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    A Holiday Version of ‘I’m Just Ken,’ and 12 More Songs

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    Hear tracks by Central Cee, Kesha, Jason Moran and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. 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, and The Amplifier, a twice-weekly guide to new and old songs.Ryan Gosling and Mark Ronson, ‘I’m Just Ken (Merry Kristmas, Barbie)’A well-timed holiday remix that doubles as shameless Oscar campaigning? Yes, they Ken! Ryan Gosling and Mark Ronson’s “Barbie” showstopper “I’m Just Ken” is reimagined in three different formats — acoustic lament, club banger and Christmas novelty — on the newly released “I’m Just Ken” EP. “I’m Just Ken (Merry Kristmas Barbie)” reworks the arrangement into a stately, vaguely festive bit of chamber-pop; Gosling doesn’t fill the lyrics with Christmas puns, thankfully, but merely mutters in conclusion a wistful, “Merry Christmas, Barbie … wherever you are.” LINDSAY ZOLADZCentral Cee, ‘Entrapreneur’“We put the trap in entrapreneur,” the British drill rapper Central Cee spits on his first solo single of the year, following high-profile collaborations with Dave, Drake and PinkPantheress. In his signature knottily conversational flow, Cee boasts about his hustler mentality and sudden success, never forgetting from where he came: “Went from a Toyota Yaris to Urus,” he raps. “I still got the same work rate as before.” ZOLADZFlagboy Giz and Kango Slim, ‘Fell in Love at the Secondline’Flagboy Giz grew up on hip-hop, but he’s also a proud carrier of New Orleans tradition as a member, since 2015, of the Wild Tchoupitoulas tribe of Mardi Gras Indians. The title of his 2023 album “Disgrace to the Culture” points to the way his music determinedly mixes hip-hop with New Orleans lore. Twitchy trap programming and a low-slung piano riff join hints of brass-band sousaphone and Mardi Gras tambourine to carry “Fell in Love at the Secondline,” a flirtation mapped onto the city’s streets. JON PARELESGenesis Owusu, ‘Survivor’A fierce beat, relentless but changeable — with percussion, voices and programming — drives “Survivor,” a knowing vow of defiance in the face of every obstacle. “I am the lawless, formless, thoughtless, flawless chaos of the sun/I am the seed of life and love, you see the blaze, you better run” chants Genesis Owusu, born in Ghana and living in Australia. The track is brutal, full of paradoxical wordplay — and fully confrontational. PARELESIza, ‘Que Se Vá’Iza, a Brazilian singer and rapper, isn’t just breaking up in “Que Se Vá” (“Let It Go”); she’s also canceling the ex’s credit card. Her gleeful good riddance, with verses that build toward laughter, is propelled by Afro-Brazilian rhythms, programmed handclaps and a harmony chorus that exults in its spite. PARELESKesha, ‘Eat the Acid’Kesha set aside her pop and rock reflexes for the somber “Eat the Acid” from her 2023 album, “Gag Order.” She sings about indelible drug revelations and warns, “You don’t wanna be changed/like it changed me.” With stark keyboard drones, a cappella moments, processed vocals and distant, ethereal harmonies, Kesha pushes toward the experimental realms of songwriters like Julia Holter and Björk. PARELESMedicine, ‘That’s Alright, Friend’Medicine, the indie-rock band Brad Laner has led since 1990, thrives on overload, placing poppy tunes within a pile-on of instruments, voices, electronics and distortion. “That’s Alright, Friend” — the opening track on its 2023 album, “Silences” — bashes out a six-beat stomp behind Julia Monreal’s cheerful voice while bells ping, electronics chatter and layered guitars pick up her melody. Then the track starts lurching into new territory, swerving through a few episodes before ending up somewhere like a psychedelic sea chantey, while Monreal repeats the title as reassurance amid the din. PARELESEsperanza Spalding and Fred Hersch, ‘But Not for Me’A vocalist sits on a stool in a dark-lit subterranean jazz club, topped with a beret, she-bopping through standards. Even if that’s more or less what you think of when you hear the word “jazz,” it’s probably not what the name “Esperanza Spalding” calls to mind. But back in 2018, Spalding took a detour into the old songbook, at the elbow of the piano maestro Fred Hersch, during a weeklong stand at the Village Vanguard. A few tracks from those dates were released as an album earlier this year.Yes, she wore a beret and sat on a stool, and the lights were low. (She also left her bass at home.) Still, Spalding created healthy distance between herself and the old material. On “But Not for Me,” even as she delights in banter with Hersch’s piano, Spalding seems certain this Gershwin tune was not written “for” her. “They say that Russian plays do boast of many gray skies,” she sings, before tapping out on the next line. “And then some words I don’t really understand, ’cause it’s like Old English: ‘hi-ho, alas and lackaday?’” she says. “That’s how I feel — confused about the whole situation.” The audience laughs easily, agreeing that the old material shines best when thrown open to the light of the present day. GIOVANNI RUSSONELLODarcy James Argue’s Secret Society, ‘All In’Darcy James Argue and his airtight big band, Secret Society, have long made a cottage industry out of dynamic torque, and Argue rarely wastes a note. “All In,” from their aptly named album “Dynamic Maximum Tension,” starts with a tenuous and crooked drum beat, then a procession of rich harmonies — packed with just enough dissonance to tighten up the energy — before a heavier beat kicks in. The horns swell atop a percussive, string-muted piano part from Adam Birnbaum. Even as the sound grows triumphant, that catalytic dissonance never goes away. RUSSONELLOJason Moran featuring Brian Settles, ‘Flee as a Bird to Your Mountain/Ghosts’“From the Dancehall to the Battlefield” is the culmination of a long project for the pianist and multivalent artist Jason Moran, who has spent years exploring and elevating the legacy of James Reese Europe, a pioneering bandleader who was also the first Black American to lead U.S. troops into combat, as a lieutenant in the 369th Infantry Regiment (the renowned “Harlem Hellfighters”) during World War I. Europe also helmed the regiment’s orchestra, which made waves in France and helped pave the way for the Jazz Age’s big-band boom.On “From the Dancehall,” Moran leads a 10-piece ensemble through a swirl of material, placing Europe into conversation with the 100 years of jazz history that have followed in his wake. One highlight comes on “Flee as a Bird to Your Mountain/Ghosts,” as Moran pairs a dirge-like Europe composition — which Europe’s band used to play whenever an infantryman had died on the battlefield — with Albert Ayler’s spiritualist free-jazz classic “Ghosts.” Brian Settles, a prominent tenor saxophonist on the jazz scene in Washington (Europe’s hometown), carries the melody to “Ghosts,” smearing and savoring his notes, then shifts into a shivery, heart-spilling solo. RUSSONELLOConexión Divina, ‘Anestesia’A thunderstorm rumbles through “Anestesia” (“Anesthesia”) by Conexión Divina, a three-woman band based in Los Angeles that plays the regional Mexican style called sierreño, which features melancholy love songs. In “Anestesia,” Liz Trujillo sings about a longing so intense she needs to numb herself. Whether it’s a blinding infatuation or post-breakup regret, the desperation is palpable. PARELESAngelica Garcia, ‘El Que’In “El Que” (“He That”), Angelica Garcia wrestles with an inner demon who “chills, robs energy, controls and bewitches,” preying on her own self-doubt. A throbbing electronic pulse underlines her vulnerability; she fights back with booming drums and a choral chant, achieving a tense standoff. PARELESMary Lattimore, ‘Music for Applying Shimmering Eye Shadow’On her 2023 album, “Goodbye, Hotel Arkada,” the harpist Mary Lattimore welcomed electronics and processing while keeping the plucked, resonant tones of her instrument at the center of her music. “Music for Applying Shimmering Eye Shadow” is minimalistic and meditative with little exact repetition. Basking in the slow alternation of two echoey chords topped with ever-changing fragments of melody, it does, indeed, shimmer. — PARELES More

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      Doja Cat Goes Horror Rap on ‘Demons,’ and 12 More New Songs

