Aurelia Butler

More stories

  • 113 Shares129 Views

    in Music

    5 Minutes That Will Make You Love Jazz Bass

    Writers, scholars, radio hosts and musicians, including the bassist Ron Carter, share songs that shine a light on an instrument that lays the foundation of jazz.There’s a clip circulating on social media where Charles Mingus, arguably the most famous jazz bassist of all time, is asked what he’s saying through his instrument on the bandstand. His answer, profane and hilarious, isn’t fit to print here, but it’s fitting for the so-called “Angry Man of Jazz.” I’ve often wondered if Mingus’s attitude was just his way, or if he felt somewhat underrated compared with others from his era. By and large back then, bassists weren’t bandleaders; Mingus was an anomaly. And that had me thinking about jazz bass overall: While it might be the most unheralded of all the instruments, no composition resonates without it.This month’s feature is all about jazz bass, and cornerstone musicians like Mingus, the “Maestro” Ron Carter and Israel Crosby, whose performance is highlighted twice below. They all made significant contributions to the evolution of jazz. Their work paved the way for newer voices to shine through, including some artists who have chosen a song this month. And because we’re talking about an instrument like the bass, whose trajectory through jazz has been a complicated one, it seemed best to have plenty of the experts — jazz bassists — talking about their favorites.Enjoy listening to these songs highlighting the bass. You can find a playlist at the bottom of the article, and be sure to leave your own picks in the comments.◆ ◆ ◆Luke Stewart, bassist, bandleader and composer“El Haris (Anxious)” by Ahmed Abdul-MalikComing in hard like a Just Blaze track, then settling into a simple but effective melody that takes you on an unexpected journey in itself. Abdul-Malik explored the “East Meets West” concept of fusing jazz and the music of the Middle East over the course of a couple of albums. This one, however, “Jazz Sahara,” is his most successful in my view, and the most potent musically. Johnny Griffin is a standout on this record, letting us know once again that he is the Little Giant, with his saxophone sound towering above the band as he creeps in with his own sample of a previous tune. Jamal Muhammad of WPFW 89.3FM in D.C. first introduced me to both the Johnny Griffin album “Change of Pace” and the Abdul-Malik album in question, blessing me with some insight into the musicians and to the not-so-subtle signifying on the song titles.Ahmed Abdul-Malik, himself a sonic giant, commands the bass and the band with the imagination and the vision to create a truly fused collaboration of a typical U.S. jazz ensemble with an Egyptian one. This configuration, and this track in particular, does the best in my view. One of my favorite bass solos is his here on this track. Recorded a year after the classic “Night at the Village Vanguard” from Sonny Rollins, featuring Wilbur Ware’s bass solo on “Softly, as in a Morning Sunrise,” Abdul-Malik’s solo to me has felt like a response. This is where he was able to bring the Vanguard to the Pyramids.Listen on YouTube◆ ◆ ◆Ron Carter, bassist and bandleader“But Not for Me” by the Ahmad Jamal TrioIsrael Crosby’s bass lines on “At the Pershing,” in Chicago, are important not just because he’s on it, but because he made Ahmad play that way. He made the piano player not play. From then on, every bass player had to learn that bass line for the entire song — every Motel 6 player, every Birdland player, had to know it because it was so popular — including yours truly. And he made Ahmad Jamal even more important to the music community.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

  • 100 Shares189 Views

    in Music

    Jessica Pratt’s Timeless Folk Music Is Evolving. Slowly.

