Review
Discs dedicated to overlooked composers Harold Shapero and Peter Lieberson are well worth your attention. Gustavo Dudamel and the Los Angeles Philharmonic Orchestra don’t do well by Charles Ives’ final symphony, but the three preceding symphonies fare better.
City Hall is a quiet, unsentimental celebration of civility in its many forms.
Dan Callahan has crafted an entertaining and illuminating guide to understanding Hitchcock’s relationship with some of the most iconic actors of the day.
Nothing detracts from the essentials here – three fine players in creative conversation.
Existential Reckoning confronts today’s lethal inanity in blistering fashion, via songs that posit dire consequences for a country that wants to be entertained more than wants to be informed.
For Fleet Foxes, Shore is impressively consistent. Each track presents a meticulously detailed soundscapes deepened by Robin Pecknold’s varied meditative perspectives.
What is the problem with this Rebecca? It is stunning to look at and well-crafted, but I sometimes felt as though the actors were striving for a tone more suitable to a film other than the one they were in.
Sacha Baron Cohen uncovers enough destructive inanity in Borat II to justify the savagery of its satire of American ignorance.
My guess is that Keith Jarrett probably wasn’t satisfied with this performance. I wouldn’t change a note, a gesture, or a shading.
Filled with galoots of all kinds, the novel might not have any true reason for existing, nor may it have any reason to end. But heck, it’s a good, old-fashioned, medicine show of a read.
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