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One of the distinguishing characteristics of this set is the smart, energetic, and ever-changing, relationship between bass and drums.
British historian Adam Zamoyski has drawn a portrait of Napoleon that is neither flattering nor diminishing.
Kamasi Washington’s music connected viscerally with a Royale audience that was packed with young people — or at least way younger than those normally seen at a jazz concert.
Hype Man is a complex and challenging treatment of race relations in the U.S.– indispensable viewing in these days of Trump.
In this album, saxophonist Ethan Helm has achieved a very personal balance between highly composed sections and solos rooted in harmony and free playing.
The moral of Jen Silverman’s yarn is straightforward enough: we are in a country where self-transformation has become an end in itself, re-invention a default response to omnipresent banality.
Journalist Ian Nathan presents Peter Jackson’s trials in bringing Tolkien’s books to film as if he was writing a spy thriller.
The volume is devoted to print ads and event flyers for local eateries, concert venues, theaters, stores, and community events that were printed in the ’60s, ’70s and ’80s.
Aside from his seemingly effortless technique, Roustem Saïtkoulov struck me as a poet of the piano. Music seems to be his first language.
In Washington Black novelist Esi Edugyan has defied the cliché of the escaped slave discovering freedom.
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