    The singer and songwriter has a delicate, vintage aesthetic that matches her cautious approach to her work. Her fourth album, “Here in the Pitch,” is out Friday.Jessica Pratt’s new album, “Here in the Pitch,” begins with a vintage drum beat, a gently strummed guitar and a lot of vibey room tone — the kind that recalls a wood-paneled studio from 60 years ago. “The chances of a lifetime might be hiding their tricks up my sleeve,” she sings on “Life Is,” in an enchanting melody that rises and falls with ease. “Time is time is time again.”Pratt is 37, and over three albums since 2012, she has become known for seemingly bending time. “A friend of a friend was stunned to find out that Jessica is a modern artist,” Matt McDermott, Pratt’s partner and collaborator, said over the phone. “He was convinced that she was a lost private press folk artist from the ’60s or ’70s.”“The fact that she’s hung around a lot of record stores and is very into the texture and atmospherics of older music means that her stuff appears somewhat anachronistic,” McDermott added, amused. “There’s that boomer saying, ‘They don’t make songs like they used to,’ but Jessica’s music argues that you actually can.”“If you feel like you’re always fighting against yourself in order to achieve your goals, you are conscious of time passing because everything feels very belabored, artistically,” Pratt said.Sinna Nasseri for The New York TimesOn a rainy March day in New York, Pratt strolled in the Queens Museum and discussed how “Here in the Pitch,” due Friday, has roots in the history lurking beneath another city: Los Angeles, her home since 2013.“If you want to get metaphysical about it, it’s layers of human experience that may still be reverberating,” she said, thinking about the prehistoric ooze that burbles under Wilshire Boulevard. “That is absolutely the lens through which I see my reality every day, as swimming through these unseen layers of history and energy.”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

  • 100 Shares159 Views

    in Music

    A Brief Tour of Pop Music’s Caffeine Addiction

    Hear songs by Sabrina Carpenter, Squeeze, SZA and more.Sabrina Carpenter’s perky bop “Espresso” is … a bit addictive. (We’re sorry.)Valerie Macon/Agence France-Presse — Getty ImagesDear listeners,A few weeks ago in our Friday feature the Playlist, I recommended a bubbly new single by the pop artist Sabrina Carpenter and made a bold prediction: “Get ready to hear this one everywhere.” Even more quickly than I imagined, the prophecy has come true. Last week, “Espresso” debuted at No. 7 on the Billboard Hot 100, making it Carpenter’s highest charting hit yet. More important, it has taken over the nation’s psyche. You can hardly go anywhere these days without hearing someone quoting the song’s infectious hook “That’s that me espresso” or wondering aloud, “what is a ‘me espresso?’”That’s a profound philosophical question for another day. Today, we are simply honoring the absurdist joy of “Espresso” with a playlist of songs about caffeinated beverages.Coffee has been a consistently evocative theme throughout pop musical history, so this mix travels from 1940 right up to the present moment. That trusty beverage is often used to describe a sophisticated kind of romance (as it does on Otis Redding’s swooning ballad “Cigarettes and Coffee”) or perhaps the idle hours waiting around for said romance to occur (see Peggy Lee’s sultry take on the 1948 standard “Black Coffee”). Chappell Roan tries to use it as a shield against romance on a track from her 2023 album “The Rise and Fall of a Midwest Princess,” reasoning with a former flame, “I’ll meet you for coffee, ’cause if we have wine/You’ll say that you want me, I know that’s a lie.”In “Espresso,” Carpenter uses the caffeine metaphor to suggest how restless she makes a guy she has wrapped around her finger: “Say you can’t sleep? Baby, I know.” Also, crucially, she understands that “espresso” rhymes with “I guess so.” That’s poetry.It’s time for the percolator,LindsayListen along while you read.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

  • 150 Shares149 Views

    in Music

    In the Battle of Drake vs. Kendrick Lamar, AI Is Playing Spoiler

    A rap beef between hip-hop’s two dominant stars has left fans wondering whether new tracks are real or fakes.For the past month, an all-out brawl has consumed hip-hop, with some of the genre’s top artists trading barbs in rapidly released tracks. The dispute, which began in late March with a perceived dig at Drake by Future and Metro Boomin, has roped in J. Cole, Rick Ross and even the estate of Tupac Shakur.At issue: Who is the current holder of hip-hop’s crown — Drake or Kendrick Lamar — with a whole lot of rumors, personal attacks and inside jokes adding fuel to the fire.Rap battles aren’t new, but this time, fans are grappling with a very 2024 question: Which of the diss songs are real?When a diss track in a high-profile conflict gets released, the splintered rap media ecosystem — including magazines, blogs, Instagram pages, YouTube channels, podcasts and livestreams — often erupts immediately. Journalists spread the word, critics dissect every line, and fans rush to crown a winner, round by round. But when a Drake response called “Push Ups” appeared online, fans wondered whether it was made by him or was perhaps the work of generative artificial intelligence.They had reason to be skeptical. Last year, “Heart on My Sleeve,” a song impersonating Drake and the Weeknd, was posted by a musical creator called Ghostwriter, and in many ways served as a harbinger of the impact this technology may have on the industry.A track like “Heart on My Sleeve” requires a fair amount of musical know-how to produce. The beats and raps are typically generated by a musician, then put through an open-source deepfake filter to transform the vocals into a well-known artist’s. It is that last step, imitating another artist’s vocals, that has caused the most consternation.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

