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      Mentors Named for Next Class in Rolex Arts Initiative

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      El Anatsui, Bernardine Evaristo and Dianne Reeves are among those pairing up for the program.The Ghanaian-born visual artist El Anatsui, the British writer Bernardine Evaristo, the Chinese filmmaker Jia Zhangke, the French architect Anne Lacaton and the American jazz singer Dianne Reeves are the new mentors in the Rolex Mentor and Protégé Arts Initiative, a program started by Rolex in 2002 to foster new generations of outstanding talent.The names of the new mentors and their protégés, who will collaborate for two years, were announced Friday at the Brooklyn Academy of Music, where the Arts Initiative is celebrating the culmination of its current program cycle. This cycle included Lin-Manuel Miranda, the first mentor in a recently added open category to incorporate multidisciplinary artists.The protégés are the architect Arine Aprahamian, the writer Ayesha Harruna Attah, the visual artist Bronwyn Katz, the filmmaker Rafael Manuel and the singer and composer Song Yi Jeon. The protégés each receive a stipend of about $41,000 in addition to funds for travel and expenses.The new group of mentors and protégés hail “from nine different countries in Asia, Africa, North America, Europe and the Middle East,” Rebecca Irvin, the head of philanthropy at Rolex, said in an email. “And their artistic work reflects many of the most pressing issues of our day, including sustainability, diversity and social change.”Evaristo, who wrote in a statement that she had her eye on the program “ever since Toni Morrison was a mentor 20 years ago,” said that the “very close and personal attention” that the protégé receives is very different than attending workshops or writing courses. “It might also involve career guidance and personal development, as well as opening up conversations around creativity and society, and looking to other art forms for inspiration,” she said.Twenty years after it began, the Arts Initiative, which calls on influential advisers to select the mentors and protégés, now has a boldface list of alumni, including David Adjaye, Alfonso Cuarón, Brian Eno, Lara Foot, Stephen Frears, Nicholas Hlobo, David Hockney, Joan Jonas, Anish Kapoor, Spike Lee, Mira Nair, Crystal Pite and Tracy K. Smith. More

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      Björk Insists on Connection, and 11 More New Songs

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      Hear tracks by Blood Orange, Madison Cunningham, Yeat and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.Björk, ‘Atopos’Multiple Björks converge in “Atopos,” the first single from her album due Sept. 30, “Fossora”; “atopos” is Greek for “out of place” or “amiss.” There’s the brash, declarative Björk, calling for unity and belting, “Thank you for staying while we learn/To find our resonance where we do connect.” There’s the beat-heavy Björk, who collaborated with Kasimyn — an Indonesian disc jockey who is in the duo Gabber Modus Operandi — on a stark, elemental kick-drum syncopation that turns to fierce battering at the end. There’s the nature-loving Björk, who surrounds herself in the video with close-ups of fungi. And there’s the modern chamber-music Björk, who chooses a family of instruments — on this track, six clarinets from bass on up — and writes gnarled, harmonically ambiguous arrangements for them. The song is equally cerebral and visceral — and, in its own way, jolly. JON PARELESBlood Orange, ‘Jesus Freak Lighter’A skittish electronic beat collides with a low, morose guitar riff on Blood Orange’s “Jesus Freak Lighter” — which is to say it’s a little bit New Order, a little bit Joy Division. Though Dev Hynes remains Blood Orange’s creative nucleus, as usual he’s brought on some new collaborators to orbit him on “Four Songs,” a new EP coming out next week; Ian Isaiah, Eva Tolkin and Erika de Casier will all be featured. “Jesus Freak Lighter,” though, is all Hynes, fitting since it conjures a mood of digital-era solitude: “Got carried away,” he sings with a kind of muffled melancholy, “Living in my head, photo fantasy.” LINDSAY ZOLADZPhoenix featuring Ezra Koenig, ‘Tonight’Phoenix harkens back to 2009 on the sleek “Tonight,” not just in the way the group recaptures the sound of the excellent record it released that year, “Wolfgang Amadeus Phoenix,” but in the cameo appearance from another late-aughts indie-pop luminary, Vampire Weekend’s Ezra Koenig. “I talk to myself and it’s quite surprising,” Thomas Mars quips on the chorus; by the second iteration, Koenig adds some backing vocals to keep him company. ZOLADZDeerhoof, ‘My Lovely Cat’What if the spiky San Francisco art-rock band Deerhoof decided to write a Rolling Stones song? “My Lovely Cat” might be as close as they get, with a rowdy, distorted 4/4 guitar riff, a more-or-less march beat and a slide guitar that veers between teasing the rhythm guitar and shadowing the vocal. Satomi Matsuzaki sings, in Japanese, about bonding with her cat in the internet era: “Let’s monitor on pet-cam!/Shall I start Instagram or TikTok?” Of course Deerhoof skews things, with sudden silences, sneaky shifts of key and meter and a final minute of obsessive repetition. But there’s a Stones swagger lurking underneath. PARELESMadison Cunningham, ‘Our Rebellion’Opposites attract, and perplex, in “Our Rebellion” from “Revealer,” the new album by Madison Cunningham. As she tries to defuse a lovers’ quarrel by recognizing differences — “You speak in numbers/I sing in metaphor” — she insists “I’m not trying to simplify you.” That certainly applies to the music: a perpetual-motion weave of deftly picked guitar lines in a brisk 7/4 meter, stacking up and realigning, jabbing and easing off, sometimes running backward, as the crafty wrangling goes on. PARELESJordana, ‘Is It Worth It Now?’Perky synthesizer arpeggios, a confident guitar line and a broad-shouldered drumbeat promise something cheerful. But “Is It Worth It Now?” is actually a snap-out-of-it pep talk for someone deeply depressed: “Disinterest in the things that made you wanna live is sad enough itself, isn’t it?” She has advice — “Swim right into the center of all your doubt” — but the song ends with a question, not a cure. PARELESThe Waeve, ‘Can I Call You’Graham Coxon and Rose Elinor Dougall are former members of two very different, if quintessentially British, bands: Blur and the Pipettes. They recently joined forces to form a new duo, the Waeve, and announced that a debut album will be coming next year. The first single, “Can I Call You,” is full of unexpected and sonically adventurous twists and turns: Just when it seems that the song has settled into its groove as a plaintive, folky piano ballad sung by Dougall, a screaming guitar solo from Coxon propels it into a different, and much antsier, register. “I’m tired of being in love, I’m sick of being in pain,” they chant together in a punky cadence, shouting to be heard over a cacophony that now includes Coxon’s blaring saxophone. “Can’t you just kiss me, then kiss me again?” ZOLADZYeat, ‘Krank’One of several space jams from the new Yeat EP, “Lyfë,” “Krank” is woozy, circular, lewd, lightly dystopian, and 10 percent less inscrutable than the average Yeat song to date. It’s something like growth. JON CARAMANICABryson Tiller, ‘Outside’Bryson Tiller sings with gymnastic verve, never letting the potential power of a lingering note get in the way of a slickly assembled cluster of syllables. Here, he prances and slides atop a beat that borrows heavily from the Ying Yang Twins’ signature salacious hit, “Wait (The Whisper Song).” CARAMANICA​​Lewis Capaldi, ‘Forget Me’The yowling prince Lewis Capaldi has made hay from singing himself hoarse, his hits filled with raw eruptions of schlock so potent they transcend past corn into something far more cooked. Unlike his biggest hits, “Forget Me,” his first new song in about three years, has a slight tempo to it — you aren’t bathing in his pathos quite the same as you once were. The verses amble by amiably, and there’s just the faintest echo of “Man in the Mirror” as the song begins to build. But Capaldi unleashes the full catharsis at the chorus: “I’m not ready/to find out you know how to forget me/I’d rather hear how much you regret me.” The only catch is that the song feels as if it’s rushing him along, urging him not to wallow. And wallowing is where Capaldi thrives. CARAMANICAMarisa Anderson, ‘The Fire This Time’When the 21st-century folk-primitive guitarist Marisa Anderson — no stranger to electric instruments, home recording or multitracking — learned about George Floyd’s death in May 2020, she spent the day recording ‘The Fire This Time’ and quickly put it on Bandcamp for a month as a benefit single. She has re-edited it for her coming album, “Still, Here.” Anderson places steady, mournful fingerpicking behind searching, keening slide-guitar lines and, at the 30-second mark, a police siren that passed by her window as she was recording. It’s a musician working out emotions physically, instinctively, with her fingers on the strings. PARELESMakaya McCraven, ‘The Fours’Jazz, minimalism and a rich sense of unfolding mystery suffuse “The Fours” by Makaya McCraven, the drummer, composer and producer whose next album, “In These Times,” arrives Sept. 23. The track begins with muffled drums and a patient bass vamp, but other instruments keep arriving, slipping into the mix almost surreptitiously and then adding their own layers of counterpoint: cello, viola, piano, harp, saxophone, trumpet, flute, even some flamenco-like handclaps from McCraven. The players collude as sections — strings, horns — or peek out with their own bits of melody; loops mingle with live instruments. The track undulates and thickens, then dissolves before revealing too many secrets. PARELES More

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      75 Pop and Jazz Albums, Shows and Festivals Coming This Fall