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      Hear tracks by Peter Gabriel, Lauren Mayberry, Oneohtrix Point Never and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. 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, and The Amplifier, a twice-weekly guide to new and old songs.Doja Cat, ‘Demons’A brash, blown-speaker quality animates “Demons,” the latest single from Doja Cat’s upcoming album, “Scarlet.” “How my demons look now that my pockets full?” she shouts with a defiant rasp, before switching to a lighter and more viciously humorous register on the verses. (“Who are you, and what are those? You are gross!”) “Demons” also features a horror movie-inspired video, which stars Christina Ricci and features a very creepy Doja slithering around like a red-eyed monster. Other pop stars merely tune out their haters; Doja exorcises them. LINDSAY ZOLADZNicki Minaj, ‘Last Time I Saw You’Nicki Minaj doesn’t usually admit to any regrets or second thoughts. But she does in “Last Time I Saw You,” a song that seesaws between guitar-flecked ballad and rueful rapping. “I wish I remembered to say I’d do anything for you/Maybe I pushed you away because I thought that I’d bore you,” she sings, confessing that she was the one in the wrong. JON PARELESTeezo Touchdown featuring Janelle Monáe, ‘You Thought’Misjudgments pile up in “You Thought,” which transforms from percussive, triplet-driven rock to ballad with brisk hip-hop wordplay. Teezo Touchdown moves between rapping and singing; Monáe is melodic, singing, “I thought we were better.” The song details a breakup from both sides: missed opportunities, misunderstandings, unfulfilled needs, all compressed into pop. PARELESBlankfor.ms, Jason Moran and Marcus Gilmore, ‘Eighth Pose’Tyler Gilmore — the New York-based composer and musician known as Blankfor.ms — makes music using degraded tape loops, analog synthesizers and an old spinet piano. He was approached recently by the producer Sun Chung about doing an album with jazz improvisers, and his first call was to the pianist and composer Jason Moran, his former teacher at the New England Conservatory. His second was to the drummer Marcus Gilmore. Those two are among the finest improvisers alive: It is an impressive team for a first foray. On “Refract,” their new album, the trio works across medium and style, with composed elements and prepared loops by Blankfor.ms sparking improvisations from his collaborators. “Eighth Pose” turns on a twitchy, coiled synth phrase, like a keyed-up Aphex Twin track; Moran picks it up on the piano, toying with it, while Gilmore adds a nervy drumbeat, passed through compressed effects. GIOVANNI RUSSONELLOKenya Grace, ‘Strangers’Speedy breakbeats equate with dating jitters in “Strangers,” Kenya Grace’s whispery complaint about how 21st-century romance too often ends in ghosting. She’s the singer, songwriter and producer on the track. “One random night when everything changes/you won’t reply and we’ll go back to strangers.” Synthesizers hum as the percussion races ahead, while she sings about feeling like “Everyone’s disposable.” PARELESJeff Rosenstock, ‘Will U Still U’The Long Island-born punk lifer Jeff Rosenstock tests the limits of love on “Will U Still U,” the jet-propelled opening track off his new album “Hellmode.” “Will you still love me” after I’ve messed up, he asks (with an expletive) in a catchy, incongruously cheery melody, before unleashing a rapid-fire rundown of his relationship worries. In the song’s cathartic finale he’s joined by a chorus of voices shouting that refrain at the top of their lungs and fist-pumping in anxious solidarity. ZOLADZOneohtrix Point Never, ‘A Barely Lit Path’Oneohtrix Point Never is the composer and mastermind Daniel Lopatin, who has been the Weeknd’s producer and created the nervy soundtrack for “Uncut Gems,” along with making his own albums. “A Barely Lit Path” begins as a reverent, electronics-edged dirge with processed vocals imagining “a barely lit path from your house to mine.” Then it goes through a multiverse of wordless transformations: pulsing synthesizers, a stately quasi-Baroque string orchestra, a choir accompanied by synthesizer arpeggios and a gradual, virtual decrescendo. Absolutely anything can happen as long as it’s in the same key. PARELESPeter Gabriel, ‘Love Can Heal (Bright-Side Mix)’An expansive sound design — with bell-toned ostinatos, throaty cellos and multidirectional echoes — underlines Peter Gabriel’s troubled but determined optimism in “Love Can Heal,” a new track from his gradually accruing album “I/O.” His vocal sets aside his usual grizzled hoarseness for a modest tenor; a choir joins him, yet the song stays fragile. PARELESJason Hawk Harris, ‘Jordan and the Nile’There’s an Appalachian feeling to the melody of Jason Hawk Harris’s rootsy incantation “Jordan and the Nile,” a leisurely, mystical song about rivers and generations. An organ and a string section provide droning chords as he sings about determined optimism informed by biblical imagery: “I’m feeling heavy but I see the light/A world is dark but my abyss is bright,” he promises. PARELESLauren Mayberry, ‘Are You Awake?’The debut solo single from Lauren Mayberry — the lead singer of the Scottish electro-pop group Chvrches — is a sparse, plaintive piano ballad written with Tobias Jesso Jr., chronicling nocturnal anxieties and open-ended questions. “Are you awake? I feel a sadness in my skin,” Mayberry sings, her voice melancholy but chiming with the faintest hint of hope that her message will be answered. ZOLADZMaria BC, ‘Amber’ and ‘Watcher’Glimmering electronics, tolling guitars and hovering vocal harmonies gather in “Amber” and “Watcher,” two segued songs that meditate on closeness: “Your scent is on me now/Your senses draw me out,” Maria BC sings. “There is no place to hide and no wrong.” It’s blissfully enveloping and humbly awe-struck. PARELESKris Davis, ‘Dolores’ (Take 1)“Dolores” is easily one of the most infectious melodies Wayne Shorter wrote during his stint as musical director for the Miles Davis Quintet. But it’s not one of the (many) Shorter tunes you’re likely to hear called at a jam session or covered at a straight-ahead gig. Maybe there is something intimidating about the balled up, stop-and-start melody; the centerlessness of its structure; or how perfectly the quintet plays it on the classic 1966 recording. Well, none of this scares the pianist and composer Kris Davis. Strong-but-bendable rhythm, splintered melodic lines and rough-and-tumble interplay are par for the course for (this) Davis, especially with her Diatom Ribbons project. On a new album, recorded live at the Village Vanguard with a five-member version of that ensemble, the group takes its time getting to the theme: The bassist Trevor Dunn makes some references to it, the drummer Terri Lyne Carrington establishes a heavy groove, and finally Julian Lage’s guitar comes together with Davis’s piano to grapple with the melody. When Lage departs from it on his solo, he travels far — and the band comes with him. RUSSONELLO More

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      Satchmo’s Wonderful World: Louis Armstrong Center Amplifies An Artist’s Vision

