"Like a Soul in Stone": An imaginary explanation in song of the mixed feelings Bob Dylan must have about the Nobel Prize.

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Neighbors and strangers: Catalyst Repertory puts 'Streetcar' in our faces

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Trombonissimo: My choice of 10 great trombone moments from the orchestral literature

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I can't let the memory of last weekend's final measures from the Indianapolis Symphony Orchestra fade any further without lifting up the wonderful trombone glissando — a French/Spanish version of Walt Whitman's "barbaric yawp" if ever there was one — in " Feria," the festive conclusion of Maurice Ravel's "Rapsodie espagnole." As I said in my review, just a couple of raucous smears evokes the suggestion that collective good times are about to get out of hand — as they often do when people pour into the streets to party. Then the piece ends, at just the right time. Cologne Cathedral: Musically, it calls for trombones. As a former trombonist, I count this moment among ten touchstones for my instrument in the orchestral literature.  I offer here nine others to suggest the marvelous ways composers characterize the trombone. Its voice is essential to so many pieces, though trombonists typically make do without the near omnipresence of the...
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Copacetic to the end: Cohen-Rutkowski Project opens JK stage to a pair of guests

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Rich Cohen: saxophonic mass and energy from a former physics teacher "Copacetic" is one of those faux-fancy words that entered the language about the start of the Jazz Age (1919). Like jazz itself, its origin is unknown (says the dictionary), and its meaning ("very satisfactory") can also apply to countless jazz performances by adept practitioners of the music.  It was thus quite fitting that a piece of that title concluded a long Sunday night set by the Cohen-Rutkowski Project at the Jazz Kitchen. Like all of this band's book, it was composed by Chris Rutkowski, the pianist who co-leads the band with saxophonist Rich Cohen. And the peppy finale also got a little extra heat as one guest star (tenor saxophonist Rob Dixon) was joined by another (trombonist Freddie Mendoza) to make for a formidable front line. Opening with an infectious riff and settling into a Crescent City groove, "Copacetic" featured ripe solos by the two guests. It provided roomy acc...
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