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      Major live events (Adele, Rosalía), buzzy debuts (Muni Long, Skullcrusher), energized returns (the Comet Is Coming, Kid Cudi) and a Taylor Swift LP are on the way.Live music made a roaring return this year, as artists who paused touring plans for the pandemic flooded back to the road. Arenas, jazz clubs, rock spots, cozy cabaret rooms: they’re booked solid this fall, giving musicians and fans a chance to reconnect. The release calendar is jam-packed, too, though many of pop’s biggest names haven’t announced autumn albums — yet. (One big exception? Taylor Swift.) But the schedule is stocked with LPs from emerging artists, established acts and a few pioneers who still have plenty to say. Dates are subject to change; check vaccine and mask requirements for individual performers and venues.ROSALÍA A few months ago, Lorde slipped a cover of Rosalía’s saucy “Hentai” into her set at Radio City Music Hall; this month, New Yorkers have a chance to hear it straight from the source, on the same stage. Currently on the road supporting her genre-busting album “Motomami,” the Spanish superstar hits Boston on Sept. 15, then cities including New York, Toronto and Chicago before heading to California. From a doggedly inventive artist who’s as meticulous about her visuals as her music, this stage show features sharp choreography, a seamless backdrop and even the singer giving herself an onstage haircut. (In North America through Oct. 22) — Olivia HornROXANA AMED For this Argentine-born, Miami-based vocalist, jazz is a loose and syncretic system, suitable for mingling traditions from across the Americas. The luxurious darkness of her alto might recall contemporaries like Cassandra Wilson or Claudia Acuña, but Amed is distinguished by her scholarly tack. “Unánime” (the title translates to “Anonymous”) is both a response and a kind of resistance to one question she’s often asked, about her relationship to the so-called Latin jazz tradition. The album includes covers of artists as varied as Egberto Gismonti and Miles Davis, as well as new originals, anchored by the piano playing of a now-80-year-old Chucho Valdés. (Sept. 16; Sony Latin) — Giovanni RussonelloBLACKPINK Perhaps the biggest girl group in K-pop, Blackpink is also the genre’s most playfully eclectic. “Pink Venom,” the first single from its second album, “Born Pink,” has traditional Korean instruments, old-school rap, boomy EDM beats and boasts about their stuff going “straight to your dome like whoa, whoa, whoa.” A world tour this fall includes a handful of American dates. (Sept. 16; YG Entertainment/Interscope) — Ben SisarioMICHELLE BRANCH With Y2K nostalgia thriving, Michelle Branch — whose pop-rock anthems “Everywhere” and “All You Wanted” made her a teen star in 2001 — released an updated version of her debut, “The Spirit Room,” last year. But, hardly content to be a throwback act, Branch has new music in the pipeline, too. Written and recorded with the Black Keys drummer Patrick Carney, “The Trouble With Fever” balances alt-rock edge with decadent orchestral pop flourishes. (Sept. 16; Audio Eagle/Nonesuch/Warner Records) — HornNOAH CYRUS When she began her music career at age 16, Noah Cyrus — already caught in spillover from her sister Miley’s spotlight — hunted for her sound in full public view. Her early efforts, aligned with hip-hop and R&B, didn’t stick, and she has since retreated to her Nashville roots. On “The Hardest Part,” her debut album, she draws pedal steel, banjo, fiddle and harmonica from a robust country tool kit on songs that foreground her struggles with addiction and noxious romance. (Sept. 16; Records/Columbia) — HornDEATH CAB FOR CUTIE Twenty-five years into its career, the band brings its incisive, anguished writing to a particularly 2022 brand of existential angst on its 10th album, “Asphalt Meadows.” The songs spool and spiral, commenting on the slow-motion dread of a warming planet, the ache and anger of pandemic politics and the desperation of lockdown. “These nights, I don’t know how I survive,” Ben Gibbard repeats on the first track, howling over a distorted gnarl of guitar. It’s a tidy thesis statement for an expansive album: He doesn’t know how he makes it through, but he’s delighted that he does. (Sept. 16; Atlantic) — Dani BlumSKYLER GENTRY The performer and writer Ben Zook, host of the cheeky web series “Where the Bears Are,” brings “The Dirty Show With Skyler Gentry” to the West Bank Cafe’s Laurie Beechman Theater on Sept. 22-23. Expect an evening of raunch and revelations from “America’s favorite actor-singer-dancer-psychic,” as Zook is billing his alter ego. The venue’s lineup also features the drag darling and television personality Tammie Brown (Sept. 16-17), the elegant soprano stylings of Shana Farr (Oct. 7, 12 and 20, Nov. 12), the queenly revisionism of Distorted Diznee (Sept. 23, Oct. 21, Nov. 18, Dec. 9), the supple harmonies of Those Girls (Oct. 2, 15 and 29, Nov. 3), the caressing interpretations of Linda Viggiano (Oct. 13, Nov. 11) and the diva impressionist nonpareil Christine Pedi (Dec. 16-17). — Elysa GardnerLITTLE BIG TOWN The country group Little Big Town recruited over 30 songwriters for its latest album, “Mr. Sun,” a sweeping record that oscillates between whistling, warbling songs and despondent breakup anthems. These are glossy, pop-inspired tracks — “Why are songs never long enough to hold you?” the band coos over disco beats on “Heaven Had a Dance Floor” — but they also confront the turmoil brewing beneath the burbling bass lines. “I go to bed to sleep you off, and I wake up feeling better/Ain’t too proud to push it down, but I’m a terrible forgetter,” they howl on “Three Whiskeys and the Truth.” (Sept. 16; Capitol Records Nashville) — BlumMARCUS MUMFORD The Mumford & Sons frontman trades his galloping guitar and ragged harmonies for introspective anthems on his debut solo album, “(Self-Titled).” Childhood trauma, prolonged breakups, losing faith — Mumford doesn’t shy away from the heaviest topics here. (“Each word is a cut that I see coming/I clench my fists as I’m inflicting them,” he murmurs on “Prior Warning.”) He recruits Phoebe Bridgers, Clairo and Brandi Carlile to help bring some air into his intense self-examination, but even on these duets, Mumford and his gravelly voice remain the focus. (Sept. 16; Capitol) — BlumMarcus Mumford’s debut solo album doesn’t shy away from painful topics.Emma Mcintyre/Getty Images For KroqMURA MASA The English producer Mura Masa can contort any sound into a rave-ready thumper. On “Demon Time,” his pandemic dread-inspired album, he cobbles club hits out of dial-up tones, revving engines, screeching cars and sludgy synths. A cadre of hyper-online collaborators sing and rap over his bleeping, blurry beats, including Lil Uzi Vert, Shygirl and PinkPantheress. “Life in a box, start watching TV/Brain like mush always staring at screens,” the British rapper Slowthai snarls on “Up All Week,” over frenetic flashes of fizz. (Sept. 16; Anchor Point Records/Interscope) — BlumLeANN RIMES Twenty-five years after LeAnn Rimes released her first song — the yearning ’90s country classic “Blue,” which she delivered as a 13-year-old with the ache of someone three times her age — the singer-songwriter is ready to take some risks. On “God’s Work,” a nod to the Christian music she’s put out in the past and the album’s devotional undercurrent, she slides through swelling piano ballads and guitar-heavy reggae, crescendoing choruses and gentle, lilting hums. “If we ain’t seeing God in everyone,” she muses on the title track, “then we ain’t seeing God at all.” (Sept. 16; EverLe Records via Thirty Tigers/ The Orchard) — BlumREMEMBERING TOMASZ STANKO Until his death four years ago, the Polish trumpeter Tomasz Stanko was among the most respected improvisers and bandleaders in Europe, unmistakable for his terse economy and saturnine tone. He grew up in Soviet-era Rzeszów, where he first heard jazz via Voice of America broadcasts in the postwar years. In his mid-60s he realized a lifelong dream and moved to New York. Now, in what would have been his 80th year, Stanko will be celebrated in a special tribute concert in Brooklyn, featuring admirers and collaborators from Europe and the United States: the trumpeters Ambrose Akinmusire and Wadada Leo Smith; the guitarist Jakob Bro; the saxophonists Ravi Coltrane, Joe Lovano and Chris Potter; and others. (Sept. 18; Roulette) — RussonelloCÉCILE McLORIN SALVANT Since winning the Thelonious Monk International Jazz Competition in 2010, Cécile McLorin Salvant has earned consistent praise (and three Grammys) for her witty, rangy singing, as well suited to Rodgers and Hart and Kurt Weill as to blues classics and Kate Bush. Her song cycle “Ogresse” blends folk, jazz, country and baroque influences, and she’ll appear Sept. 20-25 at the Blue Note, where other artists this season include the silky-voiced rising jazz star Samara Joy (Sept. 12, Sept. 26), the Harlem Gospel Choir (Sept. 18, Oct. 16, Nov. 13), the prolific trumpeter and vocalist Keyon Harrold (Oct. 16-19) and the soulful, genre-blending group Tank and the Bangas + Friends (Nov. 11-13). — GardnerCécile McLorin Salvant will bring the full range of her vocal talents to the Blue Note this month.Pawel Supernak/EPA, via ShutterstockALEX G For more than a decade, this unlikely star of Philadelphia’s D.I.Y. scene has been cranking out defiantly odd homespun recordings, keeping his head down and choosing close friends and family as collaborators even after accruing mainstream clout (see: his contributions to Frank Ocean’s “Blonde”). “God Save the Animals,” his ninth album, smashes together elements of folk, rock and noise music and subjects them to funhouse-mirror distortion, with results that are alternately eerie and endearing, and, as usual, resistant to interpretation. (Sept. 23; Domino) — HornCHRISTINE AND THE QUEENS PRESENTS REDCAR Since assuming the Christine and the Queens moniker in 2010, this French singer has become known for body-friendly funk-pop with nuanced ideas about gender norms and performance. With a new alias, Redcar, reflecting an evolving identity (“My journey with gender has always been tumultuous,” the artist told The New York Times earlier this year), he is back with his first album in four years, “Redcar les Adorables Étoiles (Prologue).” Sung almost entirely in French, the album feels beamed from the ’80s, with chunky, ultra-synthetic arrangements counterbalancing the singer’s lithe, expressive voice. (Sept. 23; Because Music) — HornKELSEA BALLERINI On “Subject to Change,” Kelsea Ballerini animates her perky country-pop with succinct, specific details — the partner who leaves a light on for her when she comes home after a night drinking with friends, the blasé thrill of a hand on the small of her back. Her new album is filled with strum-along tracks about growing up (her verdict: “It kinda hurts like hell/it’s chaotic, ironic”) and delving deeper into new relationships and long-term friendships (“I’ve known you since Brad and Angelina”). Even while extolling how hard it is to leave adolescence behind, she makes maturity sound easy. (Sept. 23; Black River Entertainment) — BlumKelsea Ballerini’s new album, “Subject to Change,” revels in the details.Amy Harris/Invision, via Associated PressTHE COMET IS COMING Of the saxophonist Shabaka Hutchings’s many projects, the Comet Is Coming is the most closely linked to London’s electronic music mainstream. Mixing jazz methodology with loops, spiraling effects and Hutchings’s retrofits of Caribbean rhythm, this trio seems intent on humanizing the EDM beat while actually upping its power, not diluting it. Hutchings, the keyboardist Dan Leavers and the drummer Max Hallett (in the band they go by King Shabaka, Danalogue and Betamax) recorded their fourth album, “Hyper-Dimensional Expansion Beam,” in a series of jam sessions. The LP finds each player showing newfound restraint, leaving more room for the listener than on any of the trio’s earlier releases. (Sept. 23; Impulse!) — RussonelloDR. JOHN The New Orleans piano man who embodied the musical mélange of his hometown had the kind of drawly, lived-in voice that only improved with age. So “Things Happen That Way” — Dr. John’s final album, recorded the year he died, 2019 — captures him in peak form. The album honors the singer’s country influences via covers of classics by Hank Williams (a swaggering “Ramblin’ Man”) and Willie Nelson (a wry “Funny How Time Slips Away”), who also duets with the good doctor on a funky “Gimme That Old Time Religion.” A few originals — a reprise of “I Walk on Guilded Splinters,” from Dr. John’s voodoo-inspired 1968 debut, and new tracks including “Holy Water,” inspired by his early ’60s drug arrest — frame him as a key link in the American lineage he so revered. (Sept. 23; Rounder) — Hank ShteamerMUNI LONG “Public Displays of Affection: The Album,” a new collection from the R&B singer-songwriter Muni Long, isn’t exactly a debut. But it might register as one, since the artist’s prior two full-lengths came out under the name Priscilla Renea, before she assumed her current alias (a playful rendering of “money long”) and scored a Top 20 hit with the sultry “Hrs and Hrs.” Joining material from two earlier EPs are new tracks that betray her years of experience in the pop songwriting trenches. “Butterfly Effect” unleashes her formidable vocal range on a fantasy of undoing a painful romance; “Conversation” returns to the luxurious feel of “Hrs and Hrs,” paying tribute to the simple joys of talking it out. (Sept. 23; Supergiant/Def Jam) — ShteamerMAKAYA McCRAVEN The drummer Makaya McCraven has been blurring the line between bandleader and beatsmith for the better part of a decade now. And over time, his blend of live performance and hip-hop production technique has become both more organic and more grandiose: The making of his newest album, “In These Times,” was shaped by a string of shows he played with large ensembles, transposing his production approach to a live band that featured harp, vibraphone and a frontline of horns. Though the arrangements skew polyrhythmic and layered, and McCraven did his fair share of cutting and editing, the communal flow of the full group reigns. (Sept. 23; International Anthem/Nonesuch/XL) — RussonelloFor Makaya McCraven’s “In These Times,” he adapted his cut-and-edit approach to a large live band.Marcin Obara/EPA, via ShutterstockANGELICA SÁNCHEZ This pianist and composer has yet to receive her full due, but at 50 she continues to churn out fabulous acoustic free jazz recordings at an unfettered clip. On her latest acoustic-trio album, “Sparkle Beings,” recorded at Rudy Van Gelder’s former studios in New Jersey, she partners with an expert rhythm section: the bassist Michael Formanek and the immortal drummer Billy Hart, a longtime inspiration and new collaborator for Sánchez. The trio lays into some ear-grabbing originals, plus works by Cecil Taylor, Mary Lou Williams, Duke Ellington (the album closes with a somersaulting take on “The Sleeping Lady and the Giant That Watches Over Her,” from his “Latin American Suite”) and the Mexican composer Mario Ruíz Armengol. (Sept. 23; Sunnyside) — RussonelloVIEUX FARKA TOURÉ and KHRUANGBIN The whole world now celebrates desert blues — the hypnotic Saharan style currently performed by Tinariwen and Mdou Moctar — thanks largely to one musician: the Malian guitarist-singer Ali Farka Touré. His son and musical successor honors him on “Ali,” an inspired team-up with Khruangbin, a Houston trio that has garnered its own passionate following thanks to its exquisitely chill, globally seasoned grooves. On “Diarabi,” from Ali’s 1994 album with Ry Cooder, Vieux’s plaintive vocals and guitar hover over the band’s plush yet unshakable pulse. On “Mahine Me,” played acoustically on Ali’s 1992 LP “The Source,” the zydeco accordionist Ruben Moreno sits in for a buoyant interpretation of a Songhai proverb. These covers point back to their source while casting their own spell. (Sept. 23; Dead Oceans) — ShteamerGLOBAL CITIZEN FESTIVAL During the past decade, Global Citizen has raised more than $40 billion to combat extreme poverty, with an annual all-star event on Central Park’s Great Lawn as its flagship event. Fans can enter a ticket drawing by signing petitions, calling leaders or sharing informational videos, and this year, their incentives include a 10th-anniversary lineup featuring the pop empress Mariah Carey, the thrash titans Metallica, the Spanish pop revolutionary Rosalía, the country trailblazer Mickey Guyton, the glammed-up Italian rockers Maneskin and the resurgent hitmakers the Jonas Brothers. A companion fest, held simultaneously in Accra, Ghana, plays up the event’s international reach, pairing American stars like SZA, Usher and H.E.R. with Afrobeats luminaries including Tems and Sarkodie. (Sept. 24; Central Park) — ShteamerTAYLOR HAWKINS TRIBUTE CONCERT Taylor Hawkins wasn’t just the Foo Fighters’ drummer; he was also a full-time poster boy for the band’s arena-conquering rock ’n’ roll quest. So it’s fitting that the Foos will give Hawkins — who died in March at age 50 — a hero’s send-off at this Los Angeles blowout, which follows a similar event in London. The guest list traces the full arc of his career, touching on his early idols (Queen’s Roger Taylor, the Police’s Stewart Copeland), his first high-profile boss (Alanis Morissette), his drummer peers (Red Hot Chili Peppers’ Chad Smith, Rage Against the Machine’s Brad Wilk) and various pop-star pals (Pink, Miley Cyrus). Expect a heartfelt memorial that doubles as a loud, sweaty scream-along. (Sept. 27; Kia Forum) — ShteamerZACHARY CLAUSE For those not ready to leave summer