Review
Two jazz albums whose uncompromising visions succeed.
As an artist, Allan Crite was always observing, drawing, and thinking about his Boston—the buildings, streets, parks, and playgrounds of Lower Roxbury and the South End.
All three records were recorded at Rudy Van Gelder’s famous studio. The sound is what one would expect from Van Gelder, clear, bright and close: these LPs were made with care at every stage. I recommend all three.
Director Joachim Trier is a masterful arbiter of storytelling conceits and tones: by turns subtle, ironic, melodramatic, cold, and, often, heartbreaking.
“Standard Stoppages” is a veritable cornucopia of sounds experienced in multifarious combinations, showcasing a diversity of fresh, inventive, and satisfyingly expressive voices operating at full tilt.
Directors Ken Burns, Sarah Botstein, and David P. Schmidt, along with screenwriter Geoffrey C. Ward, make learning history both accessible and enjoyable.
This heartbreaking book documents the history of contemporary Russia through its women.
This is poetry that sets its goals, finds the right language to reach them, hits hard, and recovers an ancient purpose for verse that has fallen by the wayside in recent times: consolation.
I found it remarkable to explore the exhibition, then experience a kind of filmic audience with the artist, then return, fired up and enlightened, to the beautiful installation.
The Annual Francis Davis Jazz Critics Poll at Mid-Year: Warming Up a Riff — How It Happened, and Why It Matters