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.
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.
Joseph Horowitz’s short, punchy, well-sourced, and compulsively readable book argues for bringing back the forgotten works of important Black composers.
The trio shares Cecil Taylor’s love of rational freedom and adventure, but it doesn’t try to reproduce the pianist’s rip-roaring intensity.
The documentary supplies plenty of deserved admiration for its haggard but gentle subject, but it doesn’t tell us enough about the enduring value of Kurt Vonnegut’s writing.
The Velvet Queen, elegantly directed by Marie Amiguet and Vincent Munier, is a vivid chronicle of an arduous journey, old-fashioned but visually high-tech.