Music

Our guide to pop and rock shows and the best of live jazz happening this weekend and in the week ahead.Note: Because of the coronavirus outbreak and the state’s ban on gatherings of more than 500 people, many events have been canceled. As of press time, these were still scheduled to take place. Before heading out, visit the website of the performance space or organization for the latest updates.Pop & RockBILLIE EILISH at Prudential Center in Newark, N.J. (March 16, 7:30 p.m.). If you weren’t already convinced that this singer is music’s brightest new star, this year’s Grammy Awards made that status harder to contest. Eilish walked away from the ceremony with an impressive five trophies awarded to her lawless spin on pop, which showcases her whispered alto, affinity for SoundCloud rap aesthetics and fascination with the macabre. Less than a year has passed since Eilish last performed in New York, in which time she’s upgraded from concert halls to arenas. Prudential Center will host her “When We All Fall Asleep” tour on Monday. The show is sold out, but tickets are available for a pretty penny on the resale market.973-757-6625, prucenter.com[Read about the events that our other critics have chosen for the week ahead.]THE OPHELIAS at Trans-Pecos (March 15, 8 p.m.). “Sadness is good for writing songs but it’s awful for everything else !!” tweeted this indie-pop band from Cincinnati in January, offering followers a window onto their creative process. Indeed, there is usually an underlying darkness to the Ophelias’ songs, even when they are swathed in bright arrangements and buoyed by the singer Spencer Peppet’s wispy, cotton candy vocals. A track like “Fog,” from their 2018 album, “Almost,” best demonstrates this duality: The song expresses an earnest fear of solitude with the help of a sweeping fiddle and chipper harmonies. On Sunday, the Ophelias will perform in Queens with support from the singer-songwriter Lina Tullgren.thetranspecos.com[Read about the events that our other critics have chosen for the week ahead.]SOB X RBE at Baby’s All Right (March 14, 8 p.m.). Hailing from Vallejo, Calif., this rap group essentially consists of two discrete business units: Strictly Only Brothers (SOB) is responsible for their bark-rapped verses, while Real Boi Entertainment (RBE), helmed by the group’s breakout star Yhung T.O., delivers sticky melodic hooks. This winning recipe has carried SOB x RBE through four albums in half as many years, as well as a handful of EPs and a clout-boosting appearance on the Kendrick Lamar-curated “Black Panther” soundtrack. Lineup fluctuations have raised questions about their long-term viability, but for now, the group — down one member after Lul G’s departure — is sticking together and touring behind their most recent release.718-599-5800, babysallright.comOLIVIA HORN[embedded content]JazzJANE IRA BLOOM at Shapeshifter Lab (March 13, 7 p.m.). Bloom has written and performed sophisticated original music for ensembles of all sizes, but there’s nothing more directly rewarding than the sound of her soprano saxophone, which banters and curls but puts its point to you straight. She will bring a trio of trusted confidants — the bassist Mark Helias and the drummer Matt Wilson — for the group’s first performance at Brooklyn’s Shapeshifter Lab.shapeshifterlab.comWILL CALHOUN’S TOTEM ENSEMBLE (March 16-18, 8 and 10:30 p.m.). Calhoun springs from a tradition that counts Tony Williams, Ginger Baker and Billy Cobham as founding fathers: powerhouse drummers whose roots in both rock and jazz laid the foundation for broader explorations. Calhoun made his name in the 1980s as a member of Living Colour, the famed funk-metal band behind “Cult of Personality,” but more recently he has focused on his own bandleading career. Next week Calhoun appears with a top-flight ensemble featuring Orrin Evans on piano and keyboards, Greg Osby on saxophone and Melvin Gibbs on bass. The guitarist Jean Paul Bourelly will appear as a special guest each night. On Monday, the guembri player Hassan Hakmoun will also be on hand; on Wednesday, the rapper Pharoahe Monch will sit in. 