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      5 Minutes That Will Make You Love Billie Holiday

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      Billie Holiday is one of the foremost vocalists in jazz, whose emotional depth and unique phrasing inspired generations of singers to experiment with form and pitch fluctuation. Nicknamed “Lady Day” by the saxophonist Lester Young, her star brightened in the 1930s behind a string of hit songs and notable live performances in Harlem. In what was the hottest jazz scene in the country, Holiday stood out, and in 1937 she joined the famed Count Basie Orchestra; a year later, the clarinetist Artie Shaw asked her to join his orchestra, making Holiday the first Black woman to work with a white big band.Billie Holiday in the spotlight.Charles Hewitt/Getty ImagesHoliday’s legend grew in the late ’30s during her residency at the Café Society in Manhattan. She was introduced to “Strange Fruit,” a song by Abel Meeropol about lynching in the American South based on a poem he had written. Barney Josephson, the proprietor of Café Society, heard the song and brought it to Holiday, who first performed it there in 1939. It was a watershed moment for the singer: It’s not only the most famous song in her repertoire, it’s considered one of the most important in history, the track’s vivid imagery a strong indictment of racism in the country. Holiday was officially a star after the recording of “Strange Fruit,” and followed it with an impressive run of tracks in the early ’40s that cemented her fame.While there’s been a notion to only associate Holiday with pain and struggle, these accounts have dimmed her light as a firebrand artist whose creative bravery encouraged others to take similar risks. We asked 10 musicians and writers to share their favorite Holiday songs: Enjoy listening to their choices, check out the playlists and be sure to leave your own selections in the comments.◆ ◆ ◆‘Autumn in New York’José James, vocalistWithin the first two seconds of this song it’s impossible not to be drawn into the spell of Billie Holiday’s voice. Sailing confidently over lush chords by the pianist Oscar Peterson, Holiday pulls back the curtain on the beating heart of everyone who has loved, lost, loved again and (finally) lost themselves in that great city. A superb storyteller, Holiday explores every nuance of Vernon Duke’s paean to autumnal introspection in the city that never sleeps. Through her knowing delivery, every detail becomes vivid, cinematic: couples holding hands in Central Park, clouds reflecting off endless steel buildings, sundown in Greenwich Village, the wry smile of the maître d’hôtel at the Ritz, a lipstick-stained empty cocktail glass left behind at the bar. Billie was queen of it all, one of the highest-paid Black entertainers of her time, who left no stone unturned on her journey toward the self. This is beyond jazz singing; this is mastery in its highest form. With this song, Billie takes her place among the greatest of all balladeer improvisers in the jazz canon, creating the definitive version of an American classic.▶ Listen on Spotify, Apple Music or YouTubeWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Branford Marsalis and Steve Lehman Rethink the Jazz Cover Album

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      Marsalis leads a take on Keith Jarrett’s 1974 LP “Belonging,” and Lehman interprets “The Music of Anthony Braxton,” revealing fresh lessons.Great jazz composers are legion. But the list of great jazz composers whose work gets played by other artists with any regularity? That’s a far more exclusive club.So when a jazz musician devotes an entire record to the work of a less-celebrated figure, it reads like a deliberate, even courageous, act of advocacy. The soprano saxophonist Steve Lacy did this for Thelonious Monk in 1959, releasing “Reflections,” the first-ever tribute album to the pianist, which paved the way for a wider engagement with Monk’s sui generis songbook; likewise, in the ’80s and ’90s, the pianist Misha Mengelberg, the trombonist Roswell Rudd and the collective known as the Herbie Nichols Project each made strong cases on record for the work of the once obscure Nichols.Two new jazz releases find a pair of saxophonists taking similar stands. On “Belonging,” Branford Marsalis leads his working quartet through a full-album take on Keith Jarrett’s 1974 LP of the same name. And on “The Music of Anthony Braxton,” Steve Lehman and his longtime trio mates, with the guest tenor saxophonist Mark Turner, play a live set heavy on material by Braxton, the unorthodox, genre-transcending visionary who was also Lehman’s personal mentor and former collaborator. Both records showcase the potency of the material at hand while achieving a certain kind of expressive liftoff that makes them more than just rote covers.Jarrett’s “Belonging” places unusual demands on the would-be interpreter. It’s an album of emotional extremes that encompasses ecstatic exuberance and prayerful yearning. It also seems almost inextricable from the idiosyncrasies of its maker, revered as an improviser but still undervalued for his prolific writing, which peaked in the ’70s with bespoke works for both a stateside quartet and the European one heard on “Belonging.”Marsalis has tackled imposing jazz masterworks before, covering the entirety of John Coltrane’s “A Love Supreme” in the studio and onstage in the early 2000s, but at its best, his “Belonging” goes deeper. On the original album, the title track is a brief, reflective interlude, played as a solo-free duet between Jarrett on piano and Jan Garbarek on tenor. Marsalis takes his time with the piece, stating the theme on soprano saxophone and leaving space for the rhythm section — the pianist Joey Calderazzo, the bassist Eric Revis and the drummer Justin Faulkner — to set up a lovely rubato ballad texture. Re-entering, Marsalis starts out playing gentle, aqueous phrases, then steadily crescendoes to a piercing intensity for the final theme statement, the band swelling to match him as his tone grows ever more urgent. It’s a performance that both honors and amplifies the somber beauty of the source material.“The Windup” represents the other pole of “Belonging.” A rollicking, acrobatically twisty theme, it suggests boogie-woogie gone prog, conjuring a mood of infectious delight. Marsalis’s quartet has embraced it as a favorite in recent years, and an earlier version appeared on the band’s 2019 live album, “The Secret Between the Shadow and the Soul.” Like in that performance, Faulkner is the driving force on the new studio take. Here he pushes even harder, complementing the opening piano-and-bass vamp with a busily festive beat marked by a barrage of syncopations on snare and cowbell.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Yasuaki Shimizu, a Japanese Sax Master, Takes North America