behind, the cunning charmer Zachary Clause returns to Pangea on Sept. 29-30 with “On a Beach,” drawing inspiration from Hollywood and Fire Island, Rodgers and Hart and post-punk pop. The East Village nightspot will also offer new shows by the seasoned provocateur Penny Arcade and her longtime creative partner Steve Zehentner (Sept. 17) and house favorite Tammy Faye Starlite (Nov. 3 and 10), who’ll apply her beneficent irreverence to the Rolling Stones catalog. The coolly eclectic vocalist Zora Rasmussen is in residency the third Thursday of each month through December, and the long-treasured actor, director and theater guru Austin Pendleton will continue his collaboration with the singer, actor and musician Barbara Bleier in a tribute to Richard Rodgers, set for Oct. 4, 11 and 25. — GardnerTITUS ANDRONICUS “The Will to Live,” the seventh LP by the classicist New Jersey punk act Titus Andronicus, doesn’t aim quite as high as its Civil War-inspired “The Monitor” or its rock opera “The Most Lamentable Tragedy.” But it still finds the bandleader Patrick Stickles howling out big questions following the 2021 death of Matt (Money) Miller, his cousin and the band’s founding keyboardist. On “I Can Not Be Satisfied,” he belts that he isn’t afraid to die, “I’m much more frightened to survive,” on a chorus that sounds like the E Street Band tearing through a dive-bar encore. Fittingly, the actual Springsteen sideman Jake Clemons adds ambling piano to the down-and-out closer “69 Stones.” (Sept. 30; Merge) — ShteamerBJÖRK “Fossora,” the Icelandic musician’s first album in five years, is a pandemic-era project as only Björk could conceive it: a paean to the Earth and her late mother, filled with fantastical imagery of fungi and what she described as lots of “heavy bottom-end.” (Sept. 30; One Little Independent) — SisarioKID CUDI The man who famously branded himself “the lonely stoner” released a third installment of his “Man on the Moon” series in 2020, in which he continued to interrogate his angst and trace the sources of his trauma. Cudi returns for a new project in September, “Entergalactic” (arriving with an animated Netflix show that expands on its themes), which explores another very personal topic: love. (Sept 30; Republic) — BlumASHLEY McBRYDE This country singer-songwriter wields her intricate, intimate storytelling like a conductor on “Ashley McBryde Presents: Lindeville,” offering a guided tour of a fictional town where the strip club hosts a gospel night and even the funeral home comes with a catchy jingle. She passes the mic to country contemporaries like Aaron Raitiere, Pillbox Patti and the Brothers Osborne for songs that sketch out the landscape of Lindeville and its many characters — the woman in a turtleneck racing around in a red Corvette, the widow chalking the local ball field. It’s a fluorescent carnival of pedal steel and thumping guitar that proves McBryde can be a skilled curator, as well as a performer. (Sept. 30; Warner Music Nashville) — BlumAshley McBryde’s new album explores a fictional town in all of its hyperlocal glory.Katie Kauss/Getty ImagesWILCO In honor of the 20th anniversary of the lush, sprawling album often considered the best in Wilco’s catalog, the band is releasing seven new editions of “Yankee Hotel Foxtrot,” with a remastered version included in each set. The Super Deluxe iteration includes live concert recordings, radio performances, drafts and demos that trace the band tinkering with shards of the tracks, and 82 previously unreleased songs. The set also includes parts of a 2001 full-band interview with the Chicago radio station WXRT, one week after Sept. 11. (Sept. 30; Nonesuch) — BlumALYSHA UMPHRESS The powerhouse whose bluesy but ebullient belting was showcased in the 2015 Broadway revival of “On the Town” will present her first solo show in New York City since 2008 — titled “Alysha Umphress and Things … Like This” — at Joe’s Pub on Oct. 1-3. The Joe’s Pub Vanguard Residency will feature artists who studied with or were influenced by the beloved voice teacher Barbara Maier Gustern, who died in March, among them the downtown luminaries Penny Arcade (Nov. 29-Dec. 1) and Murray Hill (Dec. 13-17). Earlier, Machine Dazzle will celebrate the album release of “Treasure,” a “future psyche-sex-adelic synth rock experience” inspired by Dazzle’s mother and their relationship, on Oct. 21. — GardnerALVVAYS After a half-decade and a lineup shuffle, the dream-pop band fronted by Molly Rankin is back with “Blue Rev,” its third album. Across 14 songs, Rankin’s sharp character sketches are set against colorful scribbles of guitar and synths, padded with layers of fuzz. Working with Shawn Everett, an engineer and producer known for unorthodox techniques, Alvvays recorded much of the album in one sprint, managing to preserve the zingy immediacy of a live performance. (Oct. 7; Polyvinyl) — HornBROKEN BELLS Brian Burton, the A-list producer known as Danger Mouse, and the Shins leader James Mercer are a well-matched pair: pop auteurs who have carved out space in the mainstream while keeping their eccentricities intact. Their 2010 self-titled debut bathed Mercer’s trademark twisty hooks in Burton’s stylish psych-pop textures; “After the Disco” from 2014 added a dose of playful retro funk. “Into the Blue” is their moodiest trip yet, with the duo sending classic soul balladry (“Love on the Run”) and sumptuously spooky art pop (“We’re Not in Orbit Yet”) through a surreal prism. The album has its kitschier moments (the glam-rock-tinged “Saturdays”) but the overall mood suggests an alternate-dimension “AM Gold” compilation: soothing and unsettling by turns. (Oct. 7; AWAL) — ShteamerCHLOE MORIONDO Paramore, All Time Low and Girlpool were among the acts that Chloe Moriondo name-checked on “Favorite Band,” a 2021 song situating her own punkish brand of indie-pop within a broader lineage. “Suckerpunch,” her new album, smacks away indie signifiers: Out with the guitars and the earnestness, in with bravado, beat drops and Auto-Tune. The opener, “Popstar,” an apparent sequel to “Favorite Band,” outlines her ambitions, citing Britney Spears and Christina Aguilera as inspiration. Kesha in her dollar-sign era is another evident touchstone. (Oct. 7; Public Consumption/Fueled by Ramen) — HornCHARLIE PUTH What if … Charlie Puth finally finished the album? Over the past year, the pop star has been relentlessly teasing new music on TikTok, taking viewers through his song-making process from conception — like when he captured Foley-style audio of a studio light switch in the video that soft-launched the single “Light Switch” — to completion. On “Charlie,” Puth’s third album, a year’s worth of dribbles are assembled into a coherent whole: a tangy, lightly gimmicky record that sees Puth through the many phases of heartbreak. (Oct. 7; Atlantic) — HornWILL SHEFF The longtime leader of the elegant indie-folk band Okkervil River has described his solo debut as a clean break with the past. Inspired in part by the 2020 death of the band’s former drummer, Travis Nelsen, “Nothing Special” finds Will Sheff letting go of previously held ideas of romanticized self-destruction. The results reveal a new serenity but don’t fall back on easy truths. “Holy Man” plays like soft-rock Leonard Cohen, weighing temptation and redemption with equal skepticism, and “Estrangement Zone” finds a narrator “ready to withdraw” but worried about slipping into oblivion. The context may be new, but Sheff still showcases his gift for writing songs that harness both the glow of poetry and the gravity of hymns. (Oct. 7; ATO) — ShteamerSUN RA ARKESTRA The world is just beginning to catch up with Sun Ra, whose radical practice as a composer, pianist, bandleader, poet and philosopher presaged much of the work being done by artists and humanities scholars today, particularly (but not only) in the realm of Afrofuturism. Ra’s band, the Arkestra, remains active and thriving almost 30 years after his death, converting this renewed attention into fresh sound. “Living Sky” is an all-instrumental album recorded during the pandemic, featuring takes on a few classic Ra compositions as well as three originals by Marshall Allen, the 98-year-old alto saxophone iconoclast who now leads the band. (Oct. 7; Omni Sound) — RussonelloMarshall Allen leads the Sun Ra Arkestra through a new instrumental album recorded during the pandemic.Nate Palmer for The New York TimesMICHAEL FEINSTEIN Following a seven-year association with 54 Below, the singer, pianist, historian and American songbook advocate is attaching his brand to the Uptown institution where Bobby Short once held court. Feinstein’s first-ever engagement at Café Carlyle, set for Oct. 11-22, will include songs from “Gershwin Country,” his album featuring duets with Dolly Parton, Alison Krauss, Vince Gill and Liza Minnelli. Others due at the Carlyle include the Broadway and “Madam Secretary” alum Erich Bergen (Sept. 13-17), the actress and singer Betty Buckley (Sept. 27-Oct. 1), the pianist and vocalist Peter Cincotti (Sept. 20-24), the singer and actress Rita Wilson (Oct. 25-Nov. 5) and the beloved cabaret couple John Pizzarelli and Jessica Molaskey (Nov. 8-19). — GardnerHABIBI FESTIVAL Organized by the music arm of the Public Theater, this five-day event highlights performers who preserve and reinterpret the regional musical traditions of Southwest Asia and North Africa. In its second year, Habibi Festival’s lineup includes Bnat El Houariyat, an all-female percussion and dance group from Morocco; Bedouin Burger, a Syrian and Lebanese duo who explore Arabic melodic modes in their electronic compositions; and Hat, a Moroccan D.J. who travels the world to capture recordings of folk musicians, then remixes them live. The French-Tunisian composer Yacine Boulares, one of the festival’s curators, will also present the U.S. debut of his take on “Night in Tunisia,” imbuing the jazz standard with North African rhythms. (Oct. 11-15; Joe’s Pub) — HornBACKSTREET BOYS It’s a bridge every by-the-book pop act must cross eventually: the Christmas album. And the Backstreet Boys sound like they’re all in on their first holiday-themed effort, “A Very Backstreet Christmas,” whether they’re embracing vintage doo-wop on “White Christmas” and “Winter Wonderland” or going full carol on “Silent Night.” The standout numbers skew more modern: “Together,” one of three originals, a lite-R&B promise of holiday-season romance, and, best of all, a tastefully tempo-boosted reading of the gold standard of all boy-band Christmas efforts, Wham!’s “Last Christmas.” (Oct. 14; BMG) — ShteamerBILL CALLAHAN It’s tempting to view Bill Callahan’s three-decade evolution — from the lo-fi outsider art of his early ’90s recordings as Smog to his current mature-troubadour mode — as a gradual mellowing. But his songs’ ability to stop you in your tracks has only grown. “We warmed our hands in the corpse of a wild horse,” he sings over rolling fingerpicked guitar on “Everyway,” from “YTI⅃AƎЯ,” his upcoming eighth album under his own name. Then he works his way to a classic Callahan punchline: “At least we’re all in this horse together.” Elsewhere, he muses on childhood innocence while name-checking the Harlem Globetrotters great Meadowlark Lemon on the loose roots-rocker “Natural Information” and processes death with disarming tenderness on the ghostly folk song “Lily.” (Oct. 14; Drag City) — ShteamerBRIAN ENO There’s a new Brian Eno album on the way, but which Eno will show up? The master soundscapist who arguably invented ambient music, or the skewed pop auteur the world met on ’70s cult classics like “Here Come the Warm Jets”? On the upcoming “Foreverandevernomore,” it’s a little of both. The album is Eno’s first vocal-centric LP since 2005, but the tracks themselves — like “Garden of Stars,” where he chants about the mysteries of the cosmos against a backdrop of distorted synth buzz, or “We Let It In,” where he and his daughter Darla croon serenely from within a womblike tone bath — are as unapologetically abstract as anything in his catalog. (Oct. 14; Verve/UMC) — ShteamerMIKO MARKS This singer-songwriter’s “Feel Like Going Home” — her second album in two years, following a lengthy recording hiatus — arrives at a time when she and fellow artists of color are forcefully pushing back against racism in Nashville, past and present. The album finds Miko Marks broadening her sound to make room for her full range of influences, from Muscle Shoals-style Southern soul (“One More Night”) to sizzling blues (“River”) and soothing gospel (“Lay Your Burdens Down”). (Oct. 14; Redtone) — ShteamerSUE MATSUKI An author and a performers’ advice columnist as well as a long-admired entertainer, Matsuki was the first winner of the Mabel Mercer Foundation’s Julie Wilson Award in 2004. Now she’ll present “But Beautiful … a Tribute to Julie Wilson” in two parts during separate shows on Oct. 14 at the Green Room 42. Homages are also planned for Barbra Streisand (Jenna Pastuszek’s “Me, Myself & Barbra,” returning Dec. 17) and Britney Spears (Sean Stephens’s “One More Time,” Oct. 12), as the revue “At This Performance …” continues to showcase Broadway and Off Broadway understudies, standbys and alternates (Sept. 12, Nov. 21 and Dec. 12). “5 Questions With James and JAM” will deliver James Jackson Jr. and John-Andrew Morrison from the cast of the Tony-winning musical “A Strange Loop” on Sept. 19; “Leola’s Lady Land Lounge” will team Will Nolan’s Kelly Clarkson-loving drag persona with special guests on Oct. 6 and Dec. 5; and the new musicals “Fountain of You” and “Atlantis” will be performed in concert Sept. 26 and Oct. 2. — GardnerMIGHTMARE The new solo project from Sarah Shook, who fronts the country-punk outfit Sarah Shook & the Disarmers, was an insular-by-necessity product of the pandemic, written, recorded and produced by Shook during its first year. On “Cruel Liars,” Shook dials back the twang and down-home shuffle of Disarmers records while retaining their rough hew and stark, straightforward lyricism. Compact and nervy, the album centers the fallout of a bad breakup, but creeps toward optimism: “Ain’t gonna be no memory gonna haunt me down tonight,” Shook sings on its unexpectedly sweet final track. (Oct. 14; Kill Rock Stars) — HornRED HOT CHILI PEPPERS The return of one member to a legacy rock act shouldn’t mean that much these days. But the Red Hot Chili Peppers’ 2019 reinstatement of John Frusciante — the soulful and prodigiously skilled guitarist who had done two prior stints in the band since joining in 1988 — has been received like the righting of a cosmic imbalance. “Return of the Dream Canteen,” the band’s second new double LP of the year, helps explain why, distilling the quartet’s signature sound down to its essence: “Tippa My Tongue” checks every Chili Peppers box (Flea’s serpentine slap bass, Frusciante’s jewel-like chords, Anthony Kiedis’s audaciously corny rap couplets) without sounding tired, and tracks from the Eddie Van Halen-inspired “Eddie” to the glimmering, reggae-esque “Handful” summon that sun-baked pathos that’s always elevated the band’s Frusciante-era material. (Oct. 14; Warner Records) — ShteamerAnthony Kiedis, Flea and the rest of Red Hot Chili Peppers are releasing their second double album of 2022 in October.Rob Grabowski/Invision, via Associated PressSKULLCRUSHER The musician Helen Ballentine drummed up some early pandemic buzz with her debut EP, a set of folksy, confessional tunes that suited the hushed interiority of the moment. (Tellingly, she named a song after Nick Drake on a subsequent release.) With her first album, “Quiet the Room,” Ballentine, who performs as Skullcrusher, has grown more adventurous: Her delicate melodies bloom into dense sound collages, built up with layers of drones, field recordings and echoes that smudge out her vocals. The songs are spooky and stirring, like old photos whose context is long forgotten. (Oct. 14; Secretly Canadian) — HornTOVE LO “Dirt Femme,” Tove Lo’s fifth album, and the first for her own label, hones in on the twin forces that have animated her music since her breakout hit “Habits (Stay High)”: her deconstruction of femininity, especially as a queer woman, and her fascination with her own death drive. She rejects constraints of traditional gender roles (“Suburbia”), prods at the limits of body positivity (“Grapefruit”) and laments her draw to a conventional romance narrative. She finds clarity in club music, joining with the dance producers SG Lewis and Channel Tres to craft sticky, coruscating tracks. “It’s tough out in the real world,” she wails on “True Romance”; this LP offers a welcome distraction. (Oct. 14; Pretty Swede Records/Mtheory) — BlumWILD PINK “A Billion Little Lights,” Wild Pink’s acclaimed album from last year, wasn’t the frontier myth-themed double LP that the group’s frontman, John Ross, once planned — but its soft-edged rock did conjure a sense of road-meets-horizon vastness. The New York band’s follow-up, “ILYSM,” builds on that instinct with long songs full of unexpected detours. Though partly inspired by Ross’s battle with cancer while writing it, the record is more imagistic than diaristic, and more contemplative than despairing. Its most prominent theme is companionship, with the tenderness of the title track (shorthand for “I love you so much”) matched only by closer “ICLYM” (“I couldn’t love you more”). (Oct. 14; Royal Mountain) — HornIHEARTRADIO FIESTA LATINA The annual festival returns to Miami’s FTX Arena in honor of Hispanic Heritage Month. The one-night event brings established Latin rap and pop stars like Enrique Iglesias, Farruko and Nicky Jam alongside rising hitmakers like the glossy pop singer Becky G and the rapper Myke Towers. Iglesias