212-475-8592, bluenote.netAL FOSTER, RON CARTER AND KEVIN HAYS at Smoke (March 12-15, 7 and 9 p.m.). Carter left Miles Davis’s employ for good at the end of the 1960s, after spending much of the decade as the linchpin of that famed trumpeter’s quintet — one of the most influential groups in jazz history. Soon after, Foster joined Davis’s electric band, and participated in a string of recordings that have not been as thoroughly canonized, but nonetheless left an indelible mark on American music. Foster and Carter have collaborated in a smattering of small bands in the past, most notably in a trio with Joe Henderson that was captured for his “State of the Tenor” albums. For this four-night run they are joined by the nimble pianist Kevin Hays.212-864-6662, smokejazz.comWILLIAM HOOKER at Roulette (March 15, 8 p.m.). Hooker’s drum style, fired in the furnace of the downtown experimental scene of the 1980s and ’90s, is thunderous and unrelenting, but that doesn’t mean he lacks a taste for nuance. In recent years Hooker has focused on crafting large-scale, multimedia works, and here he presents the premiere of “TOUCH: Soul and Service,” a four-part suite that accompanies a film Hooker directed with the experimental artist Phill Niblock.917-267-0368, roulette.orgJOSH LAWRENCE AND LOST WORKS at Jazz Standard (March 18, 7:30 and 9:30 p.m.). A rising trumpeter with the raw talent to match his inquisitive instincts, Lawrence released a short EP last year featuring a three-part suite of tensile post-bop, inspired by the expressionist paintings of Wassily Kandinsky. At these shows he will perform that music with an ensemble of esteemed side musicians: Antonio Hart on alto saxophone, Robin Eubanks on trombone, Zaccai Curtis on piano, Luques Curtis on bass and Anwar Marshall on drums.212-576-2232, jazzstandard.comLOGAN RICHARDSON AND IMMANUEL WILKINS at the Jazz Gallery (March 13, 7:30 and 9:30 p.m.). Two young saxophonists of bright, perfervid attack and deep assurance, Richardson, 39, and Wilkins, 22, have a lot in common. But then they diverge: Richardson’s stock in trade is the bluesy smear, bending one keening note into another. Wilkins communicates differently — at a higher rate of notes per minute — peppering you with action before letting his tone disintegrate into a dry bawl. At the Gallery they will lead a quartet featuring Matt Brewer on bass and Marcus Gilmore on drums.646-494-3625, jazzgallery.nyc GIOVANNI RUSSONELLO More

Keith Olsen, a record producer whose slew of hits included the first Fleetwood Mac album with Stevie Nicks and Lindsey Buckingham, whom he helped bring into the band, died on Monday at his home in Genoa, Nev. He was 74.His daughter Kelly Castady said the cause was cardiac arrest.Mr. Olsen worked with a roster of successful artists that ran rock’s gamut, including the Grateful Dead, Santana, Pat Benatar, Whitesnake and Scorpions.Early in his career he produced “Buckingham Nicks” (1973), a folk-rock album by the then little-known Ms. Nicks and Mr. Buckingham. The album, on which Ms. Nicks sang and Mr. Buckingham sang and played guitar, flopped, but, as many accounts have it, Mr. Olsen played one of the songs for Mick Fleetwood, Fleetwood Mac’s drummer.Fleetwood Mac, which began in the late 1960s in England as a psychedelic blues-rock combo, had undergone many lineup changes in the years since their guitarist and frontman Peter Green left in 1970. After Bob Welch left the band in 1974, Mr. Fleetwood was looking for a new guitarist, and thought he might have found him after hearing “Buckingham Nicks.”Soon after, Ms. Nicks told The Observer of London in 2011, “Mick Fleetwood had asked us to join Fleetwood Mac, sight unseen. Keith Olsen had played him ‘Buckingham Nicks,’ and told him Lindsey and I came as a pair.”Mr. Olsen produced the first album with the new lineup (although the cover pictured only Mr. Fleetwood and John McVie, the group’s bassist). Called simply “Fleetwood Mac” (1975), it had a soft-rock sound that marked a departure from the group’s harder-edged blues roots.In Dave Grohl’s documentary “Sound City” (2013), about the Los Angeles recording studio where that and many other seminal rock albums were recorded, Mr. Olsen said that Mr. McVie had been a bit reluctant to embrace their new sound.