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A kaleidoscopic small-band adventure led by one of the world’s great clarinetists, and a superbly-played set by Ben Wendel’s dynamic quintet.
It was supposed to be an evening of sheer virtuosity, and that’s what it was.
It’s clear these four musicians love playing together. As long as the magic lasts, it’s well worth your hearing.
In two new releases, Jane Ira Bloom and Brian Carpenter complete their work on self-defined projects that are tonics for a time of trouble.
If you want to know how exquisitely intuition and structure can be balanced, you could hardly do better than to hear these two new discs.
These three area pianists offer up a mini-festival of satisfying keyboard music.
But, good as the support is, it’s all about Thelonious Monk, who is in superlative form throughout.
This is music that says things that cannot be said any other way, music that cannot wear its heart on its sleeve.
At his best, Albert Murray is a thinker passionately in love with thinking, a virtuoso of verbal music, an American to his core.
“Art . . . is . . . fundamental equipment for existence on human terms.” -- Albert Murray
I think any one of these releases would be received gratefully by a person who listens with both ears.
Sheila Jordan, to the club crowd in Central Square: “What do I care? I’m still alive.”
Intense head music and powerful foot music, but this show needed a little more heart. By Steve Elman [Disclosures: I received press tickets to this event from the Celebrity Series. I’m ind…
With an artist as focused and sharp as Danilo Pérez as its musical director, Jazz 100 makes you sit up straight and hang on every note.
Exposing the jazz impulses in Emily Dickinson’s poetry is not an agenda for the novice.
A writer has to write for the now or to write for the ages. Gleason almost always chose the now, but his best moments go deeper.
Jazz groups of eight to eleven often make fascinating and unusual music, but they rarely survive.
Murray Talks Music shows how brilliant Albert Murray could be even when he didn’t have time to polish his prose.
Reading Albert Murray’s remarkable rhapsody of words will open a door…
Both David Bowie and Norbert Stein presents a distinctive and subtle approach to the hybridizing of poetry and music.
The BSO’s Americana concert could only provide four beautiful snapshots of a very complicated landscape.
The great mistake we make as listeners or viewers is passivity. Music deserves and needs our active involvement.
What we know of mass-market choice suggests that the more choices a person has, the more likely it is that the person will be dissatisfied with any one choice.
Much more work could be done fertilizing the fields of cross-cultural music, sowing seeds collected from the great touchstones of American culture – innovation, integration, risk, reward.
I would like to think that there are more composers working today who think of themselves as beyond category, and that there are and will be more works that take this trend in exciting and i…
Time to look at the maverick mavericks, composers with feet firmly planted on either side of the dividing line between jazz and classical.
What makes pianist Jean-Yves Thibaudet an ideal interpreter of Ravel's Concerto in G is his understanding of and appreciation for jazz.
The tradition of hybrids is there, for anyone who chooses to use it. Our modern media world makes that tradition accessible in hitherto unimaginable ways.
What I’ve learned from three years of research and listening is that the piano concerto is an ideal vehicle with which individual composers can experiment
More composers who followed their own distinctive paths when they incorporated jazz into their piano concertos.
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.