will also receive this year’s iHeartRadio Corazón Latino Award, for his charitable endeavors as well as his musical legacy. (Oct. 15) — BlumBRIC JAZZFEST A multiday festival that gets more adventurous each year, BRIC JazzFest gives some of New York’s brightest rising talent the rare chance to perform on a major festival stage without leaving home. This year’s three-day marathon, held as usual at BRIC’s Downtown Brooklyn headquarters, will include sets from the vibraphonist Joel Ross and his nine-piece band, Parables; the vocalist Lizz Wright; the pianist Julius Rodriguez; and the trombonist Kalia Vandever, among dozens more. (Oct. 20-22; BRIC House) — RussonelloARCHERS OF LOAF Archers of Loaf perfected a certain strain of roaring, smartass indie rock on their 1993 debut, “Icky Mettle.” They broke up before the decade was done but, like so many of their peers, revved back up in the 2010s. On “Reason in Decline,” their first album in 24 years, the singer-guitarist Eric Bachmann reclaims the band’s lovably ornery spirit, working in the hard truths of middle age. “Tangled in the wasted time,” he sings on “Saturation and Light.” “Every little minute you stay in it/You blame yourself and it cuts you like a knife.” Whether he’s taking aim at the “masters of distraction” dominating the discourse on “Misinformation Age” or a troubled old friend on “Human,” his band provides a reliably stubborn kick. (Oct. 21; Merge) — ShteamerARCTIC MONKEYS This beloved British rock band has shape-shifted over its nearly two-decade career, pivoting from raucous anthems about caroming drunk through city streets to steamier, sleeker songs about anxious desire. For its seventh album, “The Car,” the band zags once more, teaming up again with its long-term producer James Ford for 10 mostly ballad-tempo songs, all written by the band’s lead singer, Alex Turner, that include classic-rock nods like string sections, carefully crooned vocals, funky guitars and plenty of dark observations. (Oct. 21; Domino) — BlumBABYFACE Kenneth (Babyface) Edmonds knows a thing or two about the female voice, having written songs for standouts including Aretha Franklin and Ariana Grande. His new album, “Girls Night Out,” harks back to the “Waiting to Exhale” soundtrack from 1995, where he assembled an all-star cast that featured the Queen of Soul alongside Whitney Houston, Mary J. Blige, Chaka Khan, TLC and more. This time around, he shows how sharp he still is as a producer, talent spotter and sometime vocalist, teaming up with an impressive selection of R&B up-and-comers, including the “Boo’d Up” singer Ella Mai on “Keeps on Falling,” a dance-floor-ready ode to enduring love; and Ari Lennox on “Liquor,” which equates romantic intoxication with the other kind. (Oct. 21; Capitol) — ShteamerBabyface’s “Girls Night Out” features collaborations with up-and-coming women artists.Kevin Winter/Getty ImagesCARLY RAE JEPSEN A dependable source of heart-eyed synth-pop, this Canadian singer rode the wave of poptimism all the way from her “Call Me Maybe” breakout to her current status as cult hero. The breezy first single from her new album, “The Loneliest Time,” showed her mellower side, but effervescence is still Jepsen’s default mode: Look out for the stratospheric chorus of “Surrender My Heart” and the escapist disco fantasia of “Shooting Star.” (Oct. 21; 604/Schoolboy/Interscope) — HornDRY CLEANING “My shoe organizing thing arrived/Thank God,” Florence Shaw deadpans over a swirling art-pop vamp on “Anna Calls From the Arctic,” the opening track of “Stumpwork,” the second LP from the young London quartet Dry Cleaning. The moment sums up the odd sense of composure that’s helped make Shaw one of the most compelling presences in the current British post-punk revival. But the band is a true collective: On the title track, Shaw’s bandmates wrap her words in gauzy textures that betray a hint of menace, heightening the weirdness of lines like, “I thought I saw a young couple clinging to a round baby/But it was a bundle of trash and food.” (Oct. 21; 4AD) — ShteamerTAYLOR SWIFT The pop superstar’s fifth album in just over two years will arrive this fall: “Midnights,” which she described on social media as “the story of 13 sleepless nights scattered throughout my life.” She added: “This is a collection of music written in the middle of the night, a journey through terrors and sweet dreams. The floors we pace and the demons we face.” “Midnights” will come too late to qualify for the next Grammys, but the album has a strong possibility of becoming one of the year’s biggest commercial successes, rivaling LPs like Harry Styles’s “Harry’s House.” (Oct. 21; Republic) — SisarioAngela Weiss/Agence France-Presse — Getty ImagesTEGAN AND SARA The Canadian twins have turned their open-book ethos into a robust brand, unpacking their origins as songwriters and queer women in a 2019 memoir, soon to become a TV series starring the TikTok creators Railey and Seazynn Gilliland. But as heard on the upcoming “Crybaby,” Tegan and Sara’s most revealing platform remains their songs. Twenty-plus years and 10 albums into their career, the sisters are experts at polishing their tracks to a sheen without sanding down the sharp emotional edges. Songs like “I Can’t Grow Up” and “____ Up What Matters” explore toxic relationship dynamics to the tune of peppy, hook-heavy pop. (Oct. 21; Mom + Pop) — ShteamerTHE MABEL MERCER FOUNDATION’S NEW YORK CABARET CONVENTION The organization’s 33rd fête rolls into Jazz at Lincoln Center’s Rose Hall on Oct. 26 with “Look to the Rainbow: The Songs of Yip Harburg,” hosted by Andrea Marcovicci and Jeff Harnar and featuring cabaret and theater fixtures such as Karen Akers, Christine Andreas, Tovah Feldshuh, Maude Maggart and Those Girls. On Oct. 27, Natalie Douglas hosts Darius de Haas, Eric Yves Garcia, Marilyn Maye, Gabrielle Stravelli, Billy Stritch and others in “Unforgettable: A Tribute to Nat King Cole,” and KT Sullivan wraps things up Oct. 28 with “Through the Years: Celebrating Timeless American Standards,” set to include performances by Celia Berk, Klea Blackhurst, Shana Farr, David LaMarr, Karen Mason, Sidney Myer and Mark Nadler. — GardnerOUMOU SANGARÉ Now that Tuareg desert blues is known around the world, Wassoulou — a style that favors female bandleaders and rides an equally infectious current of rhythm — is due for its own moment in the global sun. Oumou Sangaré, a Grammy-winning vocalist, songwriter and activist, is a household name in Mali and one of Wassoulou’s greatest ambassadors abroad. Singing in Bambara, she renders social critiques and affirmations of women’s power in a gravelly alto; on her latest release, “Timbuktu,” she shows off a wide range — singing over driving, front-loaded rhythms on some tracks, and offering wistful Malian ballads (think Toumani Diabaté and Ali Farka Touré) on others. She will make her Apollo debut at this concert, presented as part of the World Music Institute’s Women’s Voices series. (Oct. 29; Apollo Theater) — RussonelloTRIPPIE REDD This 23-year-old descended from the SoundCloud school of hip-hop: brash beats, soupy melodies, sludgy emo-rap. His new release, “A Love Letter to You 5,” continues a series — his last installment topped the charts when it came out in 2019 — and taps current heavyweights like Offset and Moneybagg Yo. The new album finds Trippie Redd crooning about being in love over twinkling guitars and skittering drums, swooping his vowels as he sings to a nameless “youuuu.” (October; 1400 Entertainment/10K Projects) — BlumTrippie Redd’s October release, “A Love Letter to You 5,” features Offset and Moneybagg Yo.Amy Harris/Invision, via Associated PressBOB DYLAN “The Philosophy of Modern Song,” Bob Dylan’s first book of new writing since “Chronicles: Volume One” (2004), promises lessons on the craft of songwriting — pro tips on “the trap of easy rhymes” and “how the addition of a single syllable can diminish a song,” according to his publisher — through 66 essays on a tantalizing track list including Elvis Costello’s “Pump It Up,” the Grateful Dead’s “Truckin’,” Hank Williams’s “Your Cheatin’ Heart” and three songs associated with Elvis Presley (“Blue Moon,” “Viva Las Vegas” and “Money Honey”). (Nov. 1; Simon & Schuster) — SisarioDANIEL AVERY The British dance music producer Daniel Avery opts for a darker, denser sound on “Ultra Truth,” distorting swaths of static and tinny, tingling beats into neatly packaged tracks. A song with fellow techno producers Kelly Lee Owens and Haai (Teneil Throssell) is titled “Chaos Energy,” but “Ultra Truth” is all about pristine precision, slick cuts and jittery percussion. The album unveils like an elegy to the internal monologue, the constant noise building inside your brain. (Nov. 4; Mute/Phantasy) — BlumCAVETOWN The bedroom pop singer-songwriter Robin Skinner has gained a fervent online following with delicate tracks about teen life featuring titles like “I Miss My Mum” and “I’ll Make Cereal.” On his new release, “Worm Food,” he blends the curdled angst and peppy hooks of ’90s pop-punk (one track longs for 1994, a year Skinner was not yet alive) with subdued synth pop. He writes about the specific aches of a new relationship: “Laundry day, going to shrink your shirt/makes a perfect fit for me,” he coos over lilting strings on “Laundry Day.” On another, he compares himself to a “ball of wasabi” — “there to keep things interesting, but nobody wants me.” It’s a charming portrait of anxious love. (Nov. 4; Cave Music Limited) — BlumBILLY JOEL Before Billy Joel conquered Madison Square Garden with an ongoing monthly residency and played the last-ever concerts at Shea Stadium, he headlined another of New York’s secular temples, the original Yankee Stadium, for two nights in June 1990. A remixed, re-edited and newly expanded version of “Live at Yankee Stadium,” the concert film documenting those mega-gigs, will soon see release on Blu-ray, with the audio version coming out digitally, and on CD and LP sets. The hit-parade set list (including “My Life,” “Uptown Girl,” “New York State of Mind,” “Piano Man” and the then-recent No. 1 “We Didn’t Start the Fire”) doesn’t differ much from the one you’ll hear Joel play at the Garden today, more than 30 years later — the mark of a true pop institution. (Nov. 4; Columbia/Legacy) — ShteamerPHOENIX The French band whose bubbly 2009 indie-pop crossover hit “Lisztomania” got even a collegiate A.O.C. dancing with abandon is back with “Alpha Zulu,” its first LP in five years. In part a meditation on loss — including that of its producer Philippe Zdar, who died in an accident in 2019 at age 52 — the album, marking Phoenix’s 25th anniversary as a group, includes an appearance by Ezra Koenig of Vampire Weekend. (Nov. 4; Glassnote/Loyaute Music) — SisarioJULIE BENKO & JASON YEAGER If you followed the backstage drama at Broadway’s “Funny Girl,” you know that Julie Benko is the bright-eyed, dulcet-voiced soprano who went from standby to star after Beanie Feldstein’s departure. On Nov. 7, Benko and her husband, the jazz pianist Jason Yeager, will perform selections from their new album, “Hand in Hand,” which mixes show tunes and standards with Janis Joplin’s “Mercedes Benz” and Yeager originals at 54 Below. Other artists slated to visit “Broadway’s living room” include the unsinkable nonagenarian Marilyn Maye (Oct. 12-15, Oct. 18-22), the stage and screen veteran Leslie Uggams (Nov. 10-12) and the latest jewel in the club’s “Diamond Series,” Vanessa Williams (Dec. 13-18), followed by the enduring gem Patti LuPone (Dec. 20-30). Fans of a certain Sara Bareilles musical can look forward to “Sugar, Butter, Reunion: Celebrating the Jennas of ‘Waitress’” on Oct. 9, and the new musical “Sean’s Story,” an Ars Nova commission by Khiyon Hursey, will be showcased in concert Oct. 11. — GardnerPATRICIA BRENNAN The jazz world can get stuck in a battle between the head and the heart, but rarely do you find an improviser like Patricia Brennan, the Veracruz, Mexico-born vibraphonist, marimba player and effects maven, who skirts that dichotomy almost completely. Her music seems to exist in a realm outside the body, but stays loaded with feeling. “More Touch” is the follow-up to Brennan’s spellbinding debut, the solo LP “Maquishti,” and it introduces a new quartet of advanced rhythmic thinkers: the drummer Marcus Gilmore, the percussionist Mauricio Herrera and the bassist Kim Cass. They venture between dreamy swing, bobbing bolero, the Afro-Caribbean rhythms of Brennan’s hometown, and free time. (Nov. 11; Pyroclastic) — RussonelloADELE Apart from a few TV tapings and private events, Adele hasn’t appeared on a U.S. stage since 2016. And the postponement of her Las Vegas residency the day before its original January kickoff date raises the stakes even more for this rescheduled “Weekends With Adele” run at Caesars Palace’s 4,100-seat Colosseum. Expect megawatt tear-jerkers like “Hello” and “Someone Like You” to share set-list space with new fan favorites from her 2021 chart-topper “30,” including “Easy on Me,” a tender post-mortem of her former marriage; “Oh My God,” where she confronts the vertigo of new love; and the real-talk anthem “I Drink Wine.” (Nov. 18 through March 23; Caesars Palace; Las Vegas) — ShteamerMICHAEL JACKSON In an era when Beatles recording sessions yield a seven-hour documentary and a Bob Dylan boxed set might contain an entire album’s worth of “Like a Rolling Stone” outtakes, a two-disc reissue commemorating the 40th anniversary of “Thriller” — the best-selling album of all time, by a significant margin — seems almost stingy. But the idea that there might still be more to learn about this Quincy Jones-helmed triumph is still an enticing prospect. The Jackson estate is keeping a tight lid on the contents of the “Thriller 40” bonus material, but previously unreleased demos are promised. Given that only a handful of demos and outtakes surfaced on a 2001 “Thriller” reissue, a major excavation could be in store. (Nov. 18; Sony) — ShteamerCHARLES LLOYD The guitar has been an essential foil for Charles Lloyd since his upbringing in the blues and soul hotbed of Memphis. Moving to Los Angeles in the mid-1950s, a big early break came as musical director for Chico Hamilton’s band, where he forged a close bond with the Hungarian guitar virtuoso Gabor Szabo. In recent years, Lloyd, an 84-year-old tenor saxophonist, flutist and National Endowment for the Arts Jazz Master, has been leading the Marvels, a country-jazz quintet featuring Bill Frisell’s guitar and Greg Leisz’s pedal steel. And by autumn’s end, he will have released three new albums this year, each with a different guitar trio and each casting its own light on his Lester Young-goes-to-Joshua Tree saxophone sound. Of the three, the last one, “Sacred Thread,” featuring the guitarist Julian Lage and the tabla icon Zakir Hussain, packs the wiliest punch. (Nov. 18; Blue Note) — RussonelloWENDY MOTEN The 21st-century virus of celebrity-judged TV talent contests has produced heartening stories, few more so than Wendy Moten’s; the 50-something Memphis native sang backup for Julio Iglesias and assorted country stars before “The Voice” brought her supple, limpid voice to wider attention. In a show returning to the Birdland Theater on Nov. 18-20, Moten highlights the pre-World War II classics of Richard Whiting (“He’s Funny That Way,” “Too Marvelous for Words”), mixing in a little Paul Simon and Janis Ian. Upstairs at Birdland Jazz Club, scheduled acts include the Broadway star-turned-cabaret stalwart Karen Akers (Sept. 12), the piquant stage and screen mainstay Julie Halston (Oct. 17) and the upscale nightlife fixtures Steve Ross (Oct. 24) and Jeff Harnar (Nov. 7), with the variety shows “Jim Caruso’s Cast Party” and “The Lineup With Susie Mosher” continuing at the jazz club on Mondays and the theater on Tuesdays. — GardnerThe singer Wendy Moten returns to Birdland Theater with a show that crosses genres and eras.Terry Wyatt/Getty ImagesWEYES BLOOD The singer-songwriter Natalie Mering, who performs as Weyes Blood, braids together emotional and existential upheaval, capturing the weightiness of contemporary life in sweeping, baroque-pop poetry. The crisis-rich three years since her last release have offered Mering plenty to write about; her upcoming fifth album, “And in the Darkness, Hearts Aglow,” layers references to climate change, pandemic and impending civilizational collapse into songs about estrangement and longing. “Living in the wake of overwhelming changes/We’ve all become strangers, even to ourselves,” she sings on the opening track, looking around and within. (November; Sub Pop) — HornJINKX MONSOON & BENDELACREME In 2018, these popular “RuPaul’s Drag Race” alumni joined forces to ring in the most wonderful time of the year. “The Jinkx & DeLa Holiday Show” now marks the duo’s fourth seasonal tour, for which variety-show maestro BenDeLaCreme and the cabaret and theater veteran Monsoon — the “sugary” queen and the “spicy” one, according to their official site — have co-written a new assortment of music, comedy and spectacle. The party arrives at Town Hall on Dec. 2-3. — GardnerA JOHN WATERS CHRISTMAS It’s been 18 years since the filmmaker, performer, author, fine artist and pope of trash (as he was christened by William S. Burroughs) curated a holiday album including cult classics such as “Fat Daddy” and “Santa Claus Is a Black Man,” but the spirit hasn’t left John Waters, who returns to City Winery on Dec. 18 with his latest irreverent Yuletide offering. Other seasonal celebrations scheduled at the Winery include Betty’s “December Delight” (Dec. 11) with special guests including Gloria Steinem, and “Suzanne Vega: Home for the Holidays” (Dec. 22-23, Dec. 26-27). — Gardner More

