Music
The clarity and focus of Ron Carter’s bass is exemplary here, as is the balance with Richard Galliano’s accordion.
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.
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