Avant sa sortie le 16 février, nous avons écouté "Dark Was the Night". La Red Hot Organization consacre son dernier-né à la scène "indie"

Mark Morganelli will be honored by the Westchester Arts Council for more than 30 years of organizing and promoting jazz concerts.

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Avec "Eaux vives", elle livre un spectacle poétique pour tous publics

Music performed by Paul Bley is always an event of great import--no matter where or when, or in what context it is performed. But with Barrage this was the roaring '60s. Charlie Parker, who had set the world on fire, had left a meteoric legacy and in the after-burn came the smoldering avant-garde. Ornette Coleman may have defined part of the leading edge of the harmolodic music of the day, but it was the rhythmic invention that bound the melody. Eric Dolphy and Don Cherry unlocked the rhythmic secrets that Parker had invented and a few--like Carla and Paul Bley, Don Pullen and Charlie Haden, among a handful of others--propelled the music forward. Bley was probably alone--although Walter Norris made the only appearance by a pianist on Coleman's Something Else (Contemporary Records/Fantasy, 1958), and Mingus' music also suggests otherwise--among pianists who bestrode the avant-garde music world leaving any lasting musical legacy...

Jerry Bergonzi, a Bostonian who has been plying his trade for more than four decades, often slips through the cracks when the names of accomplished post-bop tenor saxophonists are bandied about. Rather strange, as Bergonzi has had a notable career as a player/educator that has included quality time with the Dave Brubeck Quartet, among others, and Tenor Talk is the twenty-fifth recording he has made as leader of his own groups. In spite of this, Bergonzi is better known in Europe than in the States, perhaps because he prefers to hang out in his home town (where he teaches at the New England Conservatory) instead of New York City, Los Angeles or other better known jazz/media centers...

Led by trumpeter RJ Avallone and reedman Matthew Maley, the quartet sound and vibe conveyed by Search signals an air of maturity that's rather uncanny for such a young band. Partly inspired by the musical canon of Ornette Coleman, the artists project a distinct sound into these largely, memorable and astutely engineered compositions, teeming with gobs of depth and snaking movements...

With two tracks on Helping Hands, songwriter Robert Baitinger strikes gold. Andrew Gold, that is. Best known for his '70s AM radio smashes "Lonely Boy" and "Thank You For Being a Friend," Gold is a surprise guest on the CD, providing the vocals on "Did You Get What You Want" and "Tell Me." The jangling, aggravated "Did You Get What You Want" is not only the better of the two, but the strongest track on the record. Although Gold is most familiar to U.S. audiences with his Adult Contemporary oldies, he found another rush of success in Europe during the '80s with New Wave act Wax. "Did You Get What You Want" leans toward Gold's more rocking days with Wax; while highly melodic, it has rough edges both lyrically and sonically that steer it away from the Middle of the Road blahs...

The aptly named Farmers By Nature is a completely improvised live date that whispers "wait for it, wait... now, there it is." Just like farming, the seeds of improvised sound are scattered; some lay fallow and others bear delicious fruit. Bassist William Parker, drummer Gerald Cleaver and pianist Craig Taborn have worked together in numerous groups and countless styles from large ensembles to solo outings and from free jazz to hard bop. They were last heard on disc as the rhythm section for saxophonist Rob Brown's Crown Trunk Root Funk (AUM Fidelity, 2008)...

The Heads of State, composed of Bobby Brown, Johnny Gill and Ralph Tresvant, performed at the Nokia Theater on Thursday night.

Jefferson Friedman, who melds classical music training with rock sensibilities, was the subject of a Composer Portraits concert at the Miller Theater on Thursday.

The pianist Stephen Hough performed works by Bach, Copland and Chopin, among others, at Carnegie Hall on Thursday.

The Columbus Symphony Orchestra said it would not renew the contract of its executive director, Tony Beadle, when it expires in August.

A Jazz at Lincoln Center concert in honor of Miles Davis’s “Kind of Blue” and John Coltrane’s “Giant Steps” offered new ways to think about two endlessly fetishized records.

Betty Buckley taught a master class in what it is like to be a Broadway diva. And yes, it is hard work.

A connoisseur of the old-fashioned, M. Ward likes vintage instruments, doesn’t listen to much current music and makes his records at home.