Review
The album ends up paying dividends, not just for fans and students of 20th-century composition, but for anyone interested in the broader reach and global development of classical music in the last century.
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This is a lyrical, visually arresting, if sometimes verbally prolix film version of Denis Johnson’s sublime 2011 novella.
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Though Sibelius’s music has come to define whatever Finnish music is supposed to sound like, he certainly wasn’t the country’s only active, turn-of-the-20th-century composer.
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Two jazz albums whose uncompromising visions succeed.
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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.
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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.
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Director Joachim Trier is a masterful arbiter of storytelling conceits and tones: by turns subtle, ironic, melodramatic, cold, and, often, heartbreaking.
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“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.
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Directors Ken Burns, Sarah Botstein, and David P. Schmidt, along with screenwriter Geoffrey C. Ward, make learning history both accessible and enjoyable.
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