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For prog fans who consider that the proof of the pudding is long, complex songs with virtuosic solos and exotic instrumentation, no fear: To The Far Away is multi-textured and musically exciting.
Jackass Forever is incredibly stupid, totally irresponsible, completely juvenile, and it made me feel alive in my body for the first time in weeks.
This is Mel Brooks’ warm and amusing love letter to his golden years in comedy.
At times, Laurel Hell’s withering fatigue is directed at the clash between commodification and art.
Seeing Eleanor Antin’s 100 Boots all in one place is exciting — this work of “postal art” is still explosive. Fred Sandback’s minimalist pieces offer a quiet contrast.
“When you play with authority, then that’s what the music is about, like ooooh baby, and sing it.” — Cecil Taylor
Host Elizabeth Howard talks to Jeannine Otis about her musical career and theater piece “Living in Hope,” developed from a writing workshop based on Otis’s book “The Gathering: City Prayers, City Hopes.”
With the eyes of the world on Ukraine right now, two films at Sundance came from that country, or what used to be that country.
Tenor Mathias Vidal shines, as does the period-instrument orchestra, in the rarely heard, trimmer version of 1761, on the Chateau’s own new award-winning label.
Music Commentary: In Memoriam, George Crumb (1929-2022)
George Crumb, who crafted some of the 20th-century’s most brazenly original-sounding and haunting music, lived his life and guided his career on his own terms.
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