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The Birth of Bop contains performances from some important participants in the bop revolution — Dexter Gordon, Stan Getz, Milt Jackson, Allen Eager, Fats Navarro, Max Roach, J.J. Johnson, and others.
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The book’s final words offer hope for the future: “Despite the compromised nature of the trans film image of the past, there are many new horizons possible for the trans film image of the future, and that canvas, with all these images, will tell our story in cinema.”
This volume of one-act plays may gather up the whiffs and dregs of Tennessee Williams’ achievement, but their flashes of brilliance are valuable reminders of an artist who kept at his craft, come hell and high water, critical as well as popular.
A new Haggadah has recently been published, the “New American Haggadah,” edited by Jonathan Safran Foer and translated by Nathan Englander. It’s getting a lot of attention and some criticism from “elders.” But maybe the Haggadah is beside the point. . .
The documentary “The Klezmatics: On Holy Ground” is pleasing to watch, but there are a number of ways of respecting as well as loving great artists, the most important being coming up with the chutzpah necessary to ask the tough questions that generate illuminating, inspiring, or interesting answers.
Mick Herron’s prose, it must be said, remains top-notch, chock full of puns and timely references, as well as colorful dialogue. But the premise of this successful series of espionage thrillers is beginning to show some wear.
Pianist Jean-Efflam Bavouzet delivers some fine Mozart; conductor Hannu Lintu brings rhythmic energy and textural transparency to the music of Witold Lutoslawski; Ludovic Morlot and the Seattle Symphony Orchestra don’t do right by Berlioz.
Considered by some to be a guardian of ancient music, Jordi Savall has inspired adulation for a variety of reasons, but in the end it’s because he plays the viol or viola da gamba better than just about anyone else alive.
Music Commentary: New Orleans Jazz & Heritage Festival — The More Things Change …
At the New Orleans Jazz & Heritage Festival we tend to gravitate to the locals and other “regional acts” from around the world and hope, most of all, for those surprises — artists unlike any we’ve seen before, anywhere.
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