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      5 Minutes That Will Make You Love Alice Coltrane

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      We asked writers, critics and musicians including Meshell Ndegeocello and Angel Bat Dawid to tell us what moves them in Coltrane’s spiritual jazz.For the past several years, New York Times music editors have been asking: What five minutes would you play for a friend to make them love classical music? Last month, shifting the series’ focus to jazz, we asked musicians, writers and critics to share their passion for Duke Ellington.Now we want those music-loving friends to be moved by Alice Coltrane, the keyboardist and harpist who explored the universal and spiritual in jazz before her death in 2007 at age 69. Her husband John Coltrane had died in 1967.Before his passing, the couple explored the depths of spirituality together, traveling the world to take in new cultures, and letting those influences come through in the music. And where John used screeching saxophone wails to summon higher powers, Alice took the opposite approach, channeling serenity through the chords of her piano and the strum of her harp. In what would have been her 85th year of life, she’s still celebrated with tribute concerts and like-minded music from today’s purveyors of spiritual jazz.Enjoy listening to these Alice Coltrane songs, including a playlist at the bottom of the article, and be sure to leave your own favorites in the comments.◆ ◆ ◆Morgan Parker, writer and poetThe bluesy 1970 treasure “Ptah, the El Daoud” is a journey through the rituals of mourning. Of course it raps with a universal cosmos — but with one foot on Earth, where there’s no transcending grief. Composed in the years after her husband John’s death, and recorded in their family home, it features Alice Coltrane on piano with Pharoah Sanders and Joe Henderson on tenor saxophones. Except on “Blue Nile.” Here, they play alto flutes; Alice graces her harp. Following the aching prayers of the album’s “Turiya and Ramakrishna,” the opening strings of “Blue Nile” herald respite and repass, a moment to settle and reset. The musicians are downright grooving on this warm, imaginative track, both exhaling and exalting in every note.“Blue Nile”Alice Coltrane (Impulse!)◆ ◆ ◆Taja Cheek, musicianI know there was a time when I didn’t know who Alice Coltrane was, but I just can’t remember that time. I do remember taking a last-minute flight to California to visit the Sai Anantam Ashram that she founded in 1983. I remember crying with gratitude and anticipation on the plane there. I remember my phone dying, and worrying that I would be stranded in a place I didn’t know; but I remember the Indian food the ashram prepared more than I remember the worry. I remember the joy of meeting members of the ashram, of learning from them, of hearing them sing, of hearing them talk about their love for her. There are many Alices, depending on who you ask, where and when. There are many sounds, too: devotional chanting, spiritual singing, strings, jazz piano, harp, nasal organ. She was an innovator that studied tradition. A keeper of multitudes. But the music weaves through it all. I think of all of this when I listen to “Spiritual Eternal”: the way the sound dips slightly right before the strings come in. An organ stretched to its limits, cracked open as if by a hacker. Transporting listeners to outer space and inner space. There’s nothing like it.“Spiritual Eternal”Alice Coltrane (Rhino/Warner Records)◆ ◆ ◆John Morrison, writerI love the fact that in recent years, more people have come to the understanding that Alice Coltrane was a multi-hyphenate genius. Pianist, composer, harpist, spiritual teacher, Coltrane possessed a creative range that few have rivaled. Of all the stylistic twists and turns present in her catalog, songs like “Pranadhana” best illustrate the brilliance of Alice Coltrane for me. Singing in Sanskrit while accompanying herself on organ, Coltrane beautifully combines two great sacred music traditions: Hindu devotional songs and Black American gospel. Rich, meditative and overflowing with spiritual power, this song evokes both Coltrane’s childhood playing organ at Mount Olive Baptist Church in Detroit and her adulthood using music to build her spiritual community at her ashram.“Pranadhana”Alice Coltrane (Alice Coltrane)◆ ◆ ◆Lakecia Benjamin, musicianTo me Alice Coltrane exemplifies the meaning of transcendence: She and her music exist beyond the normal or spiritual level. Her musical artistry and spiritual awareness open the floodgates to empathy. One of the first things that made me love her work is the freedom in it. The genre and expression cannot be defined. And the music hits the soul of the listener, almost causing you to immediately be changed in some way. All of this is summed up for me on “Prema,” and particularly this version. It takes the listener down a path of subconscious reflection. And once that happens, you are forced to deal with the you that you tuck away and try to hide from the public view. I’m grateful Ms. Coltrane was born and walked on this Earth, and left behind the writings and music she did.“Prema”Alice Coltrane (Marian McPartland’s Piano Jazz/NPR)◆ ◆ ◆Angel Bat Dawid, musicianThis version of “A Love Supreme” slaps so hard! From Alice Coltrane’s wonderful album “World Galaxy,” emphasizing once again the collective genius and message of her music: that Black music is always spiritual music. Her deep love of spirituality and interest in Eastern religion show how Black music never separates those things into categories, and proves that Alice will never leave the roots that are the spirituals or “spirchiills” as the ancestors pronounced it. No matter how big and famous and genre-crossing and avant-garde she became, Alice was from Detroit, and you can hear the blues, funk, gospel and all those silly labels that are put on Black musicians as a way to categorize something that is felt but not entirely understood by those who are non-Black. Her rendition is an endearing and beautiful tribute to the shared message of her late husband. The “love supreme” is really the music, and it prevails no matter what.“A Love Supreme”Alice Coltrane (Impulse!)◆ ◆ ◆Tammy Kernodle, scholarThe manner in which Alice Coltrane’s music and artistry intersected strongly with her spiritual identity has always resonated deeply with me. While many might equate this with conventions that emerged out of jazz during the 1960s and 1970s, it was much more. The intersection of Coltrane’s music and spirituality reflected her personal journey to a life driven by divine purpose and her role in birthing an idiom of liturgical jazz. “This Hymn” is a reminder of how Coltrane’s music and theology of transformation and liberation were rooted in the emotive, ecstatic and contemplative sounds of Black Baptist and Pentecostal churches.“The Hymn”Alice Coltrane (Impulse!)◆ ◆ ◆Courtney Bryan, composerThe music of Alice Coltrane (also known as Swamini Turiyasangitananda) is profoundly healing, like a spiritual deep-tissue massage. It leads me to a peaceful place within and to an awareness of connection with the universe. Particularly, her recordings “Turiya Sings” (1982), “Divine Songs” (1987), “Infinite Chants” (1990) and “Glorious Chants” (1995) resonate with me. These recordings led me to visit her Sai Anantam Ashram to better understand her music and teachings and to sing her music in the mandir. Listening to “Keshava Murahara” from “Divine Songs,” I treasure her compositional genius — the grounding presence and modal harmonies of the organ, the evocative chanting of the bhajans, the soaring strings, and the otherworldly synthesizer that in the final minute illustrates what it may feel like to transcend this material existence to higher realms of spiritual consciousness.“Keshava Murahara”Alice Coltrane (Luaka Bop)◆ ◆ ◆Meshell Ndegeocello, musicianAt around age 14 or 15, I would walk down to Kemp Mill Records to browse as often as I could. Eventually I even got a part-time job there, only to be fired on Day 4 for playing the music too loud in the store. Kemp Mill had a jazz bin mostly filled with straight-ahead, smooth, and vocal jazz artists, and I regularly flipped through it. I browsed the used records bin often as well. That is where I found this Alice Coltrane album, “Ptah, the El Daoud.” If my memory serves me correctly, it was the cover art that first sparked my interest. The next were the titles. The iconography and track names were maps to other ideas, cultural truths, an affirmation of my burgeoning suspicions. I was beginning to question my conservative Christian upbringing after learning a different version of Egyptian mythology from my Iraqi friend Mahmoud. I had only known of the biblical references to Egypt before then.The reason I loved this album, and its title track, is that it begins with this walking bass line; then come the piano sounds, and it moves with a sway and groove that feels so good, uplifting you, you can’t help but nod with joy and power. The music, stoking my curiosity and psychic independence, was also calming to me, a young person living in chaos. I revisit Alice’s music when I am in need of healing: She is a guide, a symbol of hope, that music is more than entertainment or livelihood or, worst, for profit. Music changed my life’s circumstances, but it is how I connect with my creator. Alice Coltrane changed my heart and consciousness. Her music is for the inner world and it is from there she seeds transformation.“Ptah, the El Daoud”Alice Coltrane (Impulse!)◆ ◆ ◆Marcus J. Moore, jazz writerAlice Coltrane’s fourth studio album, “Journey in Satchidananda,” begins with a title cut so strong that it’s often tough for me to move past it. A soothing mix of harp, hypnotic bass and melodic saxophone, it was meant to honor the spiritual guru Swami Satchidananda, who helped Coltrane see the light following her husband John’s death in 1967. The swami was “the first example I have seen in recent years of Universal Love … in action,” Alice Coltrane wrote in the album’s liner notes. Not only is the track a rightful tribute to Satchidananda, it sets a proper tone for one of the greatest albums ever — a meditative masterpiece centered on Coltrane’s ascendance from despair.“Journey in Satchidananda”Alice Coltrane, featuring Pharoah Sanders (GRP)◆ ◆ ◆Surya Botofasina, musicianDivinity. Grace. Devotion.In this chanting, I hear passionate calls for internal, soul-reaching connection. This song epitomizes what Swamini is for us: The ultimate instrument and example of devotion. Hear how every note of her organ and synthesizer harmonically supports every person’s earnest plea for a personal bond with the divine? “Hari Narayan” — spirit of the Lord Vishnu, the Preserver. The voice of my mother, Radha Botofasina, is the one you can hear the most in this recording. This song is my ashram childhood. Swamini blessed us with music which is beyond meditative; she provided the one thing a spiritual heart can hope for: inner peace.“Hari Narayan”Alice Coltrane (Luaka Bop)◆ ◆ ◆Brandee Younger, harpistI’m at the edge of my seat trying to hold on. She’s bringing us along with her on this exciting ride, plowing through everything in her path and absolutely taking no prisoners. The energy between the organ and the drums is just infectious. I don’t want it to end … and I didn’t realize that an organ could make me feel such a full range of emotions. As it closes with the theme one last time, it’s clear that she has made it to her destination while bringing us on the ride of our lives. It ends and I feel somewhat out of breath and spiritually fulfilled.“Affinity (Live)”Alice Coltrane (Rhino/Warner Records)◆ ◆ ◆Giovanni Russonello, Times jazz criticFrom the 1980s, when she founded the Sai Anantam Ashram in Southern California, to 2004, three years before her death, Alice Coltrane released nothing but religious and devotional music. It was heavy on synths and voices, and vested with an extra dose of magnetism by the fact that, if you heard it, you were listening on cassette. (In those years, you’d likely have to travel to the ashram to get hold of a tape.) Finally, after much urging by her son Ravi Coltrane, she put out one last studio album, “Translinear Light,” in 2004, which served as a reminder of her musicianship’s breadth. She reaches to Black spirituals, original compositions, John Coltrane classics and Vedic devotional music. On a slowly flourishing version of “Jagadishwar,” an original that she first recorded for the 1982 cassette “Turiya Sings,” Ravi joins her and an all-star rhythm section: Jeff (Tain) Watts on drums and James Genus on bass. But it’s Alice Coltrane’s synthesizer, diaphanous though it is, that fills most of the space. There’s hardly a contradiction between her sense of spiritual purity and her use of advanced tech: The synth is beams of sunlight, it’s baths of seawater, it’s a passageway beyond all matter.“Jagadishwar”Alice Coltrane (Impulse!)◆ ◆ ◆Georgia Anne Muldrow, musicianIt’s true, Turiyasangitananda is that lady. She’s that woman, that vessel. She’s that miracle, that supermodel. She’s that gorgeous, that genius, that she can soar up through the most butterfly-wing-finest of holographic harmonic places. Never have two chords orbited in my heart the way they did on “Oh Allah.” I heard and saw everything — the planets, cosmos and harmony of life — in this song. The doo-wop of angels in the meter of The Lawd, armed with the organ of Justice. She demonstrates the usage of worship and praise in the Black experience in spaces that predate our painful places, ripping the keys to exalt that which sustains life. I played this song two days straight on repeat in my little Discman, nursing my newborn little man. He loved the song, just cooing in key. This song has an axis of electrum, chile. Oh Allah. A song of mercy, of praise. Hallelujah, Alice Coltrane. Hallelujah, Ornette Coleman, for transcribing the strings in a meeting of minds that would forever be imprinted in the primal places of my life.“Oh Allah”Alice Coltrane (Verve)◆ ◆ ◆ More

