Jazz
Kamasi Washington’s music connected viscerally with a Royale audience that was packed with young people — or at least way younger than those normally seen at a jazz concert.
Arts Fuse Jazz critic Steve Provizer responds to Dale Chapman’s book The Jazz Bubble: Neoclassical Jazz in a Neoliberal Culture.
In what ways are the arts themselves (and our understanding of them) being shaped to serve the ethos of corporate profit-making?
On these two discs you’ll find masterfully played, engaging excursions into the tonal beyond.
Composer/pianist Anthony Coleman’s meticulous crafting made every second worthwhile.
Mostly the New Orleans Jazz & Heritage Festival ends up being about the multiplicity and infinite variety of cultures and traditions, including generic funk.
As part of its 150th anniversary celebration, NEC commissioned Anthony Coleman to compose a large-scale work he has named Streams.
Local music venues — especially those with “off” music like jazz — are caught in a vice, with real estate escalation on one side and corporate-dominated digital technology on the other.
Jazz singer Mark Murphy was just too much for most audiences during that period; too intense, too varied, too unpredictable.
Arts Commentary: The Author of “The Jazz Bubble” Responds
“What is new since the ’70s is a much broader ideological shift in the business world itself, and the way in which it came to approach the jazz world as a result.”
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