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This cooperative music is deliberately international in instrumentation and personnel and theme, proffering its own characteristic, and often quite beautiful, mix of sounds.
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Perhaps unintentionally, the show is a moral fable on the nature of true achievement: Milton Avery’s steady progress on his own path stands out in this age of online influences and the rabid pursuit of instant fame and material success.
Read MoreJazz Concert and Album Review: Vincent Peirani and Emile Parisien — Bringing Culture to the Colonies
The communication between Vincent Peirani’s accordion and Emile Parisien’s soprano sax was effortless, empathetic, and flawless.
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Strict Beauty: Sol LeWitt Prints is a compelling opportunity for immersion in an important aspect of the artist’s work
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I am beginning to suspect that Franz Schreker was the most effective of the many semi-forgotten opera composers who were active in the German lands during the first decades of the twentieth century (that is, ones less well known today than Strauss, Berg, and Kurt Weill).
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All three are singer/songwriters whose individual gifts mesh seamlessly with soaring harmonies and a like-minded empathetic view of the world.
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This is free jazz perhaps, but it never sounds frantic, wild, or abandoned.
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Everyday Life and Other Odds and Ends is admirable because it takes contemporary theater into fresh territory — the slow paralysis of the body and the demands this decline makes on caregivers.
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Dear reader, do enjoy a second season of Bridgerton’s ornate balls, lush landscapes, and 19th century flirting.
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Rather than the usual story of assimilation, John Domini gives us a deftly written narrative of return, self-discovery, disillusionment, personal metamorphosis, and ultimately, rejection.
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