Anahid Nersessian claims that her book is a kind of love story between her and Keats’ odes. But it turns out we have to take her word for that. Too often this study comes off like an acrimonious couple’s counseling session.
The magazine’s jazz critics look back over the past year and highlight their favorites — performances, recordings, and books.
Now that ¾ of the Yellowjackets are eligible for Social Security, the emphasis is more on confirming a legacy of creative compositions and expanding their art of arranging with a broader range of colors.
These superb CDs, from musicians who are doing it their own way, on their own labels, celebrate the realms below and above us: the sea and the sky.
It’s as if Moshfegh is testing the furthest limits of a “red herring”: what if everything is red and everything is herring?
Keats is comfortable in that ambiguous space between reality and the imagination, and you will find no finer example of Romantic poetry when he fuses them in the language of an erotic dream.
“Every record can have its own unique sound, depending on who has owned it, who’s touched it, where it’s been. That’s really important to me.” This movie makes you realize that these things should be important to you, too.
A Mother Cow of jazz iconoclasts takes on German lieder, because why not?
“The sun and everything in this world is there waiting for us—patiently and loyally. To feel its power, we just need to make the choice to get up, go out, look up and connect to its magnificence.” That is really, truly, there in the music.
Now that the real live boy is an old man, how’s he holding up in 2020?