How seriously do we take country rap? Is it even a genre?
My first day at this year’s PAX East was generally disappointing, though there was some enjoyment to be had.
Do musicals with honorable intentions deserve a pass when it comes to quality?
With the release of her second solo album, Tal Wilkenfeld has become more than a bass virtuoso: she’s a sensitive songwriter, expressive singer, and capable guitarist.
Almost every painting here is a discovery worth making.
We will find out how much the future of the earth matters in the next Presidential election.
Railroad Rhythms is one of the year’s delights: unexpected, well played, and thoroughly charming. Theodore Kuchar is a conductor who seems to know precious few limitations; Eduard Strauss, despite his champions, turns out to have been a competent writer of music for the day.
Once again, drummer Ralph Peterson pays fine homage to Art Blakey’s tradition of joyous, hard-edged bashing jazz.
Play It Loud is porn for musicians and fans who fetishize the tools of the trade.
Arguably, the strongest entry in the BSO’s complete Shostakovich symphony cycle thus far; Esa-Pekka Salonen’s 2016 Cello Concerto is emotionally direct and, at times, simply gorgeous; the resurgence of interest in the music of Boston-educated composer Florence Price is a good thing.