Music
The destruction and displacement of people today so recall the past that Thomas de Hartmann’s music resounds with fierce, resonant force.
If ever there was a musical act and a venue perfectly suited to each other, it would have to be the Wailin’ Jennys, the harmony-laden Canadian folk trio, and the Groton Hill Music Center.
Concerts in the past week by the Boston Symphony Orchestra with guest artist James Carter and the Orquesta Sinfónico de Puerto Rico with guest artist Luis Sanz were a cultural festival and a musical feast.
The album ends up paying dividends, not just for fans and students of 20th-century composition, but for anyone interested in the broader reach and global development of classical music in the last century.
Though Sibelius’s music has come to define whatever Finnish music is supposed to sound like, he certainly wasn’t the country’s only active, turn-of-the-20th-century composer.
Two jazz albums whose uncompromising visions succeed.
All three records were recorded at Rudy Van Gelder’s famous studio. The sound is what one would expect from Van Gelder, clear, bright and close: these LPs were made with care at every stage. I recommend all three.
“Standard Stoppages” is a veritable cornucopia of sounds experienced in multifarious combinations, showcasing a diversity of fresh, inventive, and satisfyingly expressive voices operating at full tilt.
‘60s pop aficionados know there’s more to The Cyrkle than its Fab Four connections.
Jazz Commentary: The Enduring Enigma of Chet Baker
I take a look back at the compelling documentary “Let’s Get Lost” because of the recently released “Chet Baker Performs and Sings: Swimming by Moonlight”, 15 unreleased studio recordings made by the trumpeter.
Read More about Jazz Commentary: The Enduring Enigma of Chet Baker