Review
Strong discs from Edward Gardner and the BBC Symphony Orchestra, Francois-Xavier Roth and his Paris-based period-instrument ensemble Les Siècles, and the National Orchestral Institute Philharmonic, an ad-hoc summer orchestra comprised of some of the U.S.’s finest conservatory musicians.
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.
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.
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.
Fleabag is a clever, frenetic and coolly smart series, balancing humor with an increasingly dark intensity.
“Resistance is futile. But resistance seems necessary.”
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.
One of the most astonishing sets of my week in Montreal featured two Frenchmen, accordionist Vincent Peirani and soprano saxophonist Émile Parisien.
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.
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.
Read More about Jazz Review: Montreal Jazz Festival — An Ecosystem That Celebrates Sound