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Translator Dan Veach invites us to “pull up a bench in the mead hall, grab a brew, and enjoy a jazzy new performance.”
Both experimental and welcoming, the double album proves more spontaneous in feel and expansive in style than past Big Thief outings.
This studio outing emphasizes superb ensemble playing; the result in a beguiling album in which just about every note shines.
For all his literary fecundity, Ezra Loomis Pound was also more than a little bonkers.
“Learning to Listen” is less about a jazz journey than it is about a prodigiously talented artist for whom music came easily while his own life was a puzzle.
Despite Woody Allen’s recycling of old ideas and plot points, his actors give such strong characterizations that I tossed my skepticism aside and enjoyed the moonlit ride.
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.
Performed 1600 times in Paris, then forgotten, Hérold’s brilliantly witty, Le pré aux clercs shines again in a splendid recording.
The exploitation of the free labor of artists may finally have hit a critical mass in 2014, generating enough publicity to make observers righteously angry.
Classical Music Commentary: Best Opera and Vocal Recital Recordings, 2018
A list of the most memorable opera and vocal recital recordings of the year.
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