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It amazed me that Lee Konitz in his nineties could still find his way through a maze of changes, chorus after chorus, and at the same time be capable of weaving a beautiful, unscripted melody while producing a sound so wide, one could crawl into it.
To Paradise for Onions is a lovely album; Cincinnati Symphony Orchestra ‘s Transatlantic is spirited; Yannick Nézet-Séguin’s Die Zauberflöte is lost in the crowd.
The Pale Door, following in the steps of so many horror films these days, spoils a promising premise via a contrived and uneven story line.
The Rose Kennedy Greenway’s Dewey Square mural program is one of the best in the world.
The truth is the Beatles wouldn’t have been the Beatles without Abbey Road, and Abbey Road wouldn’t have been Abbey Road without the Beatles.
For recorded sound, for brilliance of orchestral execution, and for interpretive concept, Janowski is one of the 21st century’s best Wagnerians.
An Arts Fuse regular feature: the arts on stamps of the world.
Alessandro Stradella’s Loving and Pretending (caa. 1676) gets a lively, precise, and characterful performance in this world-premiere recording.
This first group of mavericks all have their roots in the 1920s, but they demonstrate that George Gershwin’s way wasn’t the only way.
Music Commentary: New Orleans Jazz and Heritage Fest versus French Quarter Fest
Which is the best fest? It’s up for grabs.
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