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      A Pair of Ahmad Jamal Live Albums Capture an Innovator in His Prime

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      The pianist, 92, has been hesitant to glance back: “I’m still evolving, whenever I sit down at the piano.”The first time Ahmad Jamal put out a live recording with his trio, it was an unexpected smash. “At the Pershing: But Not for Me,” from 1958, became one of the best-selling instrumental records of its time. Since then, in an extraordinary career spanning more than 75 years, this piano eminence has released dozens more live albums, a catalog sprinkled with gems.But what about the concerts he played that were captured on tape but never released? Ask him about digging those up for archival release, and he’ll almost certainly say “no, thanks.” Even at 92, Jamal resists glancing back. “I’m still evolving, whenever I sit down at the piano,” he said one recent afternoon, speaking by phone from his home in the Berkshires. “I still come up with some fresh ideas.”So when he got wind of a set of pristine old recordings, captured in the mid-to-late 1960s during performances at the Penthouse club in Seattle, he hesitated. It took some cajoling for Jamal to sign off on a release. Eventually, “I went along with it,” he said. “But it’s unusual for me.”His reluctance was thawed by Zev Feldman, the skillful and enthusiastic producer who unearthed the tapes, and by the quality of the performances themselves. Culled from half-hour radio broadcasts that had been caught on the Penthouse’s reel-to-reel tape machine, these recordings will see the light of day starting in November, with the release of two separate double-disc collections: “Emerald City Nights: Live at the Penthouse (1963-64)” and “(1965-66),” the first albums to arrive on Feldman’s new label, Jazz Detective. A third set, “(1966-68),” will be released soon after.Five-and-a-half hours of music in all, the albums arriving in November are a celebration of both the flexibility and the certitude of Jamal’s style — a modernist marvel, and nearly a genre unto itself. His music can sometimes scan as easygoing acoustic jazz with catchy hooks, which explains its broad appeal. But really it’s packed with combustive overlays of rhythm — and a connection to musical history so deep and expansive that, in fact, it foresaw the future.What to Watch, Listen to and See This FallHighlights from the arts world this coming season.Wolfgang Tillmans: The artist’s career retrospective at the Museum of Modern Art looks set to cement his position as one of the world’s most significant living artists.‘Monarch’: Starring Trace Adkins, Anna Friel and Susan Sarandon, Fox’s new TV series brings the dynastic drama genre to the world of country music.Ahmad Jamal: Two live albums capture this music innovator in his prime, celebrating both the flexibility and certitude of the pianist’s style.“I think when he was creating those grooves that became iconic, he was finding another way: It left funk music, it left soul music, it left jazz,” said the pianist Jason Moran, who as the Kennedy Center’s artistic director for jazz has presented Jamal multiple times in recent years. “He was phrasing for the future. He wasn’t just phrasing for the ’60s, he was phrasing for the ’90s.”The “Emerald City Nights” albums come from the period when Jamal had just returned to touring, and his piano playing was growing more lush.Don BronsteinJamal’s music with his trio — and then, in later years, a quartet with a hand percussionist added to the mix — reaches into a deep reserve of Black rhythmic practices, even as he wears the influence of Romantic piano music on his sleeve. In the process, as far back as the early 1950s he was sounding out grooves and feelings that would not catch on broadly until years later.Plenty has been made of his influence on Miles Davis, who declared Jamal his favorite piano player. But it goes beyond that. Before James Brown had helped invent funk, Jamal was rearranging the organization of time in jazz, adding a heavier emphasis on the downbeat — like Brown eventually would — and syncopating the heck out of the rest of the measure, as an Afro-Cuban musician might.“There are things that occur in your sound that you’ll never be able to trace, because they go too far back. And I feel like he is totally aware of that ancestral rhythmic connection,” Moran said. “Ahmad on the piano is one of the rare ones that figured out that sensibility that was gluing together so many decades, in the past and the future.”It’s little wonder that he became one of the most sampled musicians in hip-hop history. Jamal’s piano phrasing haunts iconic tracks like Nas’s “The World Is Yours” (the producer Pete Rock sampled his “I Love Music,” from 1970) and De La Soul’s “Stakes Is High” (J Dilla plucked a few bars from Jamal’s “Swahililand,” from 1974).He first sidled up to a piano at age 3, the year Franklin Delano Roosevelt was sworn in as president of the United States. He’s been playing ever since. At that time, when pianists still played the role that jukeboxes would soon take over, Pittsburgh was turning out future jazz stars as reliably as it was generating steel. Jamal was preceded at Westinghouse High School by Erroll Garner, Mary Lou Williams and Dodo Marmarosa — all future piano greats. The city was also full of Western classical music, a tradition Jamal learned from his piano teacher, Mary Cardwell Dawson, who would later found the National Negro Opera Company.“In Pittsburgh, we didn’t study just the American classical music, also sometimes referred to as jazz,” he said. (Jamal has always rejected the word “jazz,” calling it both imprecise and racially insensitive.) “We studied European classical music, and Duke Ellington, along with others. So that’s the difference.”He joined the local musicians’ union at 14, and headed out on tour three years later with the George Hudson Orchestra. While playing in Detroit, he was exposed to the growing Ahmadiyya Muslim movement. He converted and began studying Islam intensely — something that he credits with saving him from the snares of life on the road. It also fortified his conviction to abide by his own code.“I always tried to divest myself of the music business. I wasn’t too thrilled with the music business at any time,” he said. “So I have always sought to do other things.”Soon Jamal began traveling to Africa, and he began what he says was the first company to import greeting cards from Africa to the United States. (His first mention in The New York Times, from 1959, is in an article titled “Pianist-Investor Is a Hit in Cairo.”) He also briefly ran a music venue, the Alhambra, in Chicago, where he was living in the 1950s. And for a time he stopped performing publicly altogether, focusing instead on running a series of small record labels that put out LPs by musicians on both sides of the Atlantic.The “Emerald City Nights” albums come from the period when Jamal had just returned to touring, and his piano playing — always centered on finely wrought patterns and spare, interwoven phrases — was growing more lush. The Penthouse was one of his favorite clubs to play, so the new collections showcase Jamal in a number of different engagements, with a variety of trio lineups.The tracks include Jamal originals like “Minor Moods”; contributions from his bandmates; jazz standards by Cole Porter and Benny Golson; and pop ditties like “Feeling Good,” performed here just months before Nina Simone’s famous rendition was released. On “(1965-66),” one side features a particularly exciting (and rarely recorded) lineup: the drummer Vernel Fournier, whose famous beat had set the gamboling foundation for “Poinciana,” and the bassist Jamil Nasser, one of Jamal’s most consistent collaborators in the 1960s and ’70s.“He supervised every part of this production: listening to the music, ID-ing the tracks,” Feldman said of Jamal’s involvement in the archival release.“There are a few things that didn’t make it,” Feldman conceded. Then, with an artful touch of understatement, he explained: “He has a discerning ear.” More

