Music

Subterms

    More stories

    • 113 Shares159 Views

      in Music

      The Piano Trio: (Still) a Powerful Force in Jazz

      by

      New releases from Tyshawn Sorey, Kim Cass, Bill Charlap, Tarbaby, Matthew Shipp, Kris Davis and others are showcasing how a classic format can still feel fresh.Two of the most engrossing jazz tracks in recent months, the Tyshawn Sorey Trio’s “Your Good Lies” and Kim Cass’s “Slag,” share a classic trio instrumentation and the presence of Sorey behind the kit.Sorey’s “Your Good Lies,” a cover of a track by the pop-soul group Vividry that features the pianist Aaron Diehl and the bassist Harish Raghavan, is a vortex of downtempo groove, sprawling across 26 zoned-in minutes. “Slag,” in which Sorey performs alongside the bassist-bandleader Cass and the pianist Matt Mitchell, is a meticulous yet marvelously frantic scramble that exhausts itself just shy of the three-minute mark.Taken together, these ultimately very different pieces — drawn from Sorey and Cass’s new albums, “The Susceptible Now” and “Levs” — point to a major theme in jazz in 2024: Piano trios are everywhere, and their potential still feels limitless.The piano-bass-drums combo has been a staple since the late ’50s and early ’60s, when trios led by Ahmad Jamal and Bill Evans modeled the crisp elegance and conversational charge that the format could offer. In subsequent years, as new approaches have come and gone, the music has always made room for great piano trios: Keith Jarrett’s Standards Trio, Brad Mehldau’s three-piece, Jason Moran’s Bandwagon, the Bad Plus.This year’s crop is striking for its robust growth: Many major pianists are involved — Vijay Iyer, Bill Charlap, Kris Davis, Matthew Shipp, Ethan Iverson, Nduduzo Makhathini and Mitchell, at the helm of his own group — plus notable up-and-comers such as Marta Sanchez and Luther S. Allison, and other instrumentalists and composers like Sorey, Cass and John Zorn, and the collective group Tarbaby. And it’s notable for the sheer variety of work these artists have produced. Orthodox approaches to the idiom are easy to find, but so are a wealth of other tacks, ranging from the earthy to the outré.New releases from (clockwise from top left) Matthew Shipp, Kim Cass, Sorey and Kris Davis are part of the year’s surge in trio albums.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 Shares149 Views

      in Music

      One Defendant Accepts a Plea Deal Amid Young Thug’s RICO Trial

      by

      Prosecutors have accused the star Atlanta rapper of leading a gang in the longest trial in Georgia history. The case has been further delayed by plea negotiations.A defendant in the racketeering and gang conspiracy case against the Atlanta rapper Young Thug and members of his YSL crew agreed to a plea deal in court on Tuesday.Five defendants including Young Thug — born Jeffery Williams — remain, as the case sits in limbo following a motion for a mistrial and a multiday pause stemming from an evidence mishap during witness testimony last week.Mr. Williams, 33, stands charged with conspiracy to violate the Racketeer Influenced and Corrupt Organizations Act, or RICO, and participation in criminal street gang activity, along with six counts related to the possession of weapons and controlled substances. He has pleaded not guilty. The sprawling trial, in which 28 men were initially charged, had already become the longest in Georgia’s history after extended logistical complications, recurring courtroom dramas, the removal of one judge, the appointment of another, and a jail stabbing. Jury selection for the case, which was first charged in May 2022, began in January 2023 and lasted some 10 months, with opening arguments having taken place last November.On Tuesday, after more than three days of trial delays as potential mid-trial deals were considered, the YSL defendant Quamarvious Nichols agreed to a negotiated guilty plea to one count, conspiracy to violate RICO. As a result, prosecutors said they would recommend a 20-year prison sentence, with seven served in person and the balance on probation.The judge overseeing the case, Paige Reese Whitaker, accepted the plea without the jury present, adjourning court for the remainder of the day. A lawyer for Mr. Williams did not respond to a request for comment regarding any ongoing plea negotiations.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

