Review
Garth Edwin Sunderland’s new chamber adaptation of this opera’s score, is, to date, the Bernstein Centennial Year’s best and most important recording.
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You know a Cowboy Junkies tune the second that you hear it, but the songs don’t come off as formulaic or produced for mass consumption.
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Anna Shelest’s new recording of piano-and-orchestra pieces by Anton Rubinstein is one of those albums that makes you want to rethink Rubinstein’s relative neglect in the broader canon – almost.
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Fleabag is a clever, frenetic and coolly smart series, balancing humor with an increasingly dark intensity.
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“Resistance is futile. But resistance seems necessary.”
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This edition of Wheels of Soul works just fine as a display of post-Allman Brothers Band/post-Lynyrd Skynyrd/ post-Tom Petty musical sensibilities shaped in the South.
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One of the most astonishing sets of my week in Montreal featured two Frenchmen, accordionist Vincent Peirani and soprano saxophonist Émile Parisien.
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Among the festival’s highlights: pianist-singer Jeremy Dutcher, who arrived on the stage of the tiny space Gésu dressed in shorts and a long flowing black robe with a hood.
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Pianist Constantine Finehouse and violinist Daniel Kurganov are well-matched musicians, and have recorded a superb album.
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Jazz Review: Montreal Jazz Festival — An Ecosystem That Celebrates Sound
Berber guitarist Omara “Bombino” Moctar proved that the gifts behind the fingers are still all that matters.
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