Review
There was no doubt guitarist Chuck Garvey was already up to the task, sealing the grit and heart necessary to return moe. to jam-bound heights.
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September releases from Kris Davis and James Brandon Lewis are sure to be among the best jazz albums of the year.
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Edvard Munch was very far from a one-hit wonder. His career was a long narrative of restless creativity.
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Cinephiles revere a group of movies, known as the Ranown cycle, that starred Randolph Scott and were cannily directed by Budd Boetticher.
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Dead Men Cast No Shadows is an enormously entertaining novel about responses to perfidy in high places by one of the most prominent writers in the Spanish-speaking world.
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The arrangements seem to emerge organically from the structure and feel of the compositions and harmonies, like leaves unfolding from the stem of an exotic plant.
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“The Mother and the Whore” is a film about failure: its characters are pushed towards misery not only by their own flaws, but by the failure of the ‘60s to deliver a promised revolution.
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Three re-issued albums reinforce the claim that jazz recordings hit their peak from 1956 to 1964.
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While the experience is new and otherworldly, it was daunting to realize that it had taken over a decade for Compagnie Käfig’s exercise in cutting-edge art and technology to reach the hinterland of Jacob’s Pillow.
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The album is a welcome appendix to the conductor’s admirable symphonic cycle with this orchestra, as well as a timely reminder of Vaughan Williams’ compositional range.
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