Music
This recording of Jean-Baptiste Lully’s Psyché provides non-stop pleasure and delights, thanks to the latest developments in early-music performance practice.
Keith Jarrett has said that he thinks there is room for C.P.E. Bach recordings on a modern piano. He proves himself right with these 1994 recordings.
Riddles are abound when Les Claypool comes to town.
Thelonious Monk can sound like someone skipping (or even tripping) — and yet the swing is there.
The French chamber orchestra Divertimento’s debut recording, which includes “classical” and “folk” tracks, is enchanting and often thought-provoking.
WasFest was a unique spread of mostly Blue Note artists covering classic albums of either their own or their inspirations, and the first two nights offered a range of jazz permutations.
WasFest is a very welcome addition to Boston’s arts landscape, invaluable because it invites artists to push themselves forward while they acknowledge their still powerful influences.
Perhaps more impressive — though too late to evolve further given the group’s impending finale after eight years and more than 200 shows — was the growing roles and comfort level shown by Dead & Company’s younger charter members.
There was nothing sloppy about the band’s searching and probing: the members of Dead & Company were perfectly locked into each other, were enjoying the musical exchanges being made in the moment.
These pieces integrate the various, varied sounds James Shipp and Nadje Noordhuis produce into something rhythmically as well as melodically exciting and coherent.
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