Review
Boston’s Fred Taylor was by turns (and often simultaneously) a recording engineer, promo man, artist manager, talent scout, press agent, newspaper columnist, concert promoter, club manager, nightclub owner, restaurant, and movie house owner.
This is a well-rounded session of disciplined, well-crafted composing and soloing, with established and up-and-coming players mixing it up with style and commitment.
Though the cast is generally excellent, Stephen King’s characters are often at the mercy of wrongheaded writing or needlessly flashy special effects.
Steeped in technology, non-traditional public art is about sparking conversations about visuals as well as playing with contemporary aesthetic perspectives.
The Movement works best as a stripped-down, high-speed introduction to the struggle for civil rights, nothing more.
Burning the Books sometimes turns into a disturbing chronicle of mankind’s elemental hostility to learning: barbarians often first targeted libraries and archives.
It’s easy to single out each of these musicians, but listeners will hear the three as nearly one, which is surely what this trinity intended.
World premiere recording of an utterly delicious 1872 comic opera, recorded without spoken dialogue, so you can just revel in the music and the singing.
Taken together, these four pieces showcase a composer whose handling of the orchestra is expert and whose sense of form, in these works at least, feels unerringly right.
Films like Breaking Fast introduce audiences to cultures that they may not be familiar with — that they may even be hostile to — but through conflicts and dreams that are universal, that revolve around family, love, and friendship.
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