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      New jazz and exhibition spaces, and an inaugural show curated by Jason Moran, feature the trumpeter’s history, collaged onto the walls.You can find anything in Queens. And yet for decades, the Louis Armstrong House Museum has been a well-kept secret on a quiet street in Corona. The longtime residence of the famed jazz trumpeter, singer and bandleader, it is a midcentury interior design treasure hidden behind a modest brick exterior.The museum’s new extension, the 14,000 square foot Louis Armstrong Center, blends in a little less. It looks, in fact, a bit like a 1960s spaceship landed in the middle of a residential block. By design, it doesn’t tower over its neighboring vinyl-sided houses but, with its curvilinear roof, it does seem to want to envelop them. And behind its rippling brass facade lie some ambitious goals: to connect Armstrong as a cultural figure to fans, artists, historians and his beloved Queens community; to extend his civic and creative values to generations that don’t know how much his vision, and his very being, changed things. It wants, above all, to invite more people in.“The house is relatively small,” said Regina Bain, executive director of the House Museum and Center, speaking of the two-story dwelling where Armstrong lived with his wife, Lucille, from 1943 until his death in 1971. “But his legacy is humongous. And this is the building that will help us to launch that.”The Center, 25 years in development, includes exhibition, research and education areas, and, for events, a 75-seat performance space whose blond wood and intimacy recall Dizzy’s Club Coca-Cola, the Jazz at Lincoln Center venue.“I think that this will do something that we haven’t quite seen in a jazz space,” said Jason Moran, the jazz pianist and composer, who was the Center’s inaugural exhibition curator. “That’s also something that my community needs to witness, too. It needs to watch, how can we take care of an artist’s history? And what else can it unleash in a community that might not even care about the art, but might care about something else related to it? Armstrong gives us all those opportunities to do that.”The new Louis Armstrong Center in Corona, Queens, designed by Caples Jefferson Architects, whose roof recalls a grand piano. The architects wanted to give their blueprint the sense of joy that Armstrong brings in his voice and music.Albert Vercerka/EstoThe longtime residence of the jazz trumpeter, singer and bandleader Louis Armstrong is a midcentury interior design treasure hidden behind a modest brick exterior.Ike Edeani for The New York TimesFor the architects, Sara Caples and Everardo Jefferson, the project was a puzzle in how to link two structures — the Center is across the street from the Armstrong House Museum — with the spirit of a musical legend. Their inspiration came by going back to the music, and to Armstrong’s street-level roots. “That kind of neighborhood that jazz actually emerged from — that wasn’t an elite creation, it was a popular creation,” Caples said. “And yet it was the music that revolutionized how we think, how we listen, how we think about nonmusical things, even.” They rounded the front of the Center to nod to the Armstrong house; its brass curtain echoes the color of his horn, and — the musically fluent may notice — the staggered hoop-shapes and columns in the entryway map out the notes of his most celebrated songs, like “What a Wonderful World” and “Dinah.”They also wanted to give their blueprint the sense of joy that Armstrong brings, the smile that you can feel in his singing voice. When they started the project, Jefferson called an uncle who’s a jazz saxophonist to ask — really, what made Armstrong so special? “And he said, you know, when you hear his music, you feel like dancing down the street,” Jefferson said.At the ribbon-cutting ceremony earlier this summer, trumpeters performed on the Armstrong house balcony and, across the road, on the upper deck of the Center, a fanfare that started with the opening bars of “West End Blues” and ended with “It’s a Wonderful World.” “It was an incredible moment — the building participated as a reflector of sound back to the street,” Caples said. Afterward, schoolchildren were invited in to plonk around on a Steinway.Visitors in the interior of the Louis Armstrong Center, 25 years in development, includes exhibition, research and education areas and a performance space.Ike Edeani for The New York TimesOn display is Armstrong’s Selmer Trumpet, engraved mouthpiece and monogrammed handkerchief. The gold-plated trumpet was a gift from King George V.Ike Edeani for The New York TimesIke Edeani for The New York TimesBuilt on the site of a former parking lot, with $26 million in mostly state and local funding, the new Center encompasses Armstrong’s 60,000-piece archive, including 700 tapes that were once housed miles away at Queens College. From that collection, Moran has curated the first permanent exhibition, “Here to Stay,” with a multimedia, interactive centerpiece of audio, video, interviews and songs. There’s Armstrong’s gold-plated trumpet — a gift from King George V — complete with his favorite imported German lip balm and the mouthpiece inscribed “Satchmo,” his nickname — and his collage art. (He made hundreds of pieces, paper cutouts on tape cases.) His first and last passports, among the ephemera, show his evolution from New Orleans-born youth player to a global icon in a tuxedo and an irrepressible grin.Armstrong was himself a documentarian, traveling with cameras and recording equipment and turning the mic on himself, his friends and loved ones in private moments — telling jokes backstage, opining at home. As a Black artist with an elementary school education, who was born into segregation, he went on to hobnob with presidents and royalty and to meet the pope. “He really marks a way of being a public figure,” Moran said. “And he has to weigh how he does that. If he’s getting a chance not only to tell his story with his trumpet in his mouth but through these microphones, then what are the stories he wants to tell, not in public? Those become important.”Jason Moran, the jazz musician, curated the opening exhibition, “Here to Stay” at the new Louis Armstrong Center in Corona.Ike Edeani for The New York TimesOne place his vision is most evident is in his reel-to-reel tape box collages, rarely displayed publicly until now. Armstrong used them as an outlet for years.“If he has a press clipping, maybe it wasn’t favorable, he could cut it up and make a collage,” Moran said. A photo in the exhibition shows him, after a trip to Italy, pasting his art work on the ceiling of his den, fresco-style. (Lucille Armstrong, a former Cotton Club dancer who was his fourth wife, put a stop to that.)Moran recalled that when Armstrong talked about his process and why he liked making collages, he explained that with just the push-pull of material on a small canvas, you can change “the story that you were given.” It echoed his expertise as a musician, Moran said, learning how to play background, on the cornet, with King Oliver, his early mentor, or foreground as he redefined what it meant to be a soloist, upending his destiny along the way.The exhibition also has the artist Lorna Simpson in a video reflecting on Armstrong’s collages and how they compartmentalized an enormous and complex life into the manageable and portable square of a tape case. “Armstrong archives and recontextualizes his public life by hand, to be layered and collaged onto the walls of his private life,” she said.Most of Armstrong’s collages were made in the den of his Corona, Queens home, from reel-to-reel tape boxes. In the 1950s, his love of collage spilled onto the walls of his den, which he adorned with photographs, newspaper clippings, and anything else he had at hand, eventually covering portions of his ceiling.Ike Edeani for The New York TimesLouis Armstrong created over 500 collages as covers of his tape collection, generating a priceless art and music catalog. Left: The box for Reel 27 features a German publicity photo of the musician, a snapshot of an unidentified man and “Gems from Buenos Aires.” Center: Reel 18, a photograph of Armstrong preparing to dine and Bing Crosby’s Musical Autobiography album on Decca. Right: Reel 68, with a reproduction of a photo of him with his mother and sister in New Orleans.Ike Edeani for The New York TimesThe gallery display (by C & G Partners) is full of circular motifs, reminiscent of musical notes or records. In determining the palette for the Center, Jefferson and Caples, the architects, looked at Armstrong’s art and his wardrobe; his home, with rooms in shades of electric blue or creamy peach, was mostly styled by Lucille. But he loved it — especially the spaces with gilded or reflective surfaces. “So it gave us the cue that we should not be too mousy,” Caples said, “and that this was a public building where there could be some expansiveness.” The club space at the Center, which recently hosted a rehearsal of trumpeters for the Newport Jazz Festival’s Armstrong tribute — taking place this weekend in Rhode Island — is a vibrant red.Moran made sure there was a book from the Armstrongs’ vast collection in every vitrine. “They had that kind of political library that was investigating their role in society,” he said. (They also were creatures of their era: The full archives include Playboy anthologies and vintage diet recipes; a guide called “Lose Weight the Satchmo Way” — heavy on the lamb chops — is displayed in the exhibition.)Lucille and Louis Armstrong traveled the world with customized luggage. Left: Armstrong’s passport for his first tour of England in 1932. Under occupation, Armstrong listed himself as an “Actor and Musician.” Right: Armstrong’s final passport in 1967, after years of being “America’s Ambassador of Goodwill.”Ike Edeani for The New York TimesEven a longtime Armstrong devotee like Marquis Hill, one of the Newport trumpeters, was moved by these personal mementos. (He snapped a picture of the handwritten recipe for Armstrong’s favorite dish, red beans and rice.) A half-century-old recording of Armstrong discussing how important it was to listen to all kinds of music inspired a Hill composition for Newport, commissioned by the Center. Its jazz club, he said, is “going to be a new space for what Louis Armstrong wanted, to keep pushing the music forward.”As part of an artist in residence program this fall, the Grammy winning bassist and singer Esperanza Spalding will present her project with the choreographer Antonio Brown that explores the era when people danced to jazz. Rooting herself in Armstrong’s history, and expanding his vision, Spalding said in an email, would “develop ways to re-merge and re-awaken the dialogue between these essential modalities of human expression — the improvising body and the improvising musician.”Under Bain, the executive director,the Center is also hosting new programming, including dance and yoga classes, trumpet lessons and events that engage the mostly Spanish-speaking community, whether through music or social activism.“Louis and Lucille were two Black artists who owned their own home in the ’40s,” Bain said. “Why can’t we have a workshop here about homeownership for our neighbors? If it’s in the legacy of Louis and Lucille — that’s what this space can also be.”Since it opened on July 6, the Center has exceeded visitor estimates and is adding more hours and drawing fans from across the country. “He was one of the heroes I was taught about,” said Jenne Dumay, 32, a social worker from Atlanta who plans music-oriented trips with friends, focusing on Black history. “This museum gives me insight that I didn’t learn in my textbooks.”Among the final work Armstrong created, after a lengthy hospital stay in 1971, was a six-page handwritten ode to Corona, and his happy, quotidian life there. In looping script, he extols the virtues of his Schnauzers as watch dogs (“When the two start barking together — oh boy, what a duet”), and his favoriteChinese restaurant.It is one of the treasures that Moran — who said Armstrong’s spirit-lifting music helped him through the pandemic — cherishes most. Armstrong’s handwriting, he noted, slants upward on every page. “The text is just so inherently aspirational,” Moran said. “It’s in line with how he holds his trumpet” — pointing up to the sky — “how his eyes look when he plays. It’s a slight thing, but it tells us: this is how he thinks about life.”Additional reporting by Chris Kuo.The Louis Armstrong Center34-56 107th Street, Queens, N.Y.; 718-478-8271; louisarmstronghouse.org. More