  • 125 Shares109 Views

    in Movies

    Stream These 10 Movies Before They Leave Netflix in May

    Magic Mike’s finale, M. Night Shyamalan’s patient with 23 personalities, Baz Luhrmann’s “Gatsby” and a copstravaganza with a serious coda after the belly laughs.Two markedly different Adam Sandler vehicles are among the noteworthy titles departing Netflix in May, along with an unsung family treat, a pair of crisp psychological thrillers and the other dark sitcom from the co-star of “It’s Always Sunny in Philadelphia.” (Dates indicate the final day a title is available.)‘Magic Mike’s Last Dance’ (May 1)Stream it here.As anyone who’s seen “Ocean’s Twelve” can tell you, Steven Soderbergh is not a director willing to repeat himself — even when making a sequel to one of his hits. After serving only as cinematographer and editor on the first “Magic Mike” follow-up, 2015’s “Magic Mike XXL,” Soderbergh returned to the director’s chair for the third and final story of “Magic Mike” Lane, a charismatic and likable exotic dancer played by Channing Tatum (and a character loosely inspired by his own early years). This time around, he takes up with “Max” Mendoza (Salma Hayek Pinault), a wealthy socialite who hires him to choreograph a dance extravaganza at her husband’s theater in London. The camaraderie of the first two films is missing (Mike’s fellow dancers are consigned to cameos), but Soderbergh and Tatum clearly relish the opportunity to turn the climactic production into a full-scale movie musical, which is executed with wit, grace and genuine eroticism.‘Uncut Gems’ (May 8)Stream it here.Adam Sandler turns in his finest film performance to date as Howard Ratner, an inveterate gambler, serial adulterer and perpetual hustler who owns a jewelry store in the Diamond District of Manhattan. We meet him in mid-crisis, already way over his head in gambling debts and familial trouble, and watch him sink to rock bottom — but it’s a pleasurable experience, thanks to the relentless energy and controlled chaos of the directors Josh and Benny Safdie (“Good Time”). Their films are visceral, less concerned with intricate plotting than the sheer experiences of their protagonists; the result is a movie that is somehow both wildly entertaining and a cinematic anxiety attack.‘The Boxtrolls’ (May 22)Stream it here.Disney and Pixar may get all the attention and Illumination may make all the money, but Laika is one of the most reliable purveyors of family entertainment, quietly turning out gorgeous, heartfelt and engaging stop-motion animated features from its headquarters in Oregon. This 2014 fantasy comedy is one of their best, telling the charming story of a kid named Eggs (voiced by Isaac Hempstead Wright), who was raised by the title characters, a group of cheerfully grotesque, trash-collecting trolls. The directors Graham Annable and Anthony Stacchi have a blast creating this strange, intricately detailed world (it’s set in the late 19th century, in the fictional land of Norvenia), and the impressive cast of voice talents — including Richard Ayoade, Toni Collette, Elle Fanning, Nick Frost, Jared Harris, Ben Kingsley, Tracy Morgan and Simon Pegg — clearly came to play.‘Boyz N The Hood’ (May 31)Stream it here.John Singleton became the first African American to be nominated for the best director Oscar (and the youngest, beating even Orson Welles by two years) for this, his debut feature. He made it fresh out of USC film school, based on his experiences, and those of his friends, growing up in Los Angeles surrounded by poverty, crime and police brutality. “Boyz” wasn’t just Singleton’s introduction; it was also the breakthrough film for Cuba Gooding Jr., Ice Cube and Morris Chestnut, who starred as the three young friends on very different paths after high school, as well as Angela Bassett, Regina King and Nia Long in supporting roles. But the 1991 film’s most powerful presence is Laurence Fishburne as Furious Styles, the single father desperate to keep his son on the right course.‘The Great Gatsby’ (May 31)Stream it here.The director Baz Luhrmann proved he could modernize and, in doing so, reinvigorate a classic text (assisted by Leonardo DiCaprio) with his 1996 interpretation “Romeo and Juliet”; he took another, even bigger swing with this 2013 interpretation of F. Scott Fitzgerald’s beloved novel. Not all of his notions land — home viewing thankfully removes the original release’s headache-inducing 3-D, though the dubious hip-hop needle drops remain. Yet none are off-putting enough to upset the sturdiness of the faithful screenplay and the marvelous performances, particularly Carey Mulligan’s fragile Daisy, Joel Edgerton’s blowhard Tom and, especially, DiCaprio’s complex work in the title role.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

