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...earlier version of the Mar. 30 arts article "Artifacts Take Their Rightful Place as Art" incorrectly stated that the new wing in the Museum of Fine Arts in Boston was designed by Renzo Piano. In fact, it was designed by Norman Foster...

Author: By Alexandra perloff-giles, CRIMSON STAFF WRITER | Title: Artifacts Take Their Rightful Place as Art | 3/30/2010 | See Source »

Joined by his aptly-named “Fountain of Youth” band (Jaleel Shaw on saxophones, David Wong on bass, and Martin Bejerano on piano), Haynes’ concert last Friday showcased his breadth of experience, and his mastery of the stylistic spectrum. His sensitive lightness of touch on the ballad “For All We Know” was contrasted with the face-melting tumult he unleashed on John Coltrane’s lightning-fast “Mr. P.C.” The impeccably poised swing he invoked throughout with his riding right hand...

Author: By Jon J. Andrews, CONTRIBUTING WRITER | Title: Roy Haynes Excels in Birthday Concert | 3/30/2010 | See Source »

...album continues, shorter, noisier songs are interspersed between their more melodic counterparts. For instance, after two particularly aggressive numbers, the band lines up the album’s centerpiece, a mathcore-lounge tune called “Widower.” The song begins with some jazzy piano playing that grows muddier as Puciato’s vocals crescendo, building into the song’s middle section, a paen to lost love animated by deft tribal drumming. Then, after the obligatory mathcore breakdown, the song heads into the album’s highpoint—when Puciato?...

Author: By Mark A. Fusunyan, CRIMSON STAFF WRITER | Title: The Dillinger Escape Plan | 3/23/2010 | See Source »

...their preceding “Volume One,” Deschanel sings, composes, and plays banjo and piano while Ward contributes production, backup vocals, and guitar playing. But listening to their music, the group sounds a lot more “She” than “Him,” Deschanel’s sound and outlook dominate the tracks...

Author: By Candace I. Munroe, CRIMSON STAFF WRITER | Title: She & Him | 3/23/2010 | See Source »

...it’s a tribute to the band’s oddball stage mannerisms. Then, it begins to explore the intricate and fascinating relationship between Meg and Jack. One revelatory glimpse of the two, in which a sheepish Jack consoles Meg after driving her to tears with a piano ballad, suggests that this relationship is worthy of an entire film’s worth of material. This thread is abandoned, however, for nostalgic coverage of the White Stripes 10th anniversary concert, complete with a cheesy black-and-white freeze-frame of Jack and Meg waltzing...

Author: By Benjamin Naddaff-Hafrey, CRIMSON STAFF WRITER | Title: The White Stripes | 3/23/2010 | See Source »

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