    • 63 Shares109 Views

      in Music

      13 Scary Good Halloween Songs

      by

      Fill up your holiday playlist with spooky and satisfying tracks from Yeah Yeah Yeahs, the Sonics, Geto Boys and more.Karen O and Brian Chase of the Yeah Yeah Yeahs (being watched … closely).Chad Batka for The New York TimesDear listeners,Hello from your guest playlister for the day — I’m Dave Renard, an editor on the Culture desk who writes about music occasionally and tries to keep his record collection from outgrowing its allotted shelf space (currently failing).Let’s just get this out of the way first: Halloween has the best music of any holiday and it’s not even close. Christmas may be the sales leader, but its canon is too tied to a tight list of classics and standards, and if you have the bad fortune to encounter a repetitive earworm like “The Little Drummer Boy” or (shudder) “The 12 Days of Christmas,” there goes your whole day. Thanksgiving is a great opportunity to throw on some soul music while you mash potatoes, but like most other holidays, it doesn’t have much of a musical tradition of its own. Fourth of July, we’ve got Galaxie 500 and what, Katy Perry? (My editor offers a star-spangled dissent, but I think the point stands.)Halloween, on the other hand, has a huge range of spooky sounds to draw from. (If you know the old joke about hell having all the good bands, it’s kind of like that.) My playlist strategy is to surround the typical novelty favorites like “Monster Mash” or “Ghostbusters” with a critical mass of songs that are, you know, actually good. I can only listen to DJ Jazzy Jeff & the Fresh Prince do “A Nightmare on My Street” so many times before I start to lose it. If you think “Saw” is terrifying, try revealing to your teen daughter which songs drive you nuts and then — jump scare! — remembering she can control the sound system from her phone.A bigger pool of shared Halloween favorites makes that prospect less hair-raising. I lean heavily on black-clad ’80s punks, goths and post-punks, like the Cure and Siouxsie and the Banshees, along with ’60s garage rockers and their descendants. But really any song with a creepy edge to it, or lyrics name-checking a wide range of October signifiers, will do the trick. Here are an unholy 13 selections to soundtrack All Hallows’ Eve.I’m a human fly and I don’t know why,DaveListen 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

    • 100 Shares109 Views

      in Music

      Maurizio Pollini’s Final Recording, Made With His Son

      by

      Maurizio Pollini didn’t think his farewell on disc would be an album of music by Schubert with his son, Daniele. Now, it serves as an emotional coda.The pianist Maurizio Pollini was still exploring, right to the end.Throughout his long partnership with Deutsche Grammophon, Pollini, who died in March at the age of 82, offered invariably accomplished, intellectually alert recordings of repertoire including Bach and Chopin, Schoenberg and Boulez. In his twilight, he rethought music that he had recorded before, not least the last five sonatas of Beethoven — works with which he had previously confirmed his stature in the 1970s, in versions that still sound strikingly modern today.Pollini’s last recording, which was recently released, bids a somewhat surprising farewell. Dedicated to Schubert, it marks a welcome return to a composer whose music Pollini had not taped since the 1980s. But what makes the program so remarkably poignant is that Pollini is joined by his son, Daniele. Each musician first plays a solo work: Maurizio, a taut rendition of the Piano Sonata in G; Daniele, a shapely set of the “Moments Musicaux.” Then, father and son share a single instrument in a concluding, breathtakingly direct interpretation of the Fantasie in F minor, for four hands.And so Maurizio Pollini’s discography ends with one of the bleaker cadences in music, confronting tragedy without flinching. The recording was not intended to be valedictory, though. Made in Munich in June 2022, the Schubert was one of several studio projects that Pollini still had in mind, among them the second book of Bach’s “The Well-Tempered Clavier.”Instead, the sessions were an opportunity for father and son to work together. It was only their third time doing so. In 2016, they recorded a two-piano piece, “En Blanc et Noir,” as a coda to Pollini’s recording of the second book of Debussy’s “Préludes.” Before that, Daniele Pollini had conducted his father in Beethoven’s “Emperor” Concerto, in a filmed performance that made the elder Pollini particularly proud.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

