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Two good reads: Boston harmonica player Jerry Portnoy’s memoir is an unflinching look at life as a sideman musician; the other is a history that shows how, without the Black stars he heard in Memphis, there would have been no Elvis or rock ‘n roll as we know it.
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Lynda Nead’s meticulous, competent, and impressively researched approach gives the work weight without making it ponderous; “British Blonde” seems destined to serve as a text for classes in gender or cultural studies.
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“Wonder” aspires to make us more empathetic and to help us “choose kind.”
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The performances made one thing clear: what had in Mozart’s day been a failed musical venture now makes for show-stopping pageantry.
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The Disco Biscuits chose Boston as its base for a three-night New Year’s run that unfolded in three different venues.
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Applying a litmus test to art — in this case ideological sanitizing — inevitably diminishes the art.
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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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The 2025 version of the Revels once again fills historic Sanders Theatre with comedy and music, while at the same time encouraging us to reflect on the things that are important in life — family, love, and the peaceful solitude of a cold winter’s night.
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Being a one-man or one-woman band while toiling in the shadows is not glamorous work. Over the last 13 years, producer Alex Lemski undertook this role and supplied a great deal of exciting, important music to the people of Boston.
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Book Review: “Unfinished” Argues for AI as an Artistic Partner — But at What Cost?
“Unfinished” supplies a thoughtful analysis of the relationship between music, musicians, and AI.
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