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      The composer and saxophonist Yasuaki Shimizu is at home in free jazz, classical and art pop. Finally touring North America, he’s going big by staying small.Halfway through “Bye Bye Kipling,” Nam June Paik’s mash-up of music and video graphics from 1986, the camera pans to a tenor sax player as he leaps through “Tribute to N.J.P.” with its composer, Ryuichi Sakamoto, behind him on piano, conjuring a blend of Shostakovich and Keith Jarrett.The two musicians had joined Paik’s project, which was simultaneously broadcast from New York and Tokyo, to help rebut Rudyard Kipling’s line, “East is East, and West is West, and never the twain shall meet.”The twain meets again this week, when that saxophonist, Yasuaki Shimizu, embarks on his first North American tour, starting at National Sawdust in Brooklyn, Thursday and Friday, before going on to Chicago, Toronto, California and Seattle. And on Saturday, at the Metrograph theater on the Lower East Side, Shimizu will introduce four films that he scored, including “Bye Bye Kipling.”For a musician whose inventive arrangements of Bach and whose TV and movie scores have made him a minor celebrity in Japan, the tour is long overdue. (He last performed in the United States in the 1970s.)Shimizu at work in Kanagawa. Kentaro Takahashi for The New York TimesA career retrospective, it should give audiences a taste of Shimizu’s wide-ranging music. He has recorded some 40 albums in as many years — starting in the late 1970s with slick fusion boogie and progressive rock — and has been a prized sideman in the electronic and improvised scenes. With most of his recordings still out of print in the States, he has remained something of a cult figure here.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Larry Appelbaum, Who Found Jazz Treasure in the Archives, Dies at 67

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      He helped turn the Library of Congress into a leading center for research on the history of jazz, and made some surprising discoveries of his own.Larry Appelbaum, a music archivist who over a long career at the Library of Congress helped make it a leading center for research into the history of jazz, discovering a number of important recordings along the way, died on Feb. 21 in Washington. He was 67.His death, in a hospital, was from complications of pneumonia, his brother Howard said.Mr. Appelbaum specialized in one of the Library of Congress’s most complex tasks: the preservation of recorded speech and music, often involving its transfer from one format to another. As part of that effort, he acquired and processed collections of old recordings, a job that offered no end of drudge work, but also the opportunity for serendipitous finds.His biggest discovery came in 2005, when the library received a large collection of jazz recordings — fragile acetate tapes made by Voice of America at Carnegie Hall in 1957.“There was literally a truck filled with tapes that came to us,” he recalled in an interview for the D.C. Jazz Festival.As he flipped through them, he found one labeled, in pencil, “Thelonious Monk Quartet,” with a few track listings. Interesting, he thought, but not necessarily momentous.“It was only when I put the tape on the machine and started to listen to it that I thought, ‘That’s John Coltrane,’” he said.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Betty Bonney, 100, Dies; Her Song for a Yankee Star Was a Big-Band Hit