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      What’s on TV This Week: ‘Amityville: An Origin Story’ and ‘Revengineers’

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      A docuseries on MGM+ delves into the history of the real Amityville house of horrors, and a new prank show from Mark Rober and Jimmy Kimmel premieres on Discovery.Between network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, April 17-23. Details and times are subject to change.MondayFrom left, Kevin Garnett, LaKeith Stanfield and Adam Sandler in “Uncut Gems.”Wally McGrady/A24UNCUT GEMS (2019) 5 p.m. on SHO2e. This film from the Safdie brothers “blows in like a Category 4 hurricane” with its “tumult of sensory extremes,” Manohla Dargis wrote in her review for The Times. The movie follows Howard Ratner (​​Adam Sandler), a debt-ridden New York City jeweler and gambling addict, as he attempts to retrieve and sell a large black opal in order to keep his debt collector — also known as his mafia-adjacent brother-in-law (Eric Bogosian)— at bay. As Ratner juggles familial obligations and relationships with his own survival, “the Safdies don’t judge Howard or, worse yet, ask us to,” Dargis writes. “Instead, they situate him in a specific historical moment (the year is 2012), throwing him into a late-capitalist, wholly transactional, anxiously insecure world.”TuesdayDEADLIEST CATCH 8 p.m. on DISCOVERY. This reality series about fishing crews in the Bering Sea near Alaska is back for its 19th season, in which a new generation of skippers will partner with the show’s veteran fishing captains to start their careers and learn how to become successful in a dangerous industry.Michael Cera, left, and Elliot Page in “Juno.”Doane Gregory/Fox Searchlight PicturesJUNO (2007) 8 p.m. on MAX. This Academy Award-winning film from the director Jason Reitman tells the story of Juno MacGuff, a wisecracking, smart teenager who becomes pregnant. The film follows Juno “on a twisty path toward responsibility and greater self-understanding” as she decides to move forward with the pregnancy and give the child up for adoption. This journey is “a message that is not anti-abortion but rather pro-adulthood,” A.O. Scott wrote in his review for The Times. “‘Juno’ could not be further from the kind of hand-wringing, moralizing melodrama that such a condition might suggest.” Instead, he wrote, it “evolves from a coy, knowing farce into a heartfelt, serious comedy.”WednesdayM. Sanjayan in “Changing Planet II.”Jennifer Jones/BBC StudiosCHANGING PLANET II 9 p.m. on PBS. This show about the changes affecting some of the most vulnerable ecosystems in the world — and what local experts and scientists are doing to combat those changes — returns for its second year, as Ella Al-Shamahi, a paleoanthropologist and stand-up comic, and Ade Adepitan, a television presenter and children’s author, join the global conservation scientist M. Sanjayan in revisiting the communities featured last year. From Brazil to California, Greenland to the Maldives, and Kenya to Cambodia, the series highlights the progress and setbacks of a series of conservation projects across the world.ThursdayREVENGINEERS 11 p.m. on DISCOVERY. This new prank show from Jimmy Kimmel and the NASA engineer turned YouTube star Mark Rober follows Rober and his team as they exact revenge on social wrongdoers through a series of elaborately engineered pranks. After identifying their targets, the series documents Rober’s team as they brainstorm funny and technically interesting ways to catch the wrongdoers in the act. The show is a companion series to “This Is Mark Rober,” a behind-the-scenes series of Rober’s viral video ideas, which premiered last week.FridayTupac Shakur in “Dear Mama.”FXDEAR MAMA 10 p.m. on FX. Titled after the rapper Tupac Shakur’s 1995 hit song “Dear Mama,” this five-part docuseries from Allen Hughes (“The Defiant Ones”) explores the relationship between Tupac and his mother — the civil rights activist Afeni Shakur — as well as their individual lives and legacies. Archival footage and interviews with Tupac and Afeni are interspersed with Tupac’s music as a way to link mother and son across the decades in this documentary, which tells their stories in the context of Black activism, hip-hop and the struggle for human rights.CONTINUUM: JASON MORAN & CHRISTIAN MCBRIDE 10 p.m. on PBS. In this new episode from PBS’s “Next at the Kennedy Center,” a series that spotlights cultural leaders from various genres of music, theater and dance, the bassist Christian McBride and the pianist Jason Moran come together to play music by jazz masters like Thelonious Monk, Charles Mingus and Louis Armstrong, and tell stories about their teachers and students. Revered as modern jazz luminaries, McBride and Moran hold eight Grammys and a MacArthur fellowship between them.SaturdayCHASING THE RAINS 8 p.m. on BBCA. Timed to premiere on Earth Day, this three-part documentary series follows a different animal matriarch in each episode — a cheetah, an elephant and an African wild dog — as they fight to take care of their families amid one of the worst droughts in decades. The series is filmed in the Kenyan wilderness and narrated by Adjoa Andoh (“Bridgerton,” “Invictus”).Dustin Hoffman, left, and Robert Redford in “All the President’s Men.”Associated PressALL THE PRESIDENT’S MEN (1976) 8 p.m. on TCM. Based on the best-selling book of the same name by the Washington Post journalists Bob Woodward and Carl Bernstein, this multiple Academy Award winning film follows Woodward (Robert Redford) and Bernstein (Dustin Hoffman) as they uncover and break the story of the Watergate scandal that ultimately brought down the Nixon presidency. In his 1976 review for The Times, Vincent Canby described the film as “an unequivocal smash-hit,” praising its accuracy and writing that it is “a vivid footnote to some contemporary American history that still boggles the mind.”SundayAMITYVILLE: AN ORIGIN STORY 10 p.m. on MGM+. This four episode docuseries delves into the real story behind what happened at the Orchard Avenue home in Amityville, N.Y., after the 1979 film, “The Amityville Horror,” inspired by the book of the same name by Jay Anson, generated a slew of paranormal theories, movies and books. Beginning with the DeFeo family’s murder in 1974, and continuing with an examination of the Lutz family’s 28-day stay in the house, this series uses archival footage, along with interviews with family members, witnesses and former investigators to try to find out what exactly transpired in this Long Island “house of horrors.” More

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      Carnegie Hall Announces Its 2023-24 Season

