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Throwback
Wynton's back and as retro as ever, plus NYC's post-punk heroes The Rapture and more

Our man in jazz

Now that Norah Jones has single-handedly saved the record industry, the tail is definitely wagging the dog over at EMI, where Jones is on the historically revered boutique Blue Note imprint, and where Blue Note and EMI Jazz & Classics boss Bruce Lundvall is being hailed as a genius, if not a saint. Meanwhile, Lundvall has added Al Green and Van Morrison to the Blue Note stable, as well as jazz’s only Pulitzer Prize winner, Wynton Marsalis, following W’s defection from Columbia. Wynton’s new CD, Magic Hour, is due this Tuesday, and to judge from a first listen, he’s retro as ever and, yes, he and his young new band do swing their asses off. They’ll be at Symphony Hall, 301 Massachusetts Avenue in Boston, in a FleetBoston Celebrity Series gig on April 28; call (617) 482-6661,

Dirty dancing

Having muscled their way onto the dance floor with their DFA-produced smash "House of Jealous Lovers," NYC post-punk/house cadets the Rapture are now elbowing their way back off it. Over in England, the only place where singles still mean anything, they’ve followed up with "Sister Saviour" — a rant against the infidelities of Catholic girls that could be a Shellac/New Order mash-up — and, just last month, with "Love Is All," the one unabashed rock leftover on Echoes (Strummer/Universal). Back here, the Rapture are stepping out for a tour with the dark, damaging Black Rebel Motorcycle Club — San Francisco’s answer to the question "What ever happened to the Jesus and Mary Chain?" — that comes to Avalon, 15 Lansdowne Street in Boston, on April 5. Tickets are $20.25; call (617) 423-NEXT.

Walking contradictions

The work of Cambridge-based choreographer Anna Myer tends to be idiosyncratic but restrained, hinging on the tension between the formal and the casual, the simple and the highly skilled. And by its title alone, Myer’s latest creation, The Presence of That Absence, suggests that she’s still in thrall to powerful contradictions. Choreographed for seven dancers, it’s said to deal with themes including "the finite reality of death and the large empty encompassing space that it holds." Anna Myer and Dancers will present the world premiere of the new work, which is set to a "Gypsy lullaby" piano score by the Russian-born, locally based composer Jakov Jakoulov, on March 26 and 27 at the Tsai Performance Center, 685 Commonwealth Avenue in Boston. The program also includes Myer’s 1999 In Italian (to Vivaldi, Bellini, Verdi, and Offenbach), and 1998 Quintet to Brahms. Both evenings begin at 8 p.m., and tickets are $25; call (617) 353-TSAI.

A little conversation

"They should have waited until I was dead, like with Hendrix," mused Randy Newman in the liner notes to Rhino’s expanded reissue of Good Old Boys, his seminal, and searing, 1974 album about race and the South. Along with double-disc treatments of his Sail Away and Faust, last year also saw the release of yet another film score (for Seabiscuit), not to mention Nonesuch’s The Randy Newman Songbook, Vol. 1 — a revisit to his catalogue by the artist alone at the piano. And that’s not too far from what he’ll be doing on March 16 at 8 p.m. at Sanders Theatre, as Harvard’s "Learning from Performers" series offers "A Conversation (and a Bit of Music) with Randy Newman." Go be the millionth person to ask him what he’s got against short people. Sanders is at 45 Quincy Street in Harvard Square, and tickets are $10; call (617) 496-2222.


Issue Date: March 5 - 11, 2004
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