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By Salima Appiah-Kubi Moulin Rogue hinted at it. Hedwig and the Angry Inch made it cool. Everyone Says I Love You nearly killed it. This month’s release Mel Brooks’ movie-turned –musical-turned movie musical, The Producers, has made it official. Ladies and gentlemen, we are now entering the second age of the movie musical.
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Desert Oracle is an omnibus, a kind of hand drawn map, as well as a bit of a crackup — something you will peruse and possibly find the route leading to a deeper dive.
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Adventurous jazz is not always as much fun to listen to as it is on Hero Trio, a stellar meeting of compositions, arrangements, and astute performances propelled by real passion.
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Despite their stylistic differences, Robert Barry and Martin Puryear share a similar goal: to include us in their respective inquiries into the nature of mind and liberty, but not do the work for us.
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Neeme Järvi, true to his usual form, favors brisk tempos, which tend to keep things from getting bogged down in Wilhelm Furtwängler’s bog of a Symphony No.2; Nicholas Collon leads a stupendous recording of Sibelius’s Symphony No. 5.
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“The MFA is a place that really matters to a lot of people, and it is the safety of this place that matters and its commitment to excellence. These are things that must never be compromised.”
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“Hot Frosty” is dumb all right, but it’s also endearing, funny, and cute.
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Stephanie Bishop does a great job withholding information and she is also good at tying together the narrative’s many loose ends.
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The irony is that this effort, surely not the last, of Hollywood reaching out to the “solid” citizens of Trump’s America will only alienate them further.
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Jazz Commentary: Celebrating Bassist William Parker’s Lifetime of Achievement
It was not just networking that propelled William Parker into the front rank of bassists. He could generate such a huge and complex cascade of sound that he energized leaders from Cecil Taylor and Ivo Perelman to Zoh Amba.
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