  • 150 Shares189 Views

    in Movies

    What is Shout! TV? A streaming alternative to Netflix, Hulu and More.

    Among the free streaming services, few are as enjoyable and reliable as this one.For this month’s spotlight on lesser-known but worthwhile streaming services, we’re showcasing our first advertising-based video-on-demand platform, or A.V.O.D., the model in which services make their money not via subscriptions, but through good old-fashioned advertisements. It’s a trade-off, to be sure; commercials were one of the reasons everyone got rid of cable. But now that Disney+, Netflix and their ilk have shoved ads back into their (paid!) programming, it’s not so hard to tolerate them from a free service.Among those free services, few are as enjoyable and reliable as Shout! TV, the latest incarnation of one of the most beloved labels in all of physical media. Shout! Factory was started in 2002 by three of the minds behind the great music label Rhino Records, and both imprints carved out a niche for catering to those whose tastes are slightly off the beaten path. As a DVD, Blu-ray and now 4K label, Shout! has been dependable and admirable in both curation and presentation, restoring and releasing crackerjack titles from the realms of cult, horror, sci-fi, action, animation, foreign films and throwback TV.Those genres also make up the backbone of the menu on Shout! TV. Their on-demand film selection includes a wide variety of movies, like Godzilla and Jackie Chan, Gene Autry and Elvira, with a frequently rotating library of entertaining titles from the silent era to the present. But their most impressive selections are in the label’s original specialties. The cult section is a delightful menagerie of Mario Bava films, biker movies, skin flicks, grimy indies, Roger Corman cheapies, contemporary cult items like “Donnie Darko” and oddities you’ll click only because of the inexplicable titles (“Dirty Duck”??). And Shout has enough horror movies to run a successful sublabel, Scream Factory, so the channel’s horror section is stacked with variety that includes “Night of the Living Dead,” “Alligator” and “Chopping Mall.”On the TV side — where the ad spots are particularly unobtrusive (credit where due: Shout bothers to insert them in designated commercial spots, rather than at random intervals as some other A.V.O.D. services do) — viewers can find scores of classic television shows and comedy shorts. They also have variety shows, cartoons and adventures, but the crown jewels of their TV offerings are their expansive collections of old episodes of “The Carol Burnett Show” and “The Tonight Show Starring Johnny Carson”; those are not only available as à la carte episodes, based on your preferred guest stars or eras, but also among their 24/7 streaming channels, where you can just tune in and view whatever they’re running. You know, just like watching TV!All of this makes Shout! TV one of the very best streaming values since it doesn’t cost you a single cent — just the time you’ll spend watching ads. Here are a few recommendations:Mystery Science Theater 3000: “The Skydivers”: Shout has been in business for quite some time with the various iterations of “Mystery Science Theater 3000,” the uproariously funny cult TV show where an average Joe, marooned in space, watches bad movies with his robot companions while cracking wise. In addition to the original episodes, Shout also streams their “riffed” short films and episodes from “MST” alumni shows “Cinematic Titanic,” “The Film Crew” and “Rifftrax.” But if you’re looking for an entry point, I’d recommend this sixth season episode, in which our boys first watch the educational short “Why Study Industrial Arts?” (the titular question is not satisfactorily answered, frankly) and the technically incompetent and narratively incoherent 1963 film “The Skydivers,” from the writer-director Coleman Francis, a filmmaker so inept, he makes Ed Wood look like Martin Scorsese.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

