Aurelia Butler

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    Julius Rodriguez Fuses Styles on ‘Evergreen’

    The multi-instrumentalist Julius Rodriguez hones a bigger, more audacious sound on his second album, “Evergreen.”Sitting outside a bar in the Greenpoint section of Brooklyn one recent Sunday afternoon, Julius Rodriguez spoke with characteristic straightforwardness describing music that is anything but. The composer and bandleader, who has played with the rapper ASAP Rocky and style-bending artists like Kassa Overall and Meshell Ndegeocello, articulated the central challenge of his work, an amorphous blend of jazz, funk, gospel and R&B he simply calls “the music.”It’s not about the notes, he explained, it’s about the emotions behind them.“How do you describe the color orange to someone?” Rodriguez said, his tone warm yet flat. “How do you describe the taste of salt to someone who’s never tasted salt? You don’t know that you’re there until you’re there. You don’t know what it feels like until you feel it.”Rodriguez, 25, has been lauded for his tremendous sense of harmony and virtuosity across piano, drums, bass and whatever else he feels like playing any given week. He can hold his own at a psychedelic free jazz show in Brooklyn, a stadium-size rap concert in Los Angeles, a stately supper-club gig on the Upper West Side. “He’s what we call auxiliary,” Ndegeocello said in a phone interview. “He plays everything.”On “Evergreen,” out Friday on Verve Records, Rodriguez funnels sounds into a 40-minute collage of electric-acoustic arrangements steeped equally in tradition and disruption, convention and audacity coming through in big, clean sound seemingly inspired by 1970s jazz fusion. It’s a sharp detour from “Let Sound Tell All,” Rodriguez’s 2022 debut album, which was indebted to the jazz and gospel he grew up playing in churches and small clubs.Rodriguez calls his blend of jazz, funk, gospel and R&B “the music.”Erik Carter for The New York TimesLong before Rodriguez burst onto the New York jazz scene, he was a precocious kid in Westchester. When he was 3 or 4, he took piano lessons from a family friend, Audrey McCallum, the first Black student to attend the Peabody Preparatory, who gave Rodriguez his first keyboard and encouraged his parents to buy a piano. “At the same time, I’m learning about tempo and time signatures, how to read music on a staff, and where the notes are on a piano,” he said. “All that while learning how to read and write English.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Norman Carol, Violinist in Historic Concert in China, Is Dead at 95

    The concertmaster and first-chair violinist with the Philadelphia Orchestra for decades, he took part in a diplomatic breakthrough in 1973 with concerts in Mao Zedong’s Beijing.Norman Carol, a former violin prodigy who was first chair and concertmaster for the acclaimed Philadelphia Orchestra for nearly three decades, accompanying it on a history-making trip to China under Mao Zedong in 1973, died on April 28. He was 95.His death, at an assisted living center in Bala Cynwyd, a community on Philadelphia’s Main Line, was announced in a statement posted on social media by the orchestra. It was not widely reported outside the classical music world at the time.As concertmaster, tuning the orchestra and overseeing the string section, Mr. Carol served under the celebrated conductors Eugene Ormandy, Riccardo Muti and Wolfgang Sawallisch.“He was dashing, comfortable, even swashbuckling as a leader,” Paul Arnold, a violinist with the orchestra, said in the statement. “His playing was bold, expressive and hall-filling.” Mr. Carol “went on to personally embody the ‘Philadelphia Sound,’” he added.That fabled sound, which emerged under Leopold Stokowski and took shape under Ormandy, the orchestra’s longtime music director starting in the 1930s, is built on “distinctive honeyed timbre” emanating from its strings, as the journal Classical Voice North America noted in 2015, along with softer attacks from the brass section and a more blended percussion approach.The orchestra’s sound became known around the world in tours of Europe and Asia during Mr. Carol’s tenure.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Young Thug Lawyer Clashes With Judge in Chaotic Gang Case

    Brian Steel, a lawyer for the Atlanta rapper, was ordered to serve 10 weekends in jail after a dispute with the judge, further complicating a messy gang conspiracy trial.A star witness jailed for refusing to testify. A change of heart after a weekend spent behind bars. And then, a lead defense lawyer taken into custody for implying that an improper secret meeting led to the witness’s about-face.Welcome to another week in the gang and racketeering trial of the chart-topping rapper Young Thug, a courtroom epic in Atlanta that continues to surprise as it approaches 18 months since jury selection began.On Monday, Judge Ural Glanville took the extraordinary step of holding Brian Steel, the rapper’s primary lawyer, in contempt for refusing to disclose who told him about a closed-door meeting between the judge, prosecutors, the uncooperative witness and his lawyer.Mr. Steel had argued in court that the conversation was unconstitutional and that the defense should have been present, or at least notified. But in a heated exchange, Judge Glanville took issue instead with how Mr. Steel had learned of the meeting, and later sentenced the lawyer to a maximum of 20 days in jail for failing to reveal his source.“Listen, if you don’t tell me how you got this information then you and I are going to have some problems,” the judge said in court, to which Mr. Steel responded, “I have problems right now.”Judge Glanville, who has overseen the case since Young Thug, whose real name is Jeffery Williams, was indicted alongside 27 others in May 2022, appeared increasingly frustrated when he continued: “How did you get that information supposedly from my chambers? Did somebody tell you?”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Robert De Niro Doesn’t Mind Being Celebrated

