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When Charley Pride did display anger, it concerned how the country music establishment treated older artists.
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Community is what I miss most of all the pandemic’s deprivations—doing stuff with others.
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Violinist James Ehnes and pianist Andrew Armstrong’s Beethoven violin sonatas feel and sound absolutely right; Quatuor Ébène’s comes up with one of this anniversary year’s few, true benchmark releases; Nikolai Lugansky’s traversal of three of Beethoven’s late piano sonatas is often admirable.
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Trumpeter Doc Severinsen had the right combination of talent and showmanship to reach and stay in the spotlight, and he adjusted the pieces of his life to maintain his singular place.
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Uri Caine’s score about the life and murder of a 19th-century civil rights icon is direct and potent; touching documentation of Richard Pittman’s advocacy for the inventive composer Bernard Hoffer and a demonstration of the sheer musical excellence of Boston Musica Viva; Igor Levit’s keyboard playing is dynamic, precisely articulated, vividly felt, and beautifully voiced.
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This strange year became, for this opera lover, a chance to explore new—or even world-premiere—recordings of little-known repertory. When musical life returns to semi-normal, perhaps we can be treated to live performances of some of these amazing works.
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We were driven indoors and told to stay there, so we turned to our screens for entertainment.
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Ma Rainey’s Black Bottom is a stellar artistic accomplishment, a blazingly powerful dramatic experience.
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This innovative “documentary” is a major accomplishment: it merits a much broader viewing than it is likely to attract (this one has “sleeper” and “cult classic” written all over it).
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Jean Dawson’s Pixel Bath is one of the most exciting releases I’ve heard this year.
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