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      “Joltin’ Joe DiMaggio,” which she sang with the Les Brown band, celebrated DiMaggio’s 56-game hitting streak in 1941. She also sang on Sid Caesar’s “Your Show of Shows.”Betty Bonney was already a veteran big-band vocalist at 17 when she joined Les Brown and His Orchestra in 1941 — in time to sing the praises of the New York Yankees star Joe DiMaggio as he was racking up his major-league-record 56-game hitting streak.While performing that summer at a club in Armonk, N.Y., in Westchester County, the band “got caught up in the streak,” Mr. Brown told Newsday in 1990, and “would announce it from the bandstand every night if Joe had gotten another hit, or if he was coming to bat late in the game still without a hit.”As DiMaggio piled up hits — from mid-May to mid-July — a New York City disc jockey, Alan Courtney, and the band’s arranger, Ben Homer, wrote a jaunty tune, “Joltin’ Joe DiMaggio,” which Ms. Bonney sang in her smooth, elegant style at the Armonk club while band members goofed around with baseball gloves, bats and caps, Mr. Brown said.The song was also heard regularly on the band’s radio show and released in September as a 78 r.p.m. record; according to Billboard magazine, it was the 93rd-best-selling single of 1941.The Les Brown band’s 78 r.p.m. recording of “Joltin’ Joe DiMaggio” was released in September 1941, two months after DiMaggio’s record-setting 56-game hitting streak ended.Diamond Images/Getty ImagesThe song starts off with Ms. Bonney asking, “Hello, Joe, whaddaya know?” to which the clarinetist Ben Most, playing the part of DiMaggio, replies, “We need a hit, so here I go.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Roy Ayers, Vibraphonist Who Injected Soul Into Jazz, Dies at 84

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      He helped introduce a funkier strain of the music in the 1970s. He also had an impact on hip-hop: His “Everybody Loves the Sunshine” has been sampled nearly 200 times. Roy Ayers, a vibraphonist who in the 1970s helped pioneer a new, funkier strain of jazz, becoming a touchstone for many artists who followed and one of the most sampled musicians by hip-hop artists, died on Tuesday in Manhattan. He was 84.His death, in a hospital, was announced by his son Mtume, who said he died after a long illness.In addition to being one of the acknowledged masters of the jazz vibraphone, Mr. Ayers was a leader in the movement that added electric instruments, rock and R&B rhythms, and a more soulful feel to jazz. He was also one of the more commercially successful jazz musicians of his generation.He released nearly four dozen albums, most notably 22 during his 12 years with Polydor Records. Twelve of his Polydor albums spent a collective 149 weeks on the Billboard Top 200 chart. His composition “Everybody Loves the Sunshine,” from his 1976 album of the same name, has been sampled nearly 200 times by artists including Tupac Shakur, Dr. Dre, Mary J. Blige and Snoop Dogg. The electric piano hook from “Love,” on his first Polydor album, “Ubiquity” — which introduced his group of the same name — was used in Deee-Lite’s 1990 dance hit “Groove Is in the Heart.”“Roy Ayers is largely responsible for what we deem as ‘neo-soul,’” the producer Adrian Younge, who collaborated with Mr. Ayers and Ali Shaheed Muhammad of the hip-hop group A Tribe Called Quest in 2020 on the second album in the “Jazz Is Dead” series, which showcases frequently sampled jazz musicians, told Clash magazine. “His sound mixed with cosmic soul-jazz is really what created artists like Erykah Badu and Jill Scott. It was just that groove.“That’s not to say people around then weren’t making music with a groove,” he added, “but he is definitely a pioneer.”Mr. Ayers with the trombonist Wayne Henderson, a founder of the Crusaders, in 1977. Their recording-studio collaborations led to some of Mr. Ayers’s most significant albums.Gilles PetardWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      5 Minutes That Will Make You Love Chicago Jazz

