Tag: Vol. 22 No. 50

In a time when the word “fusion” describes instrumental rock and roll (and “jazz” is routinely applied to guys like Kenny G and Fourplay), Tribal Tech stands out like a diamondback in a pile of cotton balls. The original fusion of the early 70s wedded musical complexity to raw energy, in the process becoming jazz’s […]

Lanky, soft-spoken David Cale has perfected a style of performance that lies somewhere between the multiple-personalitied Eric Bogosian and the minimalist Spalding Gray. Like Bogosian, Cale populates his monologues with numerous odd characters, all of them anxious to tell their stories. Unlike Bogosian, however, Cale doesn’t get hung up on transforming himself into the various […]

The differences between recent Japanese experimental filmmaking and the older American experimentation that in part inspired it have fascinated me. The seven films on this program don’t use images to express emotions or to explore human perception or the nature of the medium–the principal American tendencies. In fact, their images defy easy explanation. Perhaps the […]

Improvisational dance is as much a philosophy as an art form. To do it well, a dancer must have a heightened awareness of the environment, opening up all the senses, and allow the normal babble in the brain to fall quiet. Once this Zen-like state has been achieved, movement becomes energized–becomes a pure response to […]

A lot of blues and R & B artists come out of the church, but I can’t think of anyone this side of Solomon Burke who can match the Holmes Brothers for fusing the spiritually uplifting ecstasy of gospel music with the funky, sensual celebration of life that’s at the heart of the blues. The […]