On the clarinetist's latest album, the blues might be modernized or tweaked, but it's never far away. Fresh Air's jazz critic says The Edenfred Files is modest in a good way, like a musical chapbook or novella. The scale suits Harper's pointedly focused music.
This summer has seen plenty of worthwhile jazz, including a pianist who's been around since the '50s, a Caribbean jazzman, a band of deliberate melody, and a cover from The Jungle Book. Sample recordings from Harold Mabern, Etienne Charles, the band Black Host and Lauren Desberg.
A new collection of disco numbers, Mighty Real: Greatest Dance Hits, showcases the career of Sylvester. Music critic Milo Miles argues that Sylvester — an openly gay, superstar costume-wearer from the start — was not only a pioneer, but also someone with whom the times have finally caught up.
The rapper's new album is his first collection since becoming a father with singer Beyonce. Rock critic Ken Tucker says the album is an uneven but intriguing collection of songs that tries to navigate a path between parenthood and an obsession with commercial success.
Oregon saxophonist Rich Halley takes inspiration from the Wallowa mountain range on his new album Crossing the Passes. On Boss of the Plains, Chicago-based trio Wheelhouse makes music that evokes the Great Plains and wind chimes on a porch when the weather changes.
Virginia's No BS! Brass Band taps into, and ultimately expands, the brass-band tradition. Whether kicking it with funk or clearing room for a screeching free-jazz solo, the group redefines what large brass ensembles can do.
The bulk of Friedberger's work thus far has been recorded with her brother, Matthew, under the name The Fiery Furnaces. For this new solo album, her second, she's written with a new collaborator in singer-songwriter John Wesley Harding.
In 1958, Lewis suffered a precipitous decline in popularity when people learned that his new wife was not only 13, but also his cousin. Nobody would touch his records. Then, in 1963, he signed a deal with Smash and it looked like things were getting better.
Director Kenneth Branagh has given us fresh Shakespeare and witty modern comedies of manners, and some years ago he turned to opera, with an adaptation of Mozart's classic set in World War I. It's finally available in the U.S., and critic Lloyd Schwartz says the results are disappointingly mixed.