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      We choose highlights from events featuring Mitsuko Uchida and Franz Welser-Möst as Perspectives artists, and the composer Tania León in residence.The threats facing democracy will be a central focus of Carnegie Hall’s coming season, the presenter announced on Tuesday, with a festival devoted to the flourishing cultural scene in Germany between the two world wars.From January to May, Carnegie will host “Fall of the Weimar Republic: Dancing on the Precipice,” an exploration of creative expression during the fragile democracy in Germany from 1919 to 1933. The festival will feature ensembles such as the Vienna Philharmonic and the Orchestra of St. Luke’s performing works by composers of the time, including Paul Hindemith and Kurt Weill.“We’re seeing the challenges to democracy more and more clearly, and it’s all the more reason we have to treasure it,” Clive Gillinson, Carnegie’s executive and artistic director, said in an interview. “We want people to ask questions and contemplate why democracy matters, and what the threats are in our day.”The 2023-24 season, which begins in October, will feature some 170 performances, beginning with two concerts by the Chicago Symphony Orchestra, under the baton of its outgoing music director, Riccardo Muti. The pianist Mitsuko Uchida and the conductor Franz Welser-Möst, the music director of the Cleveland Orchestra, will each organize a series of Perspectives concerts.The composer Tania León, who won the Pulitzer Prize for music in 2021, will lead a season-long residency; in January, the Boston Symphony Orchestra will offer the New York premiere of a new piece by her.More on N.Y.C. Theater, Music and Dance This SpringMusical Revivals: Why do the worst characters in musicals get the best tunes? In upcoming revivals, world leaders both real and mythical get an image makeover they may not deserve, our critic writes.Rising Stars: These actors turned playwrights all excavate memories and meaning from their lives in creating these four shows, which arrive in New York in the coming months.Gustavo Dudamel: The New York Philharmonic’s new music director, will conduct Mahler’s Ninth Symphony in May. It will be one of the hottest tickets in town.Feeling the Buzz: “Bob Fosse’s Dancin’” is back on Broadway. Its stars? An eclectic cast of dancers who are anything but machines.Here are a dozen highlights of the coming season, chosen by critics for The New York Times. JAVIER C. HERNÁNDEZEnglish Baroque Soloists and Monteverdi Choir, Oct. 25You can safely bet on a few things whenever the conductor John Eliot Gardiner comes to town: agile, historically informed performance; obsessively precise articulation; and virtually ideal readings of beloved repertoire. In early 2020, he led his Orchestre Révolutionnaire et Romantique in just about as good a Beethoven symphony cycle as you could imagine. And now he brings the English Baroque Soloists and the Monteverdi Choir to Carnegie for Bach’s Mass in B minor and, on Oct. 26, Handel’s “L’Allegro, il Penseroso ed il Moderato.” JOSHUA BARONEThe mezzo-soprano Lea Desandre will appear at Weill Recital Hall with the lutenist Thomas Dunford.Joel Saget/Agence France-Presse — Getty ImagesLea Desandre and Thomas Dunford, Nov. 2These two artists — Desandre, a clarinet-mellow mezzo-soprano who can burst with bright agility, and Dunford, an eloquent lutenist — are among the brightest lights of a young generation of early-music specialists. They join in Weill Recital Hall, ideally intimate for this repertory, for “Lettera Amorosa,” a program of love-focused Baroque works by Monteverdi, Frescobaldi and Handel, alongside names like Tarquinio Merula (his songs exquisite) and Giovanni Girolamo Kapsperger (a specialist in music for lute). ZACHARY WOOLFEAmerican Composers Orchestra, Nov. 9This essential organization has brought music by George Lewis to Carnegie’s various spaces before — the most notable instance being his Virtual Concerto (for a “computer-driven” piano soloist) back in 2004. The orchestra will continue its productive relationship with the composer to perform one of his latest orchestral works. No title for the piece is available yet; the same goes for a few other new works on the bill (including those from the likes of Guillermo Klein and Augusta Read Thomas). We do have one title: “Out of whose womb came the ice,” by the up-and-coming composer Nina C. Young, whose premiere was co-commissioned by Carnegie. SETH COLTER WALLSStaatskapelle Berlin, Nov. 30When the Staatskapelle Berlin and its longtime music director, Daniel Barenboim, last appeared at Carnegie, in 2017, it was an epic nine-performance stand that paired Mozart piano concertos and Bruckner symphonies. A lot has happened since then; most recently, in January, Barenboim stepped down from the orchestra’s podium because of health problems. So their return will be poignant: just two nights, and the four symphonies of Brahms, a composer Barenboim performed as a pianist in this space in 1962. ZACHARY WOOLFEEnglish Concert, Dec. 10The British soprano Lucy Crowe’s expertise and imagination in Baroque music gives her the freedom to turn da capo arias into feats of feeling. That exhilarating sense of spontaneity uplifted the English Concert’s performance of Handel’s “Serse” at Carnegie last year, and it will be exciting to hear Crowe apply her gifts to more dramatic material when she takes the title role in “Rodelinda.” OUSSAMA ZAHRThe pianist Daniil Trifonov will appear on Carnegie’s main stage to perform Beethoven’s mighty “Hammerklavier” Sonata.Caitlin Ochs for The New York TimesDaniil Trifonov, Dec. 12Arguably the mightiest of the under-40 generation of superstar pianists meets the mightiest of repertoire in this recital, as Daniil Trifonov takes on Beethoven’s “Hammerklavier” Sonata. It’s a banner year for youngish soloists in ambitious repertoire, in fact: Vikingur Olafsson plays the “Goldberg” Variations (Feb. 7); Beatrice Rana does the Liszt Sonata (Feb. 28); and Seong-Jin Cho journeys through the second book of the same composer’s “Années de Pèlerinage” (May 17). DAVID ALLENMet Orchestra, Feb. 1Yannick Nézet-Séguin has decided not to share next season. Rather than engage a guest conductor, he helms all three of the Met Orchestra’s concerts himself, embracing opportunities to bask in the tonal floodgates of Lise Davidsen’s soprano in Wagner’s “Wesendonck Lieder” and, later, the heavenliness of Lisette Oropesa’s Mozart arias (June 11), and the intense standoff of Bartók’s “Bluebeard’s Castle” with Elina Garanca and Christian Van Horn (June 14). OUSSAMA ZAHRYunchan Lim, Feb. 21This precociously mature pianist, still in his teens, played Liszt’s deliriously difficult “Transcendental Études” on the way to becoming the youngest-ever winner of the Van Cliburn International Piano Competition last year. He’ll reprise the Liszt as part of his recital introduction on Carnegie’s main stage. By this point, another pianist, the spectacularly creative Igor Levit, needs no introduction at this point to this hall’s audience; on Jan. 20, he’ll play two symphony transcriptions (Liszt’s of Beethoven’s Third and Ronald Stevenson’s of Mahler’s 10th) alongside Hindemith’s Suite “1922,” raucous and very Roaring Twenties. ZACHARY WOOLFEVienna Philharmonic, March 1Most of the five concerts in Welser-Möst’s Perspectives series — Jan. 20 and 21 with the Cleveland Orchestra, March 1-3 with Vienna — are emblematic of his thoughtful, idiosyncratic, ultimately endearing approach to programming, but the March 1 performance looks especially constructive, full of connections and contrasts to draw: Hindemith’s Konzertmusik for Wind Orchestra, Strauss’s Symphonic Fantasy from “Die Frau Ohne Schatten,” Schoenberg’s Variations for Orchestra and, as if to bid farewell to a whole world of music, Ravel’s “La Valse.” DAVID ALLENJason Moran will return to Carnegie with a tribute to the pioneering jazz musician James Reese Europe.Gioncarlo Valentine for The New York TimesJason Moran, March 9In addition to being an elite improvising pianist, Jason Moran is a keen programmer; his Carnegie survey of Black American music from the Great Migration was a well-attended success. You can all but bank on the same when Moran brings his latest concert concept to Zankel Hall. This time, the focus will be on the music of the early 20th-century American original James Reese Europe. You might expect some of the same expert arrangements heard on Moran’s latest album, “From the Dancehall to the Battlefield.” But prepare also for some surprises; this restless innovator rarely does anything the same way twice. SETH COLTER WALLSEnsemble Modern, April 12Much of the festival “Fall of the Weimar Republic: Dancing on the Precipice” is more confusing than informative. This period in history produced so much excellent and overlooked music; why are we seeing Beethoven, Wagner and Mahler (among other head-scratchers)? At least there are engagements like that of Ensemble Modern, which will perform works including a lithe but still barbed smaller arrangement of Kurt Weill and Bertolt Brecht’s “The Seven Deadly Sins,” led by HK Gruber, one of our greatest living Weill interpreters. The group returns April 13 as part of León’s residency, playing her “Indígena” and “Rítmicas” alongside pieces by Conlon Nancarrow and others. JOSHUA BARONEDanish String Quartet, April 18A highlight of Carnegie’s spring months in recent seasons has been the Danish String Quartet’s Doppelgänger project, which juxtaposes Schubert quartets with premieres. Coming this April: a new work by Anna Thorvaldsdottir. And, for the fourth installment next year, the group is adding the cellist Johannes Rostamo to perform Schubert’s endlessly moving, even sublime String Quintet in C, paired with a commission from Thomas Adès. JOSHUA BARONE More

