Review
The 51-minute piece represents a digital time capsule. It comprises 16 short episodes — reflections in movement of lives caught inside the pandemic — crafted by dance-maker collaborators.
Director Jess Chayes has done all that is humanly possible to stage a lively live production under Zoom constraints.
This is one of the best traditional big band records you’ll hear this year, or maybe this decade.
There’s much to enjoy here and admire, both in the performances and the selections on hand, which hardly dwell on the usual suspects or limit themselves too narrowly.
A singular muscularity infuses these short stories, a confidence that astonishes.
Richard Thompson’s memoir displays flashes of his writerly talents, but the volume feels a bit less immediate than one might hope.
At this point in his career, Mayr is contributing to the development of the musicodramatic conventions that would set the stage for the masterpieces of Donizetti, Bellini, and Verdi.
1971 gave us bursts of magnificent cinematic iconoclasm that had no future — culturally or politically.
The Catastrophist is an opportunity to begin processing our experience with a pandemic that has fundamentally changed our lives in ways we cannot yet fully comprehend.
Two albums, from a late master and a newbie, are notable additions to the current wave of introspective solo piano excursions.
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