Last month the Hot Club of San Francisco was booked to play Carnegie Hall. But heavy snow storms back East kept the band from getting to the gig.
The Prohibition Era retains its hold on our imagination.
Dance becomes a paintbrush for illustration in the Chicago-based Joffrey Ballet’s nationally touring tribute “American Legends,” coming Sunday to the UA’s Centennial Hall.
George and Ira Gershwin have been very good to Michael Feinstein, the cabaret world’s acclaimed Ambassador of the Great American Songbook. With his deft keyboard touch and an engaging talent for caressing every lyric, Feinstein has found remarkable success performing the full Gershwin repertoire.
When the Smithsonian Institution’s Jazz Masterworks Orchestra presents “A Tribute to Ella Fitzgerald” on Saturday at the Fox Tucson Theatre, it will be more than music associated with the acclaimed “First Lady of Song.” Much more.
Often called one of the most exciting dance companies in America today, the Cedar Lake Contemporary Ballet, which comes to Centennial Hall next Thursday, takes pride in its programs of adventurous choreography. Being willing to explore virtually any mix of movement and multimedia possibilit…
Hip-hop culture and break dancing were born on the urban sidewalks of America in the 1970s, developing a new language for music and movement that has spread around the world. In France, hip-hop dance found a warm reception in the country’s concert halls as well.
If you remember back when television only had three channels, when “Charlie Brown’s Christmas” and “Frosty the Snowman” were fresh faces on the screen, you probably gathered with family to sit in front of that big box TV to watch Christmas specials starring Perry Como, Andy Williams or maybe…
Tango will be the language when dancers and musicians of Unión Tanguera tell their story through the imagination-expanding “Nuit Blanche,” a 90-minute piece performed without intermission on Saturday in Centennial Hall at the University of Arizona.
“I’m first and foremost a jazz pianist playing songs,” said Fred Hersch, lest there be any mistake about it. This general confusion can come from the classical feeling in Hersch’s music.
Diavolo Dance Theater members will appear to defy the laws of physics in pieces such “Trajectoire” on Saturday at Centennial Hall.
In 1964, George Balanchine set his vigorous new pas de deux “Tarantella” for New York City Ballet’s principal dancers Edward Villella and Patricia McBride.
“A Tribute to the George Shearing Quintet” on Sunday, followed a week later by a dinner/concert event, “Big Band Extravaganza featuring Pete Christlieb and John Allred,” will fill the Westin La Paloma Resort with classic jazz presented by the Tucson Jazz Society.
Don’t tell Cuban trumpet player Arturo Sandoval he plays Latin jazz.
Jazz tunes may not be getting on the Billboard pop charts anymore, but coast to coast in concerts big and small, jazz musicians have formed an enduring friendship with the classic American songbook.
Cole Porter gets sandwiched in between vampires and Greco-Roman mythology to begin Ballet Tucson’s 10th anniversary season with the company’s Opening Night Gala and concert performances this weekend.
After a two-year absence, the Tucson Jazz Society returns to St. Philip’s Plaza, opening its three-concert Jazz Under the Stars series on Sunday with singer Delphine Cortez and the Joel Robin Quartet.
If Shakespeare is right, that all the world’s a stage — can’t it also be a dance floor? Claire Hancock and Ashley Bowman, founding artistic directors of the barrier-busting Artifact Dance Project, are about to find out.
John W. Lowell didn’t realize in 2009 when his play “The Letters” received its first major production just how relevant his dialogue thriller would become. Set in an unnamed city of the Soviet Union in 1931, Lowell imagined a cat-and-mouse confrontation between a Soviet minister of informati…
There is newer jazz being played out there than those iconic albums of Miles Davis, and Jay Rees knows where to find it. Even better, Rees and his band Sylvan Street know how to play it.
Remember when there was a bomb shelter in every backyard and a communist hiding behind every bush? When everybody smoked wherever they wanted to and martinis fueled many a business lunch? When the 1950s economy was booming and there were jazz tunes on the pop charts?
There's a new sound brewing in the jazz world of classically trained guitarist Gabriel Ayala, a Tucson native and member of the Pascua Yaqui Tribe. He calls the sound "JazzMenco," which he defines as "the chords of jazz with the drive of flamenco.
Muscular men en pointe and in tutus is just funny.
Even at an early rehearsal, with the dancers just learning their steps, you can sense the power in Douglas Nielsen's new work "Show Me The Place."
Alto saxophonist Charles McPherson this weekend celebrates Charles Mingus, a bassist and composer whose innovative work helped define a new direction for jazz after World War II.