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      Jaimie Branch, Trumpeter Who Crossed Genre Lines, Dies at 39

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      One of the most dynamic trumpet players in contemporary music, she forged a direct emotional, and even spiritual, connection with her listeners.Jaimie Branch, an innovative avant-garde trumpet player and composer whose punk-rock intensity and commitment to experimentation and to dissolving the distinctions between genres invigorated the music scenes of New York and Chicago, died on Aug. 22 at her home in Red Hook, Brooklyn. She was 39.Her death was announced by International Anthem, the Chicago-based label that released albums by her groups Fly or Die and Anteloper. No cause was given.Over the last decade, Ms. Branch emerged as one of the most dynamic trumpet players in contemporary music, coaxing a remarkable range of sounds from her horn. She used electronic effects and toy noisemakers (including a Fisher Price Happy Apple from the 1970s) to further extend her sonic spectrum. She would often play a complicated passage, step back and scream, and then plunge back into playing without missing a beat.“I mean every note that I play,” she told the online music journal Aquarium Drunkard in 2019. “When I’m up there, I’m putting it all out on the table. It’s like high risk, high reward.”Ms. Branch forged an emotional, even spiritual, connection with listeners. Her energy could barely be constrained by the stage, filling a room not just with the sound of her trumpet but also with the force of her presence.Offstage, she was just as magnetic. Known to friends as Breezy, she was a gregarious figure, as averse to formality and affectation as she was to capital letters (she preferred her name and song titles lowercase).Ms. Branch was conservatory-trained, but her stage attire was unconventional for jazz circles: an Adidas track suit, a kimono draped over a “Young Latin & Proud” T-shirt, a baggy Outkast “ATLiens” baseball jersey. Her head was always covered, whether by a hoodie, a jauntily askew baseball cap or a knit toque, and her forearms were festooned with colorful tattoos.“She was the quintessential example of ‘honest music,’” Scott McNiece, International Anthem’s co-founder and director of artists and repertoire, said in an interview. “Music that has the capacity to change people’s lives and change the world, which everyone needs now more than ever.”Ms. Branch composed most of the music with Fly or Die, a quartet whose other members were Chad Taylor on drums, Jason Ajemian on bass and Lester St. Louis on cello (who replaced Tomeka Reid after the group’s first album, called simply “Fly or Die”). She favored improvisation for Anteloper, a dub-influenced duo with the drummer Jason Nazary, both of whom also doubled on synthesizers and other electronic gear.While she regularly performed concerts for cultural programmers like Roulette (where she was a 2020 resident artist) and Arts for Art, Ms. Branch was equally at home creating dissonant synthesizer squiggles on a noise-rock bill at Knockdown Center in Maspeth, Queens, or playing an impromptu jam session at the San Pedro Inn in Red Hook with her most recent trio, c’est trois, with the bassist Luke Stewart and the drummer Tcheser Holmes.In a 2017 article on women in jazz, the New York Times critic Giovanni Russonello described “Fly or Die” as one of “the most startling debut albums in jazz this year,” adding that “Ms. Branch uses extended technique and blustery abstraction to a dizzying effect.” In DownBeat magazine’s 2020 critics poll, Ms. Branch was voted “rising star” on trumpet.Ms. Branch in action with her group Fly or Die at the Winter Jazzfest in New York in 2018.Jacob Blickenstaff for The New York TimesOn the 2019 album “Fly or Die II: Bird Dogs of Paradise,” she revealed her impressive singing voice on two songs, one of which, “prayer for amerikkka pt. 1 & 2,” recounts the story of a young Central American woman detained after crossing the Southern border. (The song was based on the actual case of an El Salvadoran teenager whom Ms. Branch’s mother had assisted.)Despite the power of her trumpet playing, Jaimie felt very vulnerable, her sister, Kate Branch said in an interview, and she felt even more so when singing, adding, “She really cared about the message.”Jaimie Rebecca Branch was born on June 17, 1983, in Huntington, N.Y., on Long Island. Her father, Kenneth, was a mechanical engineer; her mother, Soledad (Barbour) Branch, known as Sally, is a psychotherapist and social worker. “Jaimie” is spelled the way it is, her sister said, because the girls’ Colombian maternal grandmother couldn’t understand why their mother would call her daughter Jaime, a boy’s name, “so my mom added another ‘i’ so my grandmother could properly pronounce it.”Jaimie started playing piano at age 3 and wrote her first song, “My Dreams End in the Sky,” at 6. A small orchestra at the family’s church in Long Island performed it, and Jaimie sang it and dedicated it to a retiring minister.When she was 9, the family moved to Kenilworth, Ill., a suburb of Chicago, where she began playing trumpet in the school band. After playing extensively at New Trier High School in Winnetka (including a stint in a ska-punk group, the Indecisives), she moved to Boston to attend the New England Conservatory of Music, where she studied jazz performance.After graduation Ms. Branch moved to Chicago, where she became a fixture of the jazz scene. “You could hear her all-encompassing sound just by looking her straight in the eyes,” the trumpeter Rob Mazurek, a frequent Chicago collaborator, said in an email.She left Chicago in 2012 to attend graduate school at Towson University in Baltimore, but departed a few credits short of a master’s degree in jazz performance. She told The Chicago Reader in 2017 that she had begun using heroin in 2008, and she struggled with opioids for years, enrolling in multiple inpatient treatment programs, most recently on Long Island in 2015.Following her time in that program, Ms. Branch moved to Red Hook. She gigged constantly, whether as the leader of her own groups or as a guest in the ensembles of the saxophonist James Brandon Lewis and the vocalist Fay Victor.“She was a true collaborator, and that’s why she was so damn good at playing this music,” said the Brooklyn composer and vocalist Amirtha Kidambi, who began improvising with Ms. Branch soon after she arrived in Brooklyn. “She could listen, give and receive in equal measure with an unparalleled generosity. She had so many extremely close friends who also were collaborators, and because of that she wanted each individual to be really strong and strengthen the community as a whole.”In addition to her sister, Ms. Branch is survived by her mother and two half brothers, Clark and Russell. Her father died in 2017; the first Fly or Die album was dedicated to him.Ms. Branch had recently finished mixing Fly or Die’s third studio album. Ever seeking new sounds, she was also discussing potential projects like dub remixes of Anteloper and exploring her interest in the Chicago electronic dance music genre known as footwork.“A lot of her collaborators were jazz musicians,” said Piotr Orlov, a friend and supporter who wrote the liner notes for the 2021 album “Fly or Die Live,” “but ‘the music’ for her was much broader, always filled with rhythm for moving, improvisation for keeping it interesting or unexpected, and camaraderie. Which is why the connections she made between so-called jazz and contemporary classical, beats and electronic music, rappers and dancers, standards and the hard-core songbook, were completely organic, and always fascinating.”On Wednesday night, as news of Ms. Branch’s death spread, about 75 of her friends and fellow musicians gathered on Valentino Pier in Red Hook, a few blocks from her apartment. As “Fly or Die Live” played through a phone propped up against a small, tinny-sounding megaphone, some in the crowd tapped out beats on drums or on the concrete, others banged tambourines and sleigh bells, and the young saxophonist Zoh Amba played melancholic funereal blasts.From across the Red Hook Channel the distant sound of another trumpet could be heard, most likely from a mariachi band in a waterfront bar, joining the music in a phantom collaboration. More