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      Jazz has experienced a meaningful resurgence in popularity over the past 15 years or so, especially among younger listeners. What’s driving that? You could make the case that there is a particular hunger, now that so much of life is lived in the digital cloud, for the messy and untamed energy of jazz, and for its way of putting a live process on display. And if that’s the case, then it makes a lot of sense that Chicago jazz has been at the forefront of this recent surge. Chicago has always represented a particularly rootsy, physical and — yes — windy ideal in jazz. So perhaps it’s an especially heady antidote to that sense of digital disappearance.The Chicago jazz sound amounts to a sum of the city’s Black histories: In it you can usually hear something of the snowy, clamoring traffic in Richard Wright’s “Native Son,” from 1940; the yowl of Howlin’ Wolf’s electric guitar in a 1950s blues bar; the drummers and dancers pounding out rhythms at one of Kelan Philip Cohran’s gatherings at the 63rd Street Beach in the late 1960s; even the antiracist street protests of the 1990s.The Windy City was an important musical outpost from the start of the recorded era, when many blues and jazz musicians moved there from the South and became stars. It’s also known as a cradle of the avant-garde, thanks to institutions like Sun Ra’s Arkestra, established there in the early 1950s, and the Association for the Advancement of Creative Musicians, a seed-sowing collective that celebrates its 60th anniversary this spring. Today, the city remains at the forefront of contemporary jazz thanks to artists like Nicole Mitchell, Kahil El’Zabar, Makaya McCraven, Tomeka Reid, Jeff Parker and Isaiah Collier, each a latter-day A.A.C.M. affiliate who has springboarded into a leading role on the international jazz circuit. And the label International Anthem, founded 12 years ago in Chicago, has become one of the biggest success stories in the indie-jazz business.We asked writers, musicians and other linchpins of the Chicago scene to tell us what tracks they would play to make a newcomer fall in love with the distinctive but multifaceted sound of Chicago jazz. Read on, listen to their picks in our playlists, and if you have favorites of your own, drop them in the comments.◆ ◆ ◆Ernest Khabeer Dawkins’ New Horizons Ensemble, ‘Mean Ameen’Dee Alexander, vocalistErnest Khabeer Dawkins leading the New Horizons Ensemble.Jacob Blickenstaff for The New York TimesThis recording, featuring some of the stalwarts of Chicago’s improvised music scene, should tantalize the palate of any listener new to creative music. The music is exploratory, while at the same time being funky and accessible. This Ernest Dawkins composition is a homage to Chicago’s own Ameen Muhammad, who died in 2003 at 48. Muhammad, a dear friend of Dawkins, was not only a renowned trumpeter and composer but also a highly admired and respected educator; “Mean Ameen” gained international notoriety over the course of his brief career. Ernest Khabeer Dawkins is one of those rare individuals who manages to balance a passion for community, mentorship and art. For me, this piece represents the saxophonist and bandleader at his best, through a beautiful dedication to a dear friend.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A Jazz Quintet Bubbling With Good Vibes? Meet the Women of Artemis.

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      The pianist Renee Rosnes formed the group in 2016, and it has evolved into a five-piece drawn from different nations and generations with a common goal.The multinational, intergenerational jazz quintet Artemis is, as they might say, bubbling. Last fall, it topped Downbeat magazine’s reader’s poll as jazz group of the year for the second time running. On Friday, the band released its third album, “Arboresque,” which captures both the hard-bop strut of the most beloved 1960s recordings by its storied label, Blue Note Records, as well as Artemis’s own fresh take on jazz tradition.“We’re not here to prove anything,” said the pianist Renee Rosnes, 62, the group’s musical director and, in her words, “organizational force.” “We’re just playing music together, in conversation, with reverence for each other.”At the suggestion of a French promoter, Rosnes formed Artemis in 2016 to perform concerts in Paris and Luxembourg for International Women’s Day. “I never had such a proclivity to put together a band of all female musicians before,” she said. “But here’s a lot of players that I love.”She assembled an all-star septet, featuring the trumpeter Ingrid Jensen — who named the group for the Greek goddess of the hunt and wilderness — the drummer Terri Lyne Carrington, the bassist Linda May Han Oh, the clarinetist Anat Cohen, the saxophonist Melissa Aldana and the singer Cécile McLorin Salvant. “I love their playing, and who they are,” Rosnes said, “and I thought it could be fun.”“We’re not here to prove anything,” Rosnes said. “We’re just playing music together, in conversation, with reverence for each other.”Scott Rossi for The New York TimesIt was fun, of course — and a commercial draw. A European tour in 2017 introduced the group’s permanent rhythm section (Allison Miller on drums and Noriko Ueda on bass), and Don Was, the president of Blue Note, signed Artemis on the spot after its set at the Newport Jazz Festival in 2018, a performance preserved on NPR’s “Jazz Night in America” program.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More