  • 125 Shares199 Views

    in Music

    Gerstein’s ‘Music in Time of War’ Pairs Debussy and Komitas

    Kirill Gerstein’s immense recording project “Music in Time of War” surveys works by artists who witnessed World War I and the Armenian genocide.Kirill Gerstein, a Soviet-born pianist whose parents sold their only proper asset — a garage — so that they could afford plane tickets to the United States for their son’s education, approaches music in a way that recalls something his countryman, the conductor Kirill Petrenko, once told him: “I sacrificed so much in my life to not do things by default.”The career of Gerstein, 44, is filled with moments that defy a belief in doing things “by default.” There was the time when he devoted a significant portion of his $300,000 Gilmore Artist Award to commissioning new piano music from composers across jazz and classical music, placing Chick Corea and Brad Mehldau alongside Oliver Knussen and Alexander Goehr. Or there was the time, in 2017, when Gerstein championed a new, shockingly modest critical edition of Tchaikovsky’s Piano Concerto No. 1 rather than the grandiose, more recognizable version. Or when, as many streamed performances during the pandemic, he instead organized a series of free, online seminars that featured musicians alongside luminaries from the wider arts scene.Now comes Gerstein’s latest project, “Music in Time of War,” a recording that is expansive in its program and packaging: a 141-minute double album of works by Claude Debussy and the Armenian composer and ethnomusicologist Komitas Vardapet, accompanied by a 174-page book of conversations, essays and photographs that situate the music deep in its historical context.The album — which beyond solo piano pieces also includes works for piano and soprano (with Ruzan Mantashyan), and piano duo (with Katia Skanavi and Thomas Adès) — was released in mid-April. Its timing came at a poignant midpoint for both composers: March 25, the anniversary of Debussy’s death, and April 24, the date Armenia commemorates as the beginning of the 1915 genocide in which up to 1.5 million Armenians were killed by the Ottoman Empire. That led to post-traumatic stress disorder for Komitas, who while living in Constantinople (now Istanbul) was deported to Anatolia and brutalized by a guard before being released, then eventually suffered a nervous breakdown.What began as a goal in Gerstein’s “self-development program” — to record Debussy’s Études (1915) — quickly accumulated connections owing to the collection’s composition during one of history’s darkest moments. “Our understanding of a piece of music cannot be divorced from the historical and cultural setting in which it was created and received,” Gerstein, who lives in Berlin, writes in the foreword for his new album’s book.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

  • 138 Shares199 Views

    in Movies

    Blue Ivy Carter to Join Beyoncé in ‘Mufasa: The Lion King’

    Beyoncé’s 12-year-old daughter will make her feature film debut as Kiara, Nala and Simba’s daughter, in a prequel to the 2019 hit.Blue Ivy Carter will be joining her mother, Beyoncé Knowles-Carter, in the movie musical “Mufasa: The Lion King,” which is expected in theaters in December.The movie — a prequel to “The Lion King,” the 2019 hyperrealistic remake of the Disney classic starring Beyoncé as the voice of Nala — will be directed by Barry Jenkins, who won a best adapted screenplay Oscar for “Moonlight.”Blue Ivy, 12, will make her feature film debut by voicing Kiara, the daughter of Nala and Simba, who will again be voiced by Donald Glover. (Billy Eichner, Seth Rogen, Mads Mikkelsen and Thandiwe Newton will also lend their talents.)“A buddy of mine, Matthew Cherry, made the short film called ‘Hair Love’ that Blue Ivy did the audiobook of,” Jenkins told Entertainment Weekly in an article published on Monday. “Starting this project and just having that in the ether, I was like, ‘Is it worth a shot? Would Blue Ivy want to do it? Would Beyoncé want to act opposite her daughter? Is it too close to home?’” he said. “But once we put the question to them, they both responded with enthusiasm.”Representatives for Beyoncé did not immediately respond to a request for comment.Last year, Blue Ivy joined Beyoncé onstage during the Renaissance tour, which wrapped up in October; she already has a Grammy, for best music video for “Brown Skin Girl,” a single by her mother. Beyoncé holds the record for most Grammys in history, with 32 wins.“The Lion King,” which was directed by Jon Favreau, was a box-office smash, earning $192 million at theaters in the United States and Canada in its first weekend. It ultimately made more than $1.5 billion in ticket sales globally. More