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      Jason Moran Pays Tribute to an Early Jazz Ancestor

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      The album “From the Dancehall to the Battlefield” puts the music of James Reese Europe through a contemporary prism.In the 1910s alone, the composer, pianist and bandleader James Reese Europe seemed to do enough living for multiple lifetimes.He started that decade at the Clef Club in Harlem, an organization that fielded its own group and worked to improve labor conditions for Black musicians throughout New York. Not long after, Europe brought his 125-member Clef Club Orchestra — and the syncopated styles of Black American composers — to Carnegie Hall. In 1914, Europe provided new music for the star dancing couple Vernon and Irene Castle while also taking his group into the studio to record for the Victor Recording Company.During World War I, he was Lieutenant Europe: Along with other members of the all-Black 369th Infantry, he pushed to be allowed to fight while also leading a regimental band — known as the Harlem Hellfighters — that amazed audiences abroad. After a triumphant return to New York, in early 1919, his war-drilled ensemble recorded material for the Pathe label, including a vivacious take on Carl Bethel and Sandy Coffin’s “That Moaning Trombone.” Later that year, one of Europe’s band members stabbed him with a knife during an intermission. (He thought Europe had disrespected him.) The bandleader died later that night.All this took place long before Louis Armstrong’s first recordings with King Oliver, which helped to codify and claim the “jazz age” for the Roaring Twenties. But a new, Europe-focused recording by the pianist and composer Jason Moran — titled “From the Dancehall to the Battlefield” — rewinds jazz’s history a bit and brings Europe’s sound into a relationship with successive waves of jazz and contemporary music.“They talk about ‘jazz is dead,’ like it’s not everywhere or there’s something wrong with it,” Moran said in a recent interview. “But if you’re listening, the music is everywhere.”Moran cited a riff — synthetically rendered yet clearly big band-derived — that powers the Harry Styles song “Music for a Sushi Restaurant.” “That swing is still associated as the rhythm of this country,” Moran added. And for him, that tradition is greatly indebted to James Reese Europe’s bands in the 1910s.“What isn’t mentioned enough about Europe’s band is, they are incredible technicians,” Moran said. “When I show this music to people and say, ‘Can we get it like they do on the record?,’ inevitably they are like, ‘No, we can’t.’”Gioncarlo Valentine for The New York Times“It’s hitting the stage, and hitting the mass of our people in New York City. But it’s also tied up in the vaudeville era, you know — and blackface. It’s emerging right at that time, and it’s scary,” Moran said. “So, I think he’s having that push-pull with it. And I think he reaches the other side of the conversation by claiming: ‘This is a Black music that we have to cherish. And we should be looking at our own kind of ensembles to manage that.’”On the new recording, Moran’s band channels some of that original Europe energy, and deploys herculean efforts during Moran’s own arrangement of “That Moaning Trombone.” That track, in its hard-charging refinement — and finely judged inflections of tempo and dynamics — proves a worthy modern testament to Europe’s handling of large ensembles.

      From the Dancehall to the Battlefield by Jason Moran“What isn’t mentioned enough about Europe’s band is, they are incredible technicians,” Moran said. “When I show this music to people and say, ‘Can we get it like they do on the record?,’ inevitably they are like, ‘No, we can’t.’” (Moran allows that his take on “Trombone” is his attempt to reach that summit: “Kudos to the horns for really working together on that.”)Elsewhere, Moran deviates strategically from recorded history. During Europe’s “Ballin’ the Jack,” Moran fuses the song with motifs from the post-bop pianist Geri Allen’s “Feed the Fire,” before executing an elegant pivot back to “Jack.”

      From the Dancehall to the Battlefield by Jason MoranThat mash-up format reflects Europe’s own taste in medleys, as well as the real-time remixing that Moran has long executed with his trio, the Bandwagon. (“Thank god for the Bronx, and figuring out that two turntables can work this way,” he said, when asked whether “Ballin’ the Jack / Feed the Fire” was indebted to turntablism.)Elsewhere, Moran embellishes the up-tempo tune “Castle House Rag,” filling it with nervy rhythmic repetitions — and pianistic lines that are, by turns, soulful and avant-garde in nature (and sometimes both at once). “It’s very Threadgill, the way it opens up,” he said, referring to the Pulitzer Prize-winning composer and performer Henry Threadgill, who is also a Europe aficionado. (The tuba player Jose Davila, a regular in Threadgill’s bands, lends a sense of drive to Moran’s new album.)Other modern sounds show up for cameos on the recording: The breathing meditation “Zena’s Circle” comes from the composer and conceptualist Pauline Oliveros. Moran once invited her to lead a Deep Listening session during his first season of programming at the Park Avenue Armory. “Selfishly, I wanted to give it to the Bandwagon,” he said. “But I also wanted people to experience it.”Jazz isn’t dead, Moran said. Rather, “if you’re listening, the music is everywhere.”Gioncarlo Valentine for The New York Times“Zena’s Circle” leads directly into “For James” — a collaged, multitake document of a Moran original. It is initially interpreted by his own group, as well as a German crowd singing it back to the players; then, in the final moments, Moran’s tribute is heard — in a majestic, impromptu take — as it was performed by members of Stephany Neal’s The 369th Experience. (That organization encourages bands at historically Black colleges and universities, or H.B.C.U.’s, to gather and study Europe’s music.)“They not only scaled it up,” Moran said, “but they made it better.”If the range of references on this album seems vast, that’s also a testament to Europe’s capaciousness, and his influence on Moran. Since departing from the Blue Note label to produce his own recordings on the Bandcamp platform, Moran has become a master of the unexpected feint. The sounds of “From the Dancehall to the Battlefield” consistently surprise and delight; backward-masked percussion on a performance of “St. Louis Blues” might send you reeling back in more ways than one. The studio effect suggesting time travel — heard prominently in the cymbals — feels like something out of a 1970s Funkadelic stew; the W.C. Handy tune is, itself, of even deeper vintage. (Connecting all this is playing that feels utterly contemporary.)But Moran is being more than simply clever; he is an artist with an eye for connections among the past, present and future. On “All of No Man’s Land Is Ours,” Moran bends the end of one motif so that it ends in a less celebratory fashion than it does on Europe’s recording. (Moran’s version sounds like a phrase out of Thelonious Monk.)“I imagine that when they talk about ‘No Man’s Land,’ it’s with mystery,” Moran said, thinking about Europe and his players. “What do enslaved people think about what ‘no man’s land’ means? I want to go forward and backward on the idea. Where do we feel our boundaries are?” More

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      Composers Give New Shape to Ornette Coleman’s Jazz

