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Nicolas Cage plays a man who craves renown but can only captivate an audience of sleepyheads.
This week’s poem: Joanna Fuhrman’s “If My Mother Returns from the Dead”
Two upcoming releases of restored radio broadcasts offer so much good listening and so much deeply satisfying jazz that they deserve to share the spotlight. One of them is destined to be seen as a landmark document in jazz history.
Tenor saxophonist Ivo Perelman’s work is customarily full of subtle surprises, akimbo with shifts and side-trips. This new recording, with a sextet, is no exception.
The pianist provided a 150-minute long procession of anecdotes, thoughts, and absolutely first-class playing for his adoring, thoroughly attentive audience, who happily bought tickets to hear whatever Sir András Schiff chose to play.
Franca Mancinelli’s poetry refreshingly interweaves personal, historical, cultural, and ecological themes
In many ways, “Now and Then” is the fitting gift — a single closing bookend, which Paul McCartney has called the Beatles’ last record.
A world-premiere recording of Kurt Weill’s “Prophets” — originally intended as the last act of “The Eternal Road” — with excellent singers, plus Thomas Hampson in Weill’s Walt Whitman Songs.
The Emerson String Quartet concludes its recorded legacy pretty much the way it began it — in musical glory. Robert Trevino and the Orchestra Sinfonica Nazionale della RAI’s Respighi has plenty of spirit and heart.
Short Fuse Podcast #65: Arts Commentary and Criticism — The Canary in the Mine Shaft
In this episode of the Short Fuse, host Elizabeth Howard and Editor-in-Chief and founder of the “Arts Fuse,” Bill Marx, discuss the vital role arts commentary and criticism play in nurturing an open and democratic society
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