    • 113 Shares159 Views

      in Music

      At 200, Bruckner Is More Popular Than Ever. Why?

      by

      Seven conductors share what it’s like to lead Anton Bruckner’s monumental symphonies, and why they resonate today.Bruckner, Bruckner, everywhere.There was a time, as recently as three or four decades ago, when this composer was a relative rarity, especially outside Central Europe. His reputation preceded him. He was a religious man alien to the modern world, the author of monumental symphonies that many listeners found monumentally dull.He was a provincial, uncouth, hardly a sophisticate like Brahms or Mahler. There was the forbidding editorial history of his nine (or is that 11? 18?) symphonies, and the lingering unease at his adoption by Nazi propagandists. If Bruckner was never exactly absent from the repertoire, he was long its resident eccentric.Even if some listeners still struggle with this music, though, there has always been a band of Bruckner devotees among scholars, critics and musicians. “There is no doubt that if people once grow fond of Bruckner, they grow very fond of him,” the editor of Gramophone magazine said nearly a century ago. And lately, more and more people seem to have grown very fond of him indeed.Performances of Bruckner’s symphonies seem more common than ever, and not just because this year is the 200th anniversary of his birth. Recordings come out constantly, with offerings that include fresh takes on period instruments and entire cycles from our most esteemed ensembles. It used to be that Bruckner had to be programmed with Mozart to draw a crowd; now he carries enough weight to bring Messiaen or Ligeti along with him. Attitudes have changed; clichés have quietened. Observers once talked of the “Bruckner Problem.” Now, we live in the Bruckner Moment.Conductors have played a major part in this transformation. Many of those working today are not just fond of Bruckner, but truly love his scores. For some, a performance of one comes close to a transcendent experience. Gone are the days when Bruckner was the preserve of the grizzled, graying maestro: Yannick Nézet-Séguin, for example, recorded the Seventh when he was just 31. Studying the music earlier in their careers, conductors have more opportunities to perform it; as technical standards have risen, even unheralded orchestras can give persuasive accounts of works that once posed challenges.So, what is Bruckner’s music like to conduct? Why do his symphonies, the expression of a deep Catholic faith, resonate so loudly in an increasingly secular age? How have these long, complicated works grown so remarkably in stature while our attention spans have become so brief? In interviews, seven conductors offered their thoughts; here are edited excerpts from those conversations.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 Shares129 Views

      in Music

      Part-Time Farmers, Part-Time Rock Stars: A Chinese Band’s Unlikely Rise

      by

      The band, Varihnaz, has gained fans by offering an alternative to China’s hyper-polished, fast-paced modern life, with songs about pesticides and poultry raising.Before setting out on his band’s first national tour, before recording another album and before appearing on a major television network, Ba Nong had one task: finishing the summer harvest.Standing in a field edged by rolling hills, two days before the first tour date in late September, Ba Nong, the frontman of the Chinese band Varihnaz, looked over the yellowed remnants of the rice stalks he had spent the past few months tending.“The land gets to rest, and I get to go play,” he said.Planning around the harvest may be an unconventional way to manage an ascendant music career, but Varihnaz is an unconventional band.For its members — two farmers and a former bricklayer from rural Guangxi in southwestern China — the land and their music are inseparable. Rather than the usual staples of love and longing, their lyrics dwell on pesticides and poultry rearing.Varihnaz means “fields filled with fragrant rice flowers,” in the language of Guangxi’s Zhuang ethnic minority. To fans, the group offers a refreshing break from China’s hyper-commercialized popular entertainers, with music about a simpler, slower way of life, an alternative to the intense competition of modern Chinese life.Ba Nong hopes his music helps people consider shrugging off mainstream expectations themselves. “The more tolerant and developed a society is, the more diverse its lifestyles should be, too,” said the musician, who is 44.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 Music