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      Joey DeFrancesco, Reigning King of the Jazz Organ, Dies at 51

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      A prodigy whose playing had drawn raves since he was a teenager, he helped bring the Hammond B3 back into the jazz lineup.Joey DeFrancesco, who was widely credited with bringing the organ back into vogue in jazz circles in recent decades, has died. He was 51.His wife, Gloria, posted news of his death on Facebook on Friday. She did not say where or when he died or cite the cause.Mr. DeFrancesco had musicianship in his genes: His father, John DeFrancesco, has been playing jazz organ since the 1950s. He was dazzling listeners when he was a teenager.“DeFrancesco — whose infectious, imp-of-the-perverse expressions make him as much fun to watch as listen to — can stride, flatten fifths and string together quotes from Bird, Diz, Monk and Miles with the polished resourcefulness of the eight-year veteran that he is,” Gene Seymour of The Philadelphia Daily News wrote in 1986 after observing the Settlement Jazz Ensemble at the Settlement Music School in Philadelphia, where the young Mr. DeFrancesco was then a student.“And all the while you watch and listen,” Mr. Seymour added, “you find a little voice inside yourself chanting: ‘He’s 15 years old!’”Within two years Mr. DeFrancesco had toured with Miles Davis and opened for Bobby McFerrin and Grover Washington Jr. In 1989, at 17, he played at Duke University with well-known musicians like the trumpeter Clark Terry in a concert that announced the forthcoming Thelonious Monk Institute of Jazz, which would open soon after.“As Mr. DeFrancesco played Duke Ellington’s ‘Sophisticated Lady,’ the elder musicians beamed and whispered encouragement,” Jonathan Probber wrote of that show in The New York Times. “The distinct impression was that Mr. DeFrancesco was an example of hopes on the way to realization.”Certainly he was on the way to a formidable career, one that included more than 30 recordings as a bandleader, numerous others as a sideman and countless concerts. Along the way he brought the organ back into fashion in jazz.The Hammond B3 organ became a favorite in jazz circles in the 1950s, with Jimmy Smith, who had numerous hit albums on the Blue Note label, leading the way. But in 1975 the Hammond company stopped making the instrument, and the trend of organ-based trios in jazz clubs faded.Mr. DeFrancesco was a multi-instrumentalist; he also played trumpet, saxophone, piano and synthesizer. But he built his career playing an old-school B3.“I love the synthesizers and play all that stuff, but you can’t beat the sound of the B3,” he told The Associated Press in 1991. “The instrument has a very warm tone. It’s got the contrasts. It just has all those emotions in it. It’s got little bits of every instrument in it. It’s like having a whole orchestra at your fingertips.”Mr. DeFrancesco’s first album, “All of Me,” was released in 1989, and dozens more followed, with his musical interests ranging far and wide. He recorded his own original music. A 2004 album was called “Joey DeFrancesco Plays Sinatra His Way.” His “Never Can Say Goodbye” in 2010 reimagined the music of Michael Jackson. And he collaborated on albums with Van Morrison, the guitarist Danny Gatton and others.The bassist Christian McBride had known Mr. DeFrancesco since they were students at the Settlement School.“Joey DeFrancesco was hands down the most creative and influential organist since Jimmy Smith,” he said in a statement. “In terms of taking the organ to the next level and making it popular again for a younger generation, no one did it like Joey.”Mr. Seymour, who decades ago wrote about the teenage Mr. DeFrancesco in Philadelphia and later became a critic at Newsday, remembered Mr. DeFrancesco in a Facebook post on Friday.“His meteoric rise to fame didn’t surprise me at all,” he wrote. “What did, over time, was how deeply and consummately he mastered the jazz organ tradition at all ends of the musical spectrum, from blues and funk to post-bop and avant incantations. He fulfilled the obligations of his calling by never standing still, never being complacent.”Mr. DeFrancesco in performance at the Newport Jazz Festival in Rhode Island in 2011.Erik Jacobs for The New York TimesMr. DeFrancesco was born on April 10, 1971, in Springfield, near Philadelphia. He didn’t wait long to pick his career path.“When I was 4, my father brought in this monstrous thing, a B3, and he turned it on,” he told The Boston Herald in 1994. “It has a motor and a generator. I started playing it and the sound just moved me. Being a 4-year-old and making up your mind about what you want to do for the rest of your life — I was very fortunate.”He of course credited his father with being his first influence.“You can’t be better off than having a dad who plays the same instrument that you do,” he said. “The music that I heard from the time I was born was jazz.”Happenstance helped propel his career: As a teenager he was performing on a local television show in Philadelphia when Miles Davis was the featured guest. The veteran jazzman was impressed, and Mr. DeFrancesco ended up touring with him for six months.He released a steady stream of albums, five of which received Grammy Award nominations, including, most recently, “In the Key of the Universe” (2019). On his latest album, “More Music” (2021), which features 10 original compositions, he played six different instruments and threw in some vocals well.A full list of survivors was not immediately available.Mr. DeFrancesco was something of a showman, even when he was a sideman. In 2010, for instance, he played with a trio led by the saxophonist David Sanborn. Mr. Sanborn was the headliner, but, as Nate Chinen wrote in The Times of the trio’s gigs, “It’s often as much Mr. DeFrancesco’s show, and sometimes more so.”If he was more flamboyant than some of his contemporaries, that was deliberate, Mr. DeFrancesco told The Buffalo News in 2004.“I think these new players are too damn serious,” he said. “The joy of it, the fun of it, is something that jazz has lost. I mean, we are entertainers, after all. If you don’t look like you’re having fun onstage, how is anyone in the audience supposed to?” More

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      Sy Johnson, Arranger Who Worked Closely With Mingus, Dies at 92

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      A jazz Renaissance man, he arranged many of the bassist’s later works and also wrote reviews, took photographs and composed his own music.Sy Johnson, a Renaissance jazz master — pianist, composer, journalist, photographer — who made his biggest impact as a frequent arranger, orchestrator and all-around right-hand man for the celebrated bassist Charles Mingus, died on July 26 in Manhattan. He was 92.His wife, Lois Mirviss, said the death, in a hospital, was caused by complications of Covid-19.The jazz critic Gary Giddins called Mr. Johnson “one of those indispensable people you never heard much about,” and few in the jazz world would disagree. He started out in the late 1950s playing piano, first in Los Angeles and then in New York. He soon branched out to arranging, working not just with Mingus but also with a host of musical luminaries including the saxophonist Lee Konitz and the arranger and bandleader Quincy Jones.He also wrote words: He conducted a seminal interview with Miles Davis and contributed record reviews to the short-lived quarterly Jazz magazine in the 1970s. He worked on Broadway and even composed his own musical, based on the works of J.R.R. Tolkien. And all along, he toted a 35-millimeter Leica camera, crafting spontaneous, intimate portraits of the jazz scene of the 1960s and ’70s. Many of his photographs were collected in a 2014 book, “Jazz: Personal Encounters.”Yet for all that, Mr. Johnson remained just outside the limelight, onstage but in a dark corner.“Gifted as he was, Sy seemed quite content to function as an invisible man making a slew of celebrated musical figures sound better than they might have without him,” Mr. Giddins said in an email.Mr. Johnson’s work with Mingus covered the last decade of the bassist’s life, before he died of Lou Gehrig’s disease in 1979. Mr. Johnson understood how to arrange Mingus’s compositions to fit the big-band formats that he preferred later in his career, without pushing them into a standard big-band sound or losing the lush texture of Mingus’s work.Just as important, Mr. Johnson knew how to navigate around Mingus’s famously exacting, often explosive personality, where other collaborators often feared to tread. Mingus trusted Mr. Johnson to write melodies and organize his sometimes chaotic flow of musical insights into a workable piece of music.Mr. Johnson “often accompanied our family in our home and retreats, regularly providing a photographic chronicle to Mingus’s private moments,” Roberto Ungaro, the president of the Charles Mingus Institute and the son of Mingus’s widow, Sue, said in an email. “In a world of struggle and populated with adversaries, Sy was one of the people Mingus truly trusted.”Their relationship did not end with Mingus’s death. Sue Mingus created a series of bands — the Mingus Big Band, the Mingus Orchestra and Mingus Dynasty — to play his music, and once again Mr. Johnson often provided arrangements.“He knew how to capture on paper exactly what Mingus wanted,” Mr. Giddins said, “and seemed to have stoked his ambition instead of trying to reduce it.”Charles Mingus and his wife, Sue, at their home in Manhattan in 1978, as photographed by Mr. Johnson. In addition to working in music, Mr. Johnson documented the jazz scene of the 1960s and ’70s with his 35-millimeter Leica camera.Sy JohnsonSivert Bertil Johnson Jr. was born on April 15, 1930, in New Haven, Conn. His parents were both immigrants: His father, a homebuilder, came from Sweden, and his mother, Elizabeth (Werning) Johnson, from Lithuania.Along with his wife, he is survived by his sister, Elizabeth Keppel.Young Sy admired jazz long before he mastered it. He later recalled the first time he heard Charlie Parker play, on a recording one of his teenage friends brought home.“At that age I wasn’t capable of analyzing it,” he said in a 2018 interview. “All I knew was that suddenly, the winds had changed.”After high school he joined the Air Force, where his friends included John Williams, who would go on to achieve fame as a composer of film scores. Following his discharge he settled in Los Angeles and studied at the University of California, Los Angeles, with plans to become a lawyer. He studied English and graduated in 1958, but by then he had fallen in with the city’s jazz scene and set his plans for a legal career aside.His first encounter with Mingus was promising. Soon after he arrived in New York, in 1960, the bassist invited him to play with his band at the Showplace, a club in Greenwich Village.Things soured quickly. At one point during a performance, Mingus ordered Mr. Johnson to play “pedal tones, just pedal tones” — sustained low notes — but Mr. Johnson struggled to find the right pattern.Mingus got angry. He threw down his bass, ran to the piano and put his face up to Mr. Johnson’s.“I see these maniacal eyes an inch away,” Mr. Johnson recalled. “And he’s just glaring and making these funny breathing noises.”Mingus hammered four times on the bass end of the piano, then ran back to his instrument and resumed playing, furiously.At other times, though, Mingus seemed to appreciate Mr. Johnson; he once told the audience, “This white boy can play!”Then one evening Mr. Johnson arrived to prepare for a show, only to find the piano closed and the renowned saxophonist and flutist Yusef Lateef standing beside it.“If you were me and had the chance to hire Yusef Lateef or you,” Mingus said by way of apology, “who would you hire?”Mr. Johnson went on to play with other groups and eventually found a career as an arranger with Emil Charlap, a jazz musician who ran an arranging and copying company.One day in 1971 Mingus came to the office, looking for someone to arrange music for an upcoming album. He had someone specific in mind, but that person wasn’t there — so he thrust the sheet music into Mr. Johnson’s hands, apparently not remembering their earlier collaboration.His first arrangements for Mingus were for two pieces on his album “Let My Children Hear Music,” released by Columbia in early 1972: “The Shoes of the Fisherman’s Wife Are Some Jiveass Slippers” and “Don’t Be Afraid, the Clown’s Afraid Too.” In his liner notes, Mingus called it “the best album I have ever made.”Mr. Johnson also helped pull off a concert at Philharmonic Hall (now David Geffen Hall) in New York, which was recorded and released that same year as “Mingus and Friends Live in Concert.” Taken together, the two recordings showed that, thanks in part to Mr. Johnson’s arrangements, Mingus had mastered the big-band sound he had been seeking for so long.Mingus would later also record two of Mr. Johnson’s compositions, “Wee” and “For Harry Carney.”Mr. Johnson’s work went beyond his collaboration with Mingus. Before and after the bassist’s death, he worked with a number of leading musicians as an accompanist, arranger and composer. He did the arrangements for two Broadway musicals, “Blues in the Night” (1982) and “Black and Blue” (1989). He also wrote a little-seen musical, “Hobbit, Hobbit,” based on the work of J.R.R. Tolkien.“He was just a master,” Tom Stites, who was Mr. Johnson’s editor at Jazz magazine, said in a phone interview. “He was a master jazz writer. The master photographer. He was just a master of everything he touched.” More