Norah Jones, Esperanza Spalding, and Angelique Kidjo’s Remain in Light are among the artists set to perform the 2022 Newport Jazz Festival, which takes place at Fort Adams State Park in Newport, Rhode Island July 29 through July 31.
The lineup also includes the Fearless Flyers, Terence Blanchard, Pj Morton, the Ron Carter Quartet, BadBadNotGood, Cécile McLorin Salvant, Lettuce, and Cory Wong, among many others.
Christian McBride, who serves as the Newport Jazz Artistic Director, will also play his annual Jawn Jam featuring Makaya McCraven, Chris Potter, Vijay Iyer, and Brandee Younger & Mike Stern.
The lineup also includes the Fearless Flyers, Terence Blanchard, Pj Morton, the Ron Carter Quartet, BadBadNotGood, Cécile McLorin Salvant, Lettuce, and Cory Wong, among many others.
Christian McBride, who serves as the Newport Jazz Artistic Director, will also play his annual Jawn Jam featuring Makaya McCraven, Chris Potter, Vijay Iyer, and Brandee Younger & Mike Stern.
- 3/24/2022
- by Althea Legaspi
- Rollingstone.com
Paul Auster on Smoke, Blue In The Face, and Lulu On The Bridge star Harvey Keitel: "I loved working with Harvey." Photo: Anne-Katrin Titze
In the first instalment of my conversation with author, screenwriter, and director Paul Auster at his home he discusses the performances of Willem Dafoe, Mira Sorvino, and Harvey Keitel in Lulu On The Bridge, Wings Of Desire, and his friendship with Wim Wenders. We touch on Louise Brooks and Vanessa Redgrave, Frank Wedekind's Earth Spirit and Pandora's Box, Arnaud Desplechin's view of Marion Cotillard’s character in Ismael's Ghosts, Hilma af Klint, and Ernst Lubitsch's Heaven Can Wait.
Paul Auster on Willem Dafoe: "Willem is an ambiguous character, Van Horn is. I never thought of him as the devil, though. He's more like St. Peter." Photo: Anne-Katrin Titze
Lulu on the Bridge, shot by Alik Sakharov (The Sopranos), edited by Tim Squyres,...
In the first instalment of my conversation with author, screenwriter, and director Paul Auster at his home he discusses the performances of Willem Dafoe, Mira Sorvino, and Harvey Keitel in Lulu On The Bridge, Wings Of Desire, and his friendship with Wim Wenders. We touch on Louise Brooks and Vanessa Redgrave, Frank Wedekind's Earth Spirit and Pandora's Box, Arnaud Desplechin's view of Marion Cotillard’s character in Ismael's Ghosts, Hilma af Klint, and Ernst Lubitsch's Heaven Can Wait.
Paul Auster on Willem Dafoe: "Willem is an ambiguous character, Van Horn is. I never thought of him as the devil, though. He's more like St. Peter." Photo: Anne-Katrin Titze
Lulu on the Bridge, shot by Alik Sakharov (The Sopranos), edited by Tim Squyres,...
- 11/30/2018
- by Anne-Katrin Titze
- eyeforfilm.co.uk
The stately side of the Crescent City
The funkiest man this side of Zigaboo Modeliste, Allen Toussaint is a one-man repository of New Orleans music, having produced or played with everyone from—oh, what’s the point? He’s worked with everyone. And now, at 71, he’s made a solo album as genteel as a Garden District mansion. It’s called The Bright Mississippi, and it does indeed shimmer. Toussaint leaves the producing to Joe Henry, freeing himself to play dignified piano and, on one track, sing. He also leads a crack band: Don Byron plays trilling clarinet on Sidney Bechet’s “Egyptian Fantasy,” Marc Ribot shreds an acoustic-guitar solo on Django Reinhardt’s “Blue Drag,” and Brad Mehldau tangles with Toussaint in a four-handed piano-only blues crawl called “Winin’ Boy Blues.” Like New Orleans itself, the album understands how to strut. But it also knows its manners. For all his funky pedigree,...
The funkiest man this side of Zigaboo Modeliste, Allen Toussaint is a one-man repository of New Orleans music, having produced or played with everyone from—oh, what’s the point? He’s worked with everyone. And now, at 71, he’s made a solo album as genteel as a Garden District mansion. It’s called The Bright Mississippi, and it does indeed shimmer. Toussaint leaves the producing to Joe Henry, freeing himself to play dignified piano and, on one track, sing. He also leads a crack band: Don Byron plays trilling clarinet on Sidney Bechet’s “Egyptian Fantasy,” Marc Ribot shreds an acoustic-guitar solo on Django Reinhardt’s “Blue Drag,” and Brad Mehldau tangles with Toussaint in a four-handed piano-only blues crawl called “Winin’ Boy Blues.” Like New Orleans itself, the album understands how to strut. But it also knows its manners. For all his funky pedigree,...
- 4/29/2009
- Pastemagazine.com
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