    Outside the Odeon in Lower Manhattan on Monday night, the bistro’s famed neon sign peeked above a tent shielding celebrities from onlookers trying to glimpse the red carpet at the Tribeca Film Festival’s 17th annual artists dinner.Selma Blair shared the spotlight with Scout, her service dog, who has been her companion since her 2018 diagnosis of multiple sclerosis. The actor Blake Lively, who arrived late in Chanel, a sponsor of the night, was apologetic to the photographers for making them wait.“I would’ve bought you Shake Shack or something,” she called out to them as she posed.Selma Blair with her service dog, Scout.Rebecca Smeyne for The New York TimesLily Allen, the singer, and David Harbour, the actor.Rebecca Smeyne for The New York TimesRachel Antonoff, left, with Olivia Munn, the actor.Rebecca Smeyne for The New York TimesChloe Fineman, the actor.Rebecca Smeyne for The New York TimesAfter the step and repeat, more than a hundred actors, directors and artists filed inside the restaurant, a neighborhood mainstay since the 1980s known for its steak frites and celebrity regulars. That evening, the Odeon was even more star-studded than usual: For this year’s dinner, which honors artists who donated work to be given to winners at the film festival, Chanel had pulled in many of the famous names from its Rolodex, who are known to make appearances at their functions wearing the brand.They had also come out to help celebrate the festival’s co-founder, Robert De Niro, who turned 80 last year. “De Niro Con,” a series of screenings and talks, plus an immersive exhibit, starts on June 14.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Four Tops Singer Sues Hospital Over Being Put in Restraints

    The lawsuit by Alexander Morris, who joined the group six years ago, said the staff thought he was “delusional” when he told them he was in the Motown band.A singer who joined the storied Motown group the Four Tops in 2018 sued a Michigan hospital on Monday, accusing its staff of placing him in restraints and ordering a psychological evaluation because they did not believe he was part of the band.The singer, Alexander Morris, who is Black, filed a lawsuit accusing Ascension Macomb-Oakland Hospital of racial discrimination and two employees of negligence for an incident in April 2023, when he was taken there by ambulance with chest pain and difficulty breathing.When Mr. Morris, 53, told hospital staff that he was a member of the Four Tops — which helped define the Motown Sound in the 1960s with hits such as “I Can’t Help Myself (Sugar Pie, Honey Bunch)” and “Reach Out I’ll Be There” — the staff “wrongfully assumed he was mentally ill” and a security guard was instructed to put him in restraints, the lawsuit alleges.When Mr. Morris offered to show his identification card, the lawsuit said, the security guard, who is white, told him to “sit his Black ass down.”“None of the nursing staff intervened to stop the racial discrimination and mistreatment,” said the lawsuit, which accused the staff of taking Mr. Morris, who had a history of heart problems, off oxygen while they pursued a psychiatric evaluation.The nonprofit health system that oversees the hospital, Ascension, released a statement in which it declined to comment on the pending litigation but said, “We do not condone racial discrimination of any kind.”The Four Tops has seen a rotation of replacement singers since its heyday. Its only surviving original member, Abdul Fakir, invited Mr. Morris to join the group in 2018 and he has been performing with them since 2019. At the time of Mr. Morris’s hospital visit last year, the lawsuit said, the Four Tops had been touring with another Motown jewel, the Temptations, and the group had recently performed at a Grammys charity event honoring Berry Gordy, Motown’s founder.Seeking to convince the hospital that he was not “delusional,” Mr. Morris’s lawsuit said, he showed a nurse a video of him performing at the Grammys event. Then the staff canceled the psychiatric evaluation, removed the restraints — which the suit said had been in place for about 90 minutes — and placed him back on oxygen.The lawsuit, which was filed in the U.S. District Court for the Eastern District of Michigan, said that after the ordeal, Mr. Morris was offered a $25 gift card to a supermarket, which he said he refused to accept.“The hospital denied my identity and my basic human dignity and then offered me a gift card,” Mr. Morris said in a statement provided by his lawyers. More

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    Rock Around the Clock: 8 Songs About Very Specific Times of Day

