While he was still a teenager the musician moved with his twin brother from Phoenix to Los Angeles to find work as a jazz musician. His career later took him to New York and, eventually, Vienna, where he has lived for several years. He has recently reunited his old group, the Jazztet, with tenor saxophonist Benny Golson.
New music composer John Harbison was drawn to classical music because the genre leant itself to longer pieces and a deeper exploration of musical ideas. He often writes for his wife, the violinist Rosemary Harbison.
The robotic talk show host has been featured in films, commercials, and several television shows. TV critic David Bianculli says the ABC version is great; the Cinemax one is guano.
The free jazz saxophonist's new album features both his original 1950s-era quartet and his more recent electric ensemble, Prime Time. Jazz critic Francis Davis is occasionally frustrated by the production, but nonetheless says the record is one of the most significant releases of the year.
Avant-garde composer and saxophonist John Zorn's most recent album reinterprets the music of film composer Ennio Morricone. His forthcoming recording pays homage to detective novelist Mickey Spillane.
Critic Ken Tucker says that the movie adaptation of the celebrated play Crimes of the Heart, now shrunk down for home consumption, is no better--and sometimes worse--than many popular television shows.
Puerto Rican songwriter and performer Roy Brown discusses the Nueva Cancion movement, which sets politically-charged poetry to music. He performs several songs in studio.
Film critic Stephen Schiff says that director Paul Verhoeven's first American film, about a murdered police officer who is turned into a cybernetic law enforcement officer, might be the best action flick since The Terminator.
Singer, writer, and translator Susannah McCorkle performs selections from the Great American Songbook with pianist Ben Aronov and bassist Chip Jackson. She discovered much of that music while living in Europe, watching American films.
Luis Valdez grew up in a migrant worker family; he later wrote plays about Mexican Americans and worked as a labor activist in the 1960s. His new movie, La Bamba, opens soon.
Rock critic Ken Tucker says that Wire's first new album in seven years doesn't capture the intensity of their debut Pink Flag, but it's still a provocative listen.
Unlike most professional dancers, Paul Taylor didn't pursue the craft until he was 22. After a celebrated career under the tutelage of Martha Graham, he became a choreographer. His new autobiography, Private Domain, details his experiences.
Former diplomat and journalist William Attwood has a new book about the Cold War, called The Twilight Struggle. Reflecting on the history of McCarthyism, relations with communist countries, and undercover operations, he believes the Cold War's end is in sight.
Brothers Luis and Daniel Valens' collaborated on a biopic of the late singer's life, called La Bamba. They discuss how they tracked down Valens' family to learn more about his early life.
Feminist activist and writer Liz Carpenter and her husband started their own news organization. Later, she worked in President Johnson's administration as a speechwriter and first lady Lady Bird Johnson's press secretary. Her memoir, about aging and widowhood, is called Getting Better all the Time.
Linguist Geoff Nunberg reflects on recent efforts to make English the official language at the state and federal levels. He says that such measures only hurt immigrants seeking essential services.
Pianist Shura Cherkassky claims he never plays the same piece twice. Classical music critic Lloyd Schwartz says the versions of Liszt and Stravinsky pieces Cherkassky recently committed to tape are worth the listen.
Ralph Allen says that burlesque theater started off at the turn of the century as a comedy revue; it wasn't until the 1930s that the tradition took on its more erotic elements. Allen cowrote the play Sugar Babies, which has been produced worldwide.
Sonny Burgess was known as much for his monochromatic look as he was his wild music. Ed Ward says the word to describe him is "weird" -- Burgess favored unconventional instrumentation and bizarre lyrics.