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      A group of artists are reimagining the 1959 album “The Shape of Jazz to Come” for Bang on a Can’s Long Play festival.Bang on a Can had big plans for 2020.Before the pandemic started, this classical music collective was busy planning its most ambitious festival yet in New York City: a three-day event called “Long Play,” with acts stretched across multiple venues in Brooklyn.In moving beyond their storied, single-day marathons, Bang on a Can was signaling new ambitions, and was going toe-to-toe with other major avant-garde bashes like the Big Ears Festival in Tennessee.Of course, those designs were plowed under. So Bang on a Can reacted nimbly and quickly by commissioning artists from those scuttled dates to write solo pieces that were premiered online. Those “pandemic solos,” as they have been called, became a tradition of their own. (Some of them showed up as programming last year at the collective’s summer festival.)Still, there was a sense of something lost.“We had this gigantic idea of how to expand the marathon into Long Play,” David Lang, the composer and Bang on a Can co-founder, told The New York Times in April 2020. “I’m sure we’ll do that again, should the world ever get back to normal.”Now, it’s normal — enough — for another go at it. Long Play comes to New York City this weekend at seven venues in Downtown Brooklyn, from Friday afternoon through Sunday evening. There are familiar names on the lineup, but also ones that suggest Bang on a Can has its ears open to the work of younger artists. (Friday night’s sets by Jeff Tobias and the Dither guitar quartet offer some of that generational variety.)The festival won’t be a retread of the 2020 program. “Mostly, this is new stuff,” Lang said in an interview. And a sparkling highlight comes at the close, on Sunday night: a thorough, multilayered reimagining of the saxophonist and composer Ornette Coleman’s 1959 album “The Shape of Jazz to Come.” The performance will feature a band led by Coleman’s son, Denardo, who held the drum chair in his father’s groups over several decades (including in “Haven’t Been Where I Left,” a piece the elder Coleman, who died in 2015, wrote and sometimes performed with the Bang on a Can All-Stars).Denardo Coleman, left, and Tacuma during a recent rehearsal.Gabriela Bhaskar/The New York TimesThis weekend’s take on “Shape” will also include a 20-person ensemble, conducted by Awadagin Pratt and playing new arrangements of all six compositions from the album. These have been written by a dizzyingly varied roster of artists — including the vocalist and electronics virtuoso Pamela Z (who arranged “Lonely Woman”) and the orchestral and big band composer David Sanford (who took on the boppish “Chronology”).“There are all these threads that go through the festival,” Lang said. “Threads of young composers, and threads of dead composers. And threads of modernist music and threads of free jazz.”The idea is for audiences to be able to follow their own stylistic predilections. “But all of these threads lead to this piece, and to this concert,” Lang noted. “We designed some of the concerts to interfere with other concerts; nothing interferes with this concert.”To prepare for this festival climax, Denardo Coleman has been rehearsing his own core group of players on a weekly basis. On a recent afternoon, in a modishly designed living and rehearsal space near Penn Station in Manhattan, he drilled the group, now called Ornette Expressions, through the album’s six tunes, twice.The performers come from different generations: Ulmer, left, played wth Ornette Coleman in the 1970s, while Moran didn’t get to know him until the 2000s.Gabriela Bhaskar/The New York TimesAlthough the music comes from “Shape,” the musicians come from different generations. The guitarist James Blood Ulmer and the bassist Jamaaladeen Tacuma both played with Coleman’s father in the 1970s. In an interview after a rehearsal, Coleman said that the ensemble’s pianist, Jason Moran, hadn’t made his way to Ornette Coleman’s home until the early 2000s; he was already a leading light in the contemporary jazz scene, and quickly built a rapport with one of the great melodists of the field’s avant-garde.Filling out the ensemble are two up-and-coming musicians: the saxophonist Lee Odom and the trumpeter Wallace Roney Jr. The first time they all played one of the compositions, “Peace,” they hewed somewhat closely to the original, an emotionally complex work that manages to be at once mournful and finger-snapping.After a break — and after Moran had to leave — the tune took a turn, with Roney plugging his trumpet into a wah-wah pedal. This time, his electric trumpet lines wove around Odom’s acoustic, prayerful alto sax playing: even more searching and heated.Roney, on trumpet.Gabriela Bhaskar/The New York Times“We’re doing our arrangement right now,” Denardo Coleman said after the take was over, though he added that “it may not be that way” at the concert on Sunday. It’s likely to turn out different because the day of that rehearsal, he had only just received the finished arrangement. And much of the balance between his group and the sinfonietta was yet to be hashed out.In a phone interview, Z said “everybody was asked to write for this sinfonietta.” There was “a little side note,” she added, saying to “also please leave space for Denardo’s ensemble to jump in, here and there.”When arranging “Lonely Woman” — perhaps Ornette Coleman’s most famous melody — she brought the work in line with her own electronic music. “I played with the music the same way that I play with sampled sound. I really stretched it out, and I compressed it.”Odom on saxophone.Gabriela Bhaskar/The New York TimesUlmer on guitar.Gabriela Bhaskar/The New York TimesStill, her contribution is entirely acoustic — unlike many of her solo sets. “It starts out with really high harmonics on the strings and bowed vibes,” Z said. “And the first time you hear the melody, it’s played a quarter of the speed that it’s supposed to go, being played on a tuba. So I just had a lot of fun, playing with time in it.”That’s exactly what Denardo Coleman was hoping for. “The way my father would have approached it would have been that everybody had equal participation,” he said. “Meaning he wasn’t just the leader and everybody was there to make him sound good. If you had an idea, you could take it.”Hence, Coleman said, each arranger’s freedom in working with the original tunes.“It wasn’t as if we said ‘OK, just orchestrate the song the way it is,’” he said. “They may reconstruct, deconstruct, turn it inside out, something else. The tune — the composition — is just a starting point. That just leads you into some other territory. And that other territory is what it’s really about.” More

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      Best Jazz Albums of 2021