“John McVie said to me, ‘You know we’re a blues band, this is really far away from the blues,’” Mr. Olsen recalled. “And I said, ‘I know, but it’s a lot closer to the bank.’”“Fleetwood Mac,” which included the hits “Rhiannon,” “Say You Love Me” and “Landslide,” reached No. 1 on the Billboard album chart and went platinum many times over. The follow-up, “Rumours” (1977), was even more successful — it became one of the best-selling albums of all time — but the group and Mr. Olsen parted ways after “Fleetwood Mac.”Mr. Olsen went on to produce or co-produce “Terrapin Station” (1977) for the Grateful Dead, “Marathon” (1979) for Santana, “Crimes of Passion” (1980) and “Precious Time” (1981) for Ms. Benatar, “Slide It In” (1984) and “Whitesnake” (1987) for Whitesnake, “Crazy World” (1990) for Scorpions and “No Rest for the Wicked” (1988) for Ozzy Osbourne, among many other albums.He also produced singles that stood out, like Rick Springfield’s 1981 No. 1 hit “Jessie’s Girl.” Mr. Springfield wrote on Twitter that Mr. Olsen, who produced “Working Class Dog” (1981), the album on which “Jessie’s Girl” appeared, immediately picked it as a hit out of 15 of Mr. Springfield’s songs.“He could be a bit of a pistol in the studio but that was part of his talent,” Mr. Springfield wrote. “Sticking to his guns when some whiny artist (me) would say, ‘I don’t think that works.’ He didn’t produce all those hits for all those musicians for no reason.”Keith Alan Olsen was born on May 12, 1945, in Sioux Falls, S.D., to Kenneth and Lillian (Aune) Olsen. His father worked for Firestone Tire and Rubber, and his mother was a homemaker. He grew up in a suburb of Minneapolis and was fascinated with music of all kinds from a young age.He studied music at the University of Minnesota but left to play bass in different bands and toured with the singer Gale Garnett before joining the Music Machine, a garage-rock group that had a Top 20 hit with “Talk Talk” in 1966.Around the same time he started working with Curt Boettcher, best known for producing the Association’s No. 1 hit “Cherish.” In the late 1960s he moved to Los Angeles, where he learned more about record production from the Beach Boys’ Brian Wilson among others. In the early 1970s founded the production company Pogologo, named after his husky.Mr. Olsen’s marriage to Wendy Bergdoll ended in divorce.In addition to his daughter Kelly, he is survived by another daughter, Kristen Olsen; his partner, Janice Godshalk; a son, Nick Hormel; a sister, Carolyn Hoffman; and two grandchildren.In 1997 Mr. Olsen told the magazine Studio Sound that even as production technology advanced, he stuck to one core principle: “Remember the source — where the music comes from.”“All the gear in the world,” he continued, “cannot make a bad guitar player play great.” More

Sure, it’s called the Mostly Mozart Festival. But this summer, Lincoln Center could just as easily go with Lotsa Beethoven, as it dives into celebrating that composer’s 250th birthday.There will be newer fare, too, including Jeanine Tesori’s opera “Blue”; Anna Thorvaldsdottir’s chamber opera “UR_”; and Jonathan Dove’s “Search for Spring,” a “crowd action” for 1,000 voices. And Mozart is hardly being ignored: The festival will open on July 14 with “Divine Connection,” a staged work that weaves Mozart’s Requiem and music by Arvo Pärt.But there will be much Beethoven, including Stephen Hough playing the “Emperor” Piano Concerto; Joshua Bell, Steven Isserlis and Jeremy Denk teaming up for the Triple Concerto; and the Freiburg Baroque Orchestra performing the Third Piano Concerto (with Kristian Bezuidenhout on the fortepiano) and Violin Concerto (with Isabelle Faust).The festival will conclude on Aug. 8 with a re-creation of Beethoven’s marathon Akademie concert of 1808, which featured the premieres of the Fifth and Sixth Symphonies and the “Choral Fantasy,” as well the first public performance of the Fourth Piano Concerto, alongside other works. The Mostly Mozart