Over the years, many local choreographers have advanced in unexpected ways by investigating what happens when they put instrumentalists center stage. I remember with pleasure Susan Davenny Wyner conducting the dozen members of the New England String Ensemble interspersed with the nine dancers of Anna Myer’s company, Marjorie Morgan in seemingly telepathic improvisational communion with trombone experimenter Tom Plsek, and Ruth Birnberg in her dancing days cavorting with fearless pianist Stephen Drury.
But Delache-Feldman was completely wasted in Rice’s Inside. Her playing of Frank Proto’s Ode to a Giant produced an entire range of orchestral effects, but Rice ignored both her sculptural presence and the eccentricities of Proto’s score. Cydney Nielsen ran around, picked up a book, hollered for a taxi, and struck melodramatic poses. Absurdism should have its own internal logic, but Inside was merely absurd.
John Harbison’s Deep Dances, which was commissioned by the Celebrity Series and got its world premiere, is a meandering conversation between two instruments in which their timbres join and spark into contrast like marquetry. Rice’s setting, Shortstories, doesn’t listen deeply enough. Where the cello and bass voices climb up and down the scale with lucid exploration, the dancers (Michelle Machon and Nielsen) were plain perky, though in a lovely, symmetrical Art Deco gesture, they ended the piece seated on the floor in opposite directions, palms out, each dancer leaning into her own preferences.
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Solid gold, Boston music news: April 25, 2008, The Boston Horns, More 
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One of the biggest names in indie rap for the better part of a decade, Minneapolis duo Atmosphere have just released their latest album, When Life Gives You Lemons, You Paint That Shit Gold.
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“As far as I know,” says saxophonist Ken Field, “ Forked Tongue is the only CD ever released to include songs by both Ornette Coleman and Billy Idol.”
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These primal-funk black belts led by former Heavy Metal Horns leaders Henley Douglas Jr. and Garret Savluk spare no grease on their sixth studio album.
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Freaks you expect, but frauds and hucksters also populate the loosely defined subculture known as the underground.
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The British rave revolution of the late ’80s/early ’90s is accurately viewed as the source of the ever increasing number of dance genres in the UK.
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For most Rhode Islanders, the Station nightclub conflagration — the worst disaster in the state since the hurricane of 1938 — is like a receding object in a rearview mirror.
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It’s an essay in tension and restraint.
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The Philly native isn’t the popster they hoped he would be.
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John Sayles’s first clunker is a threadbare yarn about the emergence of rock and roll that substitutes clichés for character development.
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Paisley drips from the notes these British neo-transcendentalists wring from the instruments on their third album, which ends a six-year hiatus.
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Dance
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, Entertainment, Hip-Hop and Rap, Ruth St Denis, Genealogy, Music, Culture and Lifestyle, Stephen Drury, John Harbison, Hobbies and Pastimes, Boston University, Less
