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The collaboration with the mortally ill Ed Pincus, Lucia Small explains, came about from a mutual desire to experiment with documentary form.
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Colorful, characterful, and full of worldly wisdom, The Last Sorcerer—by a skilled and imaginative composer, to a text by the great Russian novelist— receives a superb world-premiere recording, with Met mezzo Jamie Barton and bass-baritone Eric Owens.
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On his live recordings, B.B. King displayed his brilliant use of stagecraft and pacing. He was one might call a mastro of manipulation.
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Screenwriter, film director, and novelist Charlie Kaufman tries to lighten up in “Orion and the Dark”.
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The best part of the Silver/Ursini book is the padding, the last forty pages in which the two authors go past “Double Indemnity”‘s release to contextualize it within the generic stream of “film noir”.
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August Kleinzahler’s “A History of Western Music” will be a special treat for poetry readers who also appreciate music in all its forms and genres.
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The performance of John Adams’s “City Noir” is swift and characterful, though sometimes pushed perhaps a bit too hard for its own good. The rendition of Leonard Bernstein’s “Serenade” is clear but a bit too safe.
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Love and lightness (if often at intersections with death and faith) filtered through many of the songs in Nick Cave’s sonically naked “solo” concert.
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Neighbor is steeped in what could be considered rock ’n’ roll’s golden era — the ’70s. That is when bands could be — and were damn well expected to be— both technically dazzling and broadly appealing.
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Soprano saxophonist Emile Parisien’s new disc is deliberately, and satisfyingly, international.
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Holiday Commentary: Making Room for the Stranger