Search Results: May 2003 African musician interview admitted not fully awake first recording session
Each month, our arts critics — music, book, theater, dance, television, film, and visual arts — fire off a few brief reviews.
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Our expert critics supply a guide to film, visual art, theater, author readings, television, and music. More offerings will be added as they come in.
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Concerts in the past week by the Boston Symphony Orchestra with guest artist James Carter and the Orquesta Sinfónico de Puerto Rico with guest artist Luis Sanz were a cultural festival and a musical feast.
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Our expert critics supply a guide to film, visual art, theater, author readings, television, and music. More offerings will be added as they come in.
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Our expert critics supply a guide to film, visual art, theater, author readings, television, and music. More offerings will be added as they come in.
Read More
Our expert critics supply a guide to film, visual art, theater, author readings, television, and music. More offerings will be added as they come in.
Read MoreWhat the few of us in Jordan Hall heard that night was a richly conceived and beautifully performed song cycle, mostly serious, but with some great wit in exactly the right places. It made for a fascinating and enlightening contrast to the CD version of “Vespers,” which Steve Lacy recorded in 1993.
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Over the past year, I’ve delved into the most significant body of work for string quartet ever written by a composer whose primary identity with the public is as a jazz musician. Here’s how to begin your own encounter with important facets of the work of an artist whose name you ought to know.
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Jazz Review / Commentary: Brian Carpenter’s Ghost Train Orchestra and Some Notes on “Irony”
Brian Carpenter and the Ghost Train Orchestra are not about re-creating either hot jazz from the ’20s or novelty works from the ’30s and ’40s. They’re interested in capturing the spirit that they perceive to be inside these almost-forgotten pieces and using that spirit to make original new music.
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