It was Dizzy Gillespie, Charlie Parker and that bunch who decided back during World War II that the way to a jazz fan's heart was to play more complex chords instead of more enchanting melodies. By the late 1940s, bebop's high-speed blur had taken over the bandstand.
Life on the road has been good to members of the Artifact Dance Project. It was last summer during its second China tour that the company's young founders, Ashley Bowman and Claire Hancock, sat down together on the train.
The Limón Dance Company ensures that the past continues its hand-holding partnership with the future of modern dance.
Every few years UApresents brings in trumpeter Wynton Marsalis with his Jazz at Lincoln Center Orchestra. The audience has stayed solid and the programming is always fresh.
Colorful adjectives begin to swirl whenever dance writers start trying to describe "Botanica," the full-length piece that Connecticut-based Momix is bringing to Centennial Hall on Sunday.
Jazz had a happy face back when guitarist-singer John Pizzarelli was growing up in the household of his father, renowned guitarist Bucky Pizzarelli. It was the 1970s and famous musicians were dropping by all the time.
Ask Alonzo King about the 170 ballets he has choreographed for the Alonzo King Lines Ballet over the past 30 years and he answers with philosophical questions.
Jazz vibraphone giant Gary Burton isn't exactly sure why people want to keep hearing him play duets in concert with jazz piano giant Chick Corea.
"Freud's Last Session," which Arizona Theatre Company opens in previews Saturday, isn't so much about the pioneering psychoanalyst Sigmund Freud. It is more about God. Or, to be more precise, the existence of God.
Martin Santangelo, artistic director of Noche Flamenca, remembers well when the company from Madrid last danced at Centennial Hall two years ago.
It can be a curious journey from the page to the stage for some plays. Consider "Five Women Wearing the Same Dress," directed by Terry Erbe, presented by Arizona Onstage Productions.
Contemporary social values get another vigorous scrubbing in Beowulf Alley Theatre's production of the caustic "Three Hotels" by Jon Robin Baitz.
Stories about the emerging nation of Israel are combined with the journey of fast friends Reuven and Danny from adolescence to adulthood in Live Theatre Workshop's production of "The Chosen." Aaron Posner and Chaim Potok adapted the play from Potok's award-winning 1967 novel of the same name.
Don't call acoustic guitarist Peter White a jazz musician; call him a complete musician.
For 17 years, Borderlands Theatre has been presenting the Mexican Christmas tradition of the village pastorela as "A Tucson Pastorela."
The tragic story of jazz singer Billie Holiday's fight against heroin and other demons is well-known. But in this sad tale playwright Lanie Robertson, like a good blues singer, found the soul-stirring inspiration to write "Lady Day at Emerson's Bar and Grill."
The spectrum of ballet is stretched a little wider every time Canadian artist Aszure Barton and Artists take the stage. Quirky and cheeky are two adjectives often used in describing Barton's work as the young choreographer develops an international reputation.
Agnes de Mille's "Three Virgins and a Devil" tells a story more timeless than Shakespeare, but with such a unique sense of humor that it maintains an enduring place in American theater.
Known for his warm tone, soaring lyricism and masterful technique, flugelhorn artist Dmitri Matheny will go searching for poignant moments of jazz noir with four fellow explorers in the Dmitri Matheny Group, playing in concert Friday.
If you think of jazz as a musical language, plan on hearing some eloquent conversation Friday at Tucson's annual Jazz Legends Live benefit concert. Noted drummer Lewis Nash has invited six swinging friends to join him for some lively looks into the compositions of Duke Ellington, Miles Davis…
International contemporary jazz saxophonist Jeff Kashiwa of Seattle will be joined onstage by Tucson's energized vocalist Crystal Stark for the Tucson Jazz Society's summer series-ending concert Sunday at Loews Ventana Canyon.
Keyboard player, composer, bandleader and Tucson smooth-jazz favorite Jeff Lorber is coming to town Saturday with his good buddy from the Pacific Northwest, trumpeter Gabriel Mark Hasselbach. Working as co-headliners with a band of handpicked sidemen, the two longtime pals will share the spo…
Good-natured smooth-jazz and funk-groove guitarist Nick Colionne is bringing his new shaved-head look to Tucson on Sunday, along with a suitcase full of dapper clothes and several of those hats for which he is so famous.
Pouring your heart and soul into something can make it hard to let go.
In American pop culture, Cinderella has become more than a pretty face. In the ballet world, especially, Cinderella soars beyond the sweet scullery maid who falls in love with a prince.