Festival Orchestra will be conducted by the festival’s music director, Louis Langrée, who recently led the program with his other ensemble, the Cincinnati Symphony Orchestra.Summer programming at Lincoln Center has been evolving since the decision was made in 2017 to cancel the Lincoln Center Festival — which focused on fully staged performances — and devote its resources to Mostly Mozart, which was once a straightforward concert series. This summer, Mostly Mozart will be confined to about three and a half weeks, its shortest span in years. But it will continue to take on more of the big-ticket events Lincoln Center Festival was known for.One highlight will be the American premiere of one of Ivan Fischer’s latest outings as a conductor-director: his production of Verdi’s “Falstaff” with the always-game Budapest Festival Orchestra. The Mark Morris Dance Group will bring back Handel’s “L’Allegro, il Penseroso ed il Moderato,” with Jane Glover conducting. And the dance “Flowers for Kazuo Ohno (and Leonard Cohen),” performed by the Colombian troupe Compañía del Cuerpo de Indias, will pay homage to both Cohen and Ohno, a founder of Butoh, the influential Japanese dance-theater form.The festival will also continue to spotlight new music. It will give the first New York City performances of “Blue,” an opera about an African-American family whose son is killed by a police officer, which had its premiere at the Glimmerglass Festival last year. And the International Contemporary Ensemble will give the North American premiere of Ms. Thorvaldsdottir’s “UR_.”Mostly Mozart will continue its recent tradition of mounting large outdoor works with “Search for Spring,” which a thousand singers from across the city — both professional and amateur — will sing in Lincoln Center’s plaza under the direction of the esteemed choral conductor Simon Halsey. More

BERLIN — At 2 a.m. on Thursday, the dance floor at Tresor in Berlin showed little indication that Germany was in the grip of a pandemic.About 150 people were squeezed into the main space of the famous techno club, which is under a former power station. Few seemed to be heeding the “important tips for the coronavirus” that had been posted next to the stern-looking bouncers at the front door. These included “maintaining distance” in tight spaces and not “passing around drinks.”Mercedes Sánchez, 22, was at the club celebrating the end of her medical school exams with two friends. “We know it’s maybe not such a good idea, but we thought, ‘Today and then never again,’” she said. Her group was taking “appropriate measures,” she added, like “no touching anyone, and no new friends.”They had originally wanted to go to KitKatClub, Sánchez said, a nearby fetish and dance venue where it is not uncommon for patrons to have sex in the club. “But we thought the danger of infection there was higher,” she added.On Tuesday, the local authorities in Berlin closed all state-run theaters, opera houses and concert halls; on Wednesday, the city banned public events involving more than 1,000 people.Berghain, Berlin’s largest and perhaps most famous techno club, announced on its website on Wednesday that it would close until April 20, “in the best health interests of our staff, artists and guests.”But in a city where clubs are seen as an integral part of the cultural fabric, as well as an important sector of the economy, the idea that they posed a coronavirus threat has met with a mixed response.According to an email from the Club Commission, a trade body, there are 140 clubs in Berlin. Almost all of them have a capacity of fewer than 1,000 people, and so, on Wednesday night, many remained open for business.Outside Tresor early Thursday, some clubgoers said that they were aware of the dangers, but were simply trying to make the most of their vacation. Nicholas Wessel, 26, visiting from Seattle on a multicity trip through Europe, said he decided to “risk it” because it was his only opportunity to visit a club here.“It’s a part of Berlin we came out to enjoy,” he said, adding that it would have been “sad” not to experience the city’s famous techno scene. More