Review
Both of these exhibits are examples of the artist as a 21st century shaman — a prophetic, as well as a creative, force.
Soprano saxophonist Emile Parisien’s new disc is deliberately, and satisfyingly, international.
The rewards of these and other recordings provide ample proof that, with its shape-shifting qualities, the string quartet will continue to be a powerful asset for talented jazz composers.
Newly recorded in the original German, Anton Reicha’s Lenore offers a vivid response to Bürger’s famous “Gothic” ballad from 1774.
Whether playing together or apart, on this 1981 recording the two saxophonists couldn’t sound more gracefully inspired or more compatible.
Director Lana Wachowski seems less interested in telling a coherent story with fleshed out characters than she is in aggressively commenting on how we’re trapped in a cycle of reboots and remakes with no end in sight.
The Cave of Winds and Breath By Breath amply confirm that, regardless of the stress of COVID, jazz’s life-force remains strong as we venture into a brave new year.
The new musical by Jeanine Tesori and David Lindsay-Abaire is a show that everyone who believes in the artistic future and emotional power of the American musical will want to see.
The knee-jerk, hateful reviews of Don’t Look Up possess comments so outsized, and so beside the point, that they bear a resemblance to the oblivious thinking of the movie’s anti-science ostriches.
Book Review: “Drawing the Line” — How to Respond to “Immoral” Artists
Drawing the Line is grounded in the work of ethicists and psychologists. Its prose is clear and its arguments systematic. But every avenue of investigation only opens up another pathway that ends as a cul-de-sac or doubles back on itself.
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