      The Music Industry Is Hoping Halloween Can Be the New Christmas

      by

      Eyeing the big business of holiday music, a few of pop’s major players are trying to expand the market for Halloween hits.When Ashnikko was growing up in North Carolina, their family told them that Halloween was satanic. But for each of the last six years, the alt-pop rapper and singer (who uses she/they pronouns) has observed what remains a fairly unusual tradition: releasing a single tied to a day better known for costumes and candy.This year’s track is the final entry in a seasonal series of gleefully lewd songs now packaged as an EP, “Halloweenie I-VI,” and available on “oxblood red” vinyl. Although perhaps not especially appropriate for a trick-or-treat night with the kids, the set reflects its creator’s idea of the holiday as a space for freedom through the grotesque.“I feel very passionately about Halloween music,” Ashnikko said, noting the day’s roots in the Celtic harvest festival Samhain as well as its prominence in L.G.B.T.Q. history. “It’s camp. It’s carnal. It’s macabre. It’s, like, silly. It’s the only holiday where all of those get to exist at once.”It’s also an $11.6 billion business, one that pop’s major players are increasingly tapping into. Ashnikko’s six “Halloweenie” songs have racked up a combined 100.3 million on-demand streams in the United States as of Oct. 17, according to the tracking service Luminate.The Weeknd, who hosted a haunted house at Universal Studios Hollywood two years ago, has returned with “Nightmare Trilogy,” a maze with a soundtrack from the singer. It opened eight days earlier than in 2019.“Monster Mash,” Bobby Pickett’s enduring Halloween anthem from 1962, has returned to the Billboard Hot 100 the last three years ahead of the holiday. And Billboard estimated last year that the hit could generate $1 million in annual combined revenue.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 Shares119 Views

      in Music

      How Jazz Musicians Like Louis Armstrong Paid Homage to Trains With Music

      by

      Jazz lovers worldwide know well the passion that Duke Ellington, Count Basie and Louis Armstrong had for trains, especially for the elegant Pullman cars that toted them to gigs across the country. Within the velvet-appointed sleeping carriages, African American porters shined the musicians’ shoes, nursed their hangovers, clipped their hair and served them mint juleps and Welsh rarebit — the same service afforded wealthy white passengers.In return, the maestros composed their now famous songs of homage to trains. There’s Duke’s throbbing “Happy Go Lucky Local,” the Count’s bow to the “Super Chief” and Satchmo’s romantic rendering of “Mail Train Blues.” But few fans appreciated the real reason these jazz legends worshiped not just the railroad generally, but George Pullman’s sleeper car: It saved them from the threat of terrifying violence.In that Jim Crow era of racial segregation, Black people were relegated to separate and unequal accommodations in everything from schools and parks to water fountains and restrooms. Just getting out of an automobile or bus to look for a meal and a bed could prove perilous in unfamiliar cities below the Mason-Dixon line. Wrong choices sometimes led to berating, beating or worse, with racial violence reaching new peaks in the early 1900s. Even the music makers’ fame couldn’t fully protect them. Only on the Pullman cars, where they were served by fellow African Americans, could they truly relax while on the road.“To avoid problems, we used to charter two Pullman sleeping cars and a 70-foot baggage car,” Ellington wrote in his 1973 memoir, “Music Is My Mistress.” “Everywhere we went in the South, we lived in them.”Duke Ellington’s band members on a train in 1941. In the Jim Crow era of racial segregation, Black people were relegated to separate and unequal accommodations in everything from schools and parks to water fountains and restrooms. Otto F. Hess Collection / New York Public LibraryThe Count Basie Orchestra did, too. Traveling in stylish Pullmans “was my piece of cake,” Basie recalled in his 1985 autobiography, “Good Morning Blues.” “Lots of times, instead of me getting into my bed, I used to sit and look out the window most of the night as we rambled from one place to another. That was music to me.” More