perform again as an ensemble. Such is the nature, though, of Tanglewood and many summer music festivals.
“As an artist, you probably know when a project pulls at you, sometimes kicking and screaming. Shylock definitely has me by the back of the neck.”
A rare visit from trumpeter and composing improviser/improvising composer Arthur Brooks, a farewell evening of Ecuadorian fusion by ÑAWI, and trumpeter Brian Lynch’s “Unsung Heroes” project are the high points in a surprisingly full second half of August.
Bassist Michael Feinberg has done many things right in his richly varied tribute to the great percussionist Elvin Jones.
This daring musical version of “The Merchant of Venice” provides a fascinating re-imagining of a classic play that explores many of the themes and tropes of the original more deeply than many modern productions do.
Matt Bunsen and the Burners proves that comedic music can not only be funny, but also well-crafted and artful commentary.
When the performance ended and I sat there, silent, reveling with the rest of the audience in the goose bumps that inevitably occur after such an experience, I knew, in my bones, that no movie, however good, could be as good as this.
Updated Aug. 9 at 3 p.m. In the second week of August, the power of percussion is much in evidence, with Mikael Ringquist and Marcus Santos, Manolo Mairena, Gary Fieldman, and Vicente Lebron. New Orleans adds some flavor with Christian Scott and Galactic, and Berklee Summer in the City just keeps rolling along.
I’m sure organizers are not losing a lot of sleep over controversies about the definition of “folk” music since festivals are selling out.
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