    Hear tracks by the Strokes, beabadoobee, Normani and more.The Strokes’ Julian Casablancas onstage in 2011. (Sadly, we don’t have the specific time.)Chad Batka for The New York TimesDear listeners,On Friday, the R&B artist and former Fifth Harmony member Normani will finally release her debut album, “Dopamine” — a long (long) awaited, endlessly delayed release she has been teasing for nearly six years. Not that I’ve been watching the clock. Or at least I wasn’t until last month, when Normani dropped the album’s sultry lead single, “1:59.” That ode to not-quite-2-in-the-morning got me dreaming up a playlist of songs about incredibly specific times of day. Now that Normani is ready to share her opus with the world, so am I.Plenty of songs celebrate the hour on the hour; Drake has an entire playlist’s worth of songs with titles like “6PM in New York” or “8AM in Charlotte.” But that’s not what I’m interested in here. With all due respect to Ariana Grande, I’m not even talking 6:30. I’m talking absurdly precise, random time stamps glimpsed on a digital clock or a lock screen and forever burned into one’s memory: “12:51,” “10:35,” “11:59.”Luckily, there is no shortage of such songs, from artists as varied as Moby Grape, Tiësto and Elliott Smith. And weirdly enough, there exists a trio of unrelated songs that are named after three subsequent minutes in the middle of the 10 o’clock hour. Go figure! Naturally, I sequenced the track list in chronological order — like an incredibly abbreviated playlist version of Christian Marclay’s “The Clock.” It certainly won’t last you 24 hours, but it’ll take you on a temporal journey just the same.All right, you know what time it is: Press play.It’s 11:59 and I want to stay alive,LindsayListen along while you read.1. The Strokes: “12:51”We begin exactly 51 minutes after midnight, “the time my voice/Found the words I sought,” as Julian Casablancas specifies on this catchy leadoff single from the Strokes’ 2003 album “Room on Fire.” “12:51” is a mumbled tale of rekindled romance, the acquisition of malt liquor and other sordid things that happen after the clock strikes 12.▶ Listen on Spotify, Apple Music or YouTubeWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Disney’s Splash Mountain Set to Reopen With Princess Tiana Theme

    The ride was closed last year because of its connection to a racist film. Disney overhauled it to focus on Tiana, Disney’s first Black princess, drawing praise and backlash.In the summer of 2020, as a reckoning on racial justice swept the country, Disney said it would rip out Splash Mountain, a wildly popular flume ride with a racist back story.Some people cheered, saying the move was long overdue: After 31 years at Disneyland in California and 28 at Walt Disney World in Florida, the attraction — with its animal minstrels from “Song of the South,” the radioactive 1946 movie — had to go.But Disney also faced blowback. Last year, when Splash Mountain finally closed, someone started a makeshift memorial near its entrance — the kind that pops up at scenes of horrific crimes. Distraught fans spirited away jars of the water. More than 100,000 fans signed a petition calling on Disney to reverse its “absurd” decision.Now, Disney is rolling out Splash Mountain’s replacement, which is based on “The Princess and the Frog,” the 2009 animated musical that introduced Disney’s first Black princess. The lighthearted new ride, Tiana’s Bayou Adventure, will open to the public on June 28 at Disney World, with a similar version expected to arrive at Disneyland by the end of the year.The ride is the first marquee attraction in Disney theme park history to be based on a Black character.Tiana’s Bayou Adventure uses the same ride tracks as Splash Mountain.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Mitsuko Uchida Keeps the Focus on Young Artists at Ojai

    Mitsuko Uchida sat at the piano with her back to the audience.It was an unusual look for a reigning pianist who can fill a concert hall, or sell a new album of 200-year-old sonatas, on the strength of just of her name and face. But over four evenings of performances at the Ojai Music Festival in California, that’s how Uchida played.It was especially strange, given that she was the festival’s music director, an annual post given to an artist to organize programming and the roster of performers. Throughout the festival’s outdoor campus, her name was on T-shirts and signs, not to mention Vogue-thick program books handed out at each concert.Then again, we’re talking about Ojai, where open-minded audiences take in music accompanied by nature and snack on freshly picked pixie tangerines. Uchida might have seemed like a headliner, but this festival is about sharing the wealth.She invited friends and colleagues whom she has known for years, like the endlessly genial Brentano String Quartet. Most heavily featured, during the festival’s run from June 6 through 9, was the Mahler Chamber Orchestra, with whom Uchida often tours in concerto programs that she leads from the piano.The Mahler Chamber Orchestra played traditional concerts at Ojai and also showed up at a local bar as a Johnny Cash cover band,Adali Schell for The New York TimesThose tours, though, rarely showcase the shape-shifting resourcefulness the ensemble brought to Ojai. Its members played pop-up miniatures in Libbey Park, the festival’s center, and even at a local bar as a Johnny Cash cover band. Onstage, they took on traditional fare, like heavenly Mozart concertos with Uchida, but also more contemporary works by Missy Mazzoli and John Adams.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More