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      In a year of continued uncertainty, musicians held their colleagues, and listeners, close.Esperanza Spalding, Pharoah Sanders and Jason Moran made some of the year’s strongest jazz releases.Clockwise from left: Will Matsuda for The New York Times; Sam Polcer for The New York Times; Heather Sten for The New York TimesEven the big-statement albums made by jazz musicians this year had a feeling of intense closeness: of large-scale problems being worked out within an enclosure, with limited tools and just a few compatriots. No surprise there, I guess. Twelve months ago, the year began with promise, but we’ve hardly returned to old comforts. Rather than breaking out, we spent 2021 getting used to a feeling of unquiet, making the most of being mostly alone. The best improvised music of the year understood that, and met us there.1. Pharoah Sanders, Floating Points and the London Symphony Orchestra, ‘Promises’Why fight it: This year’s big talker in the experimental-music world ended up being just as powerful as we’d hoped. Not really jazz, not exactly classical, definitely not electronic music per se, “Promises” is the first-ever collaboration between Pharoah Sanders, the octogenarian spiritual-jazz eminence, and Floating Points, nee Sam Shepherd, a 30-something British composer and polymath. They each use music to get at questions of healing — Shepherd typically as a solo musician, Sanders as a communitarian — and although “Promises” was recorded before the coronavirus pandemic began, it arrived a year into lockdown, just when we needed it most.2. Jason Moran, ‘The Sound Will Tell You’A pianist, visual artist, curator, writer and guiding force in jazz, Jason Moran has been quietly releasing albums on his Bandcamp over the past few years, after ending a lengthy relationship with Blue Note Records. He doesn’t have a publicist, and barely self-promotes beyond his personal social media feeds, but these releases are worth seeking out. Moran recorded “The Sound Will Tell You” alone in January, just as he was mounting an exhibition of deep-blue works on paper at Luhring Augustine in Tribeca. This is an intimate and tender, harmonically lush piano record, heavily inspired by the writings of Toni Morrison, blurred occasionally by electronic effects but always clear in its melodic intent. (Listen to “The Sound Will Tell You” on Bandcamp.)3. James Brandon Lewis Red Lily Quintet, ‘Jesup Wagon’The tenor saxophonist James Brandon Lewis tends to blow hard into his horn, but he likes to save up extra breath in the bottom of his lungs, so that his notes don’t necessarily fade, but sometimes grow louder and stronger over time. It’s a way of broadcasting patience and urgency all at once, and reminding you that he’s in control. After years of mounting buzz, Lewis cashed in his chips with “Jesup Wagon.” The album’s seven original compositions — composed for an unorthodox quintet, with the life of George Washington Carver in mind — are built around yawning, polyphonic melodies (Lewis’s saxophone intertwined with Kirk Knuffke’s cornet) and layers of rhythm stacked underneath (William Parker’s bass and guimbri, Christopher Hoffman’s cello and Chad Taylor’s drums and mbira).4. Patricia Brennan, ‘Maquishti’Twinkling and mesmeric, the debut album from this Mexican-born, New York-based vibraphonist and marimba player mixes composed material with tracks that were improvised in the studio whole cloth. Some are retouched with echoey, scrambling effects, but none is particularly lush or layered. Moving way outside the standard language of jazz vibraphone, Patricia Brennan has created something like a landscape of vapor, full of wandering melodies lost in the fog.Patricia Brennan’s “Maquishti” blends composed tracks with improvisation.Noel Brennan5. Adam O’Farrill, ‘Visions of Your Other’Weaving, pulsing, fine-grain complexity, intense focus: They’re all at play in the trumpeter Adam O’Farrill’s tangled compositions. On “Visions of Your Other,” his third album with his quartet, Stranger Days (featuring Xavier Del Castillo on tenor saxophone, Walter Stinson on bass and Zack O’Farrill on drums), the group slips into the music like a perfectly tailored suit.Adam O’Farrill’s “Visions of Your Other,” his third album with his quartet, Stranger Days, is a study of intense focus.Camilo Fuentealba for The New York Times6. Sam Gendel and Sam Wilkes, ‘Music for Saxofone & Bass Guitar More Songs’Sam Gendel, a saxophonist, and Sam Wilkes, a bassist, are millennial pals who seem equally interested in using music for the purposes of comfort and disruption. In 2018, they put out “Music for Saxofone and Bass Guitar,” a stealthy little album that might have spluttered out of a vat where time, space, genre and the titular instruments themselves had all melted down into a roux. Recorded live to tape and released on Bandcamp, it became an underground obsession. Their follow-up LP, “More Songs,” contains nine additional tracks in the same vein, and it’s at least as hypnotic as the first.Sam Gendel and Sam Wilkes followed up their 2018 release this year.Marcella Cytrynowicz7. William Parker, ‘Migration of Silence Into and Out of the Tone World’The bassist, composer and organizer William Parker’s five-decade career sends a galvanizing message: Yes, you can do it all. You can play in and outside of any improvising style you choose; you can lead and you can follow; you can play the bass like a heavy rhythm instrument while coaxing grace and lyric from it. “Migration of Silence Into and Out of the Tone World” is not one new LP, but in fact 10, each featuring Parker’s original music recorded with a different collaborator or band. So it works as a measure of his enormous range, and an index of his network on the downtown avant-garde — a scene that would hardly be the same without him.8. Sara Serpa and Emmanuel Iduma, ‘Intimate Strangers’Sara Serpa, a Portuguese singer whose voice is both small and bold, has spent the past few years immersing herself in the shocking history of Portugal’s colonial misadventures on the African continent, and responding through music. On “Intimate Strangers,” she collaborates with Emmanuel Iduma, a Nigerian memoirist and critic, who has written in evocative detail about the experiences of migrant laborers on the continent today. Through him, Serpa found a way to explore the present-day legacy of colonialism, while usefully decentering her own perspective. But the music remains distinctly Serpa’s: cool-toned, vocal-driven, abstract and yet immediately beautiful.9. Wadada Leo Smith/Douglas R. Ewart/Mike Reed, ‘Sun Beams of Shimmering Light’Nearing 80, Wadada Leo Smith retains one of the fullest and most arresting trumpet sounds around. But playing alongside him means getting in touch with silence, too, as if there might be energy coming from his horn that hasn’t yet become sound but still needs room to breathe. The saxophonist and multi-instrumentalist Douglas R. Ewart — who, like Smith, moved to Chicago in the 1960s and became an early member of the Association for the Advancement of Creative Musicians — brings a similarly restful approach to improvisation. Working with the younger Chicagoan drummer Mike Reed, Smith and Ewart created an album of expanse and vision that lives up to its name. (Listen to “Sun Beams of Shimmering Light” on Bandcamp.)10. Esperanza Spalding, ‘Songwrights Apothecary Lab’“Songwrights Apothecary Lab” takes the form of an album here, but it began as more than that (and it’s likely to continue as more, too). Esperanza Spalding, the bassist, vocalist and self-described “songwright,” held residencies in New York and her native Oregon during the pandemic, bringing together a mix of healers and artists in search of new and therapeutic methods of making music. Each of the LP’s 12 tracks is a “formwela,” blending lyrical and wordless vocals, instrumental textures and hooks that condense out of thin air.Esperanza Spalding held residencies during the pandemic.Will Matsuda for The New York Times More

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      Ron Miles Headlines the Village Vanguard, at Last, as the Club Reopens

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      The cornetist led a quintet featuring Jason Moran, Bill Frisell, Thomas Morgan and Brian Blade as the 86-year-old establishment came back to life after its pandemic shutdown.Ron Miles has a dusty and unvarnished sound on cornet that hints at his Rocky Mountain roots, and unlike your typical high-brass improviser, he hardly ever resorts to flash or big pronouncements. Onstage he’s unhurried, low-key and playing for the audience, yes, but not directly to it.All of which helped make his quintet’s early set at the Village Vanguard on Saturday night feel comfortable, even familiar, despite it being Miles’s first week leading a band at the storied club — and his shows being the Vanguard’s first after 18 months of lockdown.There was an air of celebration as the 86-year-old establishment came back to life, but the way to engage with it was seemingly to pick up right where things left off, letting the music do its work.Patrons returning to the club found it largely unchanged after the long pause.An Rong Xu for The New York TimesThe tiny white bistro tables and wooden chairs were just as before, knocked closely together between the venue’s obtusely angled walls, all lined with leather benches. The simple laminated drink menus were unchanged, except for a sticker on each one with a handwritten “Modelo” replacing the Stella Artois.But a big part of the night’s easy, familial feeling came from the fact that the members of Miles’s all-star quintet were all Vanguard regulars. Everyone but the band’s leader had previously headlined at the club in his own right: the pianist Jason Moran, the guitarist Bill Frisell, the bassist Thomas Morgan and the drummer Brian Blade.An Rong Xu for The New York TimesMiles, 58, has spent most of his life in Denver and has only recently begun to garner the heavy national attention he was due, and it’s come thanks to this band. He had booked this engagement with the club’s management far in advance, after the quintet had released its debut album but before last year’s equally spellbinding release, “Rainbow Sign.” When the Vanguard decided to align its reopening with Broadway’s, in mid-September, Miles’s became the first date on the schedule that stood.The cornetist first convened the quintet in 2016 as an extension of a trio that he had long maintained with Blade and Frisell. Everyone in the group spent at least his adolescent years west of the Mississippi River — Louisiana, Texas, Colorado, California — and Miles’s slyly swinging compositions are built perfectly to find the natural simpatico between these musicians. Steeped in American roots music, 1950s cool jazz and the musical openness of Don Cherry, it never feels settled but almost always seems centered on a search for shared comfort.Appearing onstage with the band just after 8 p.m., Miles allowed a pregnant silence to build before beaming out one evenly held note; Moran responded with a low and cloudy chord, striking it just half a moment behind Miles. Frisell’s guitar, run through reversed effects and sudden loops, added an electric charge to their earth tones.It was Morgan who started, finally, to set a firm pulse, though he built it in response to Blade’s scattered strokes on the snare and bass drums, which implied a flow. The tune became slowly recognizable as “Like Those Who Dream,” the opener from “Rainbow Sign.” The musicians bent in and out of blues form as they moved into a steady three-beat pattern, and solos folded neatly into composed sections.The drummer Brian Blade and the guitarist Bill Frisell on the Vanguard stage.An Rong Xu for The New York TimesThe set started with long, expansive renditions of original compositions, and ended with a diptych of short, pithy pieces: a quick-hit take on Lee Konitz’s cool-jazz classic “Subconscious-Lee” and a short version of “The Rumor,” a pool of harmony and tone that serves as the centerpiece of the new album.Miles knows about fitting his voice into another musician’s band; most of his higher-profile work had been as a side musician, and he makes himself indispensable by paying attention to a group’s entire sound, in the way that a bassist or a pianist might.He encouraged the same approach from his bandmates here by not only writing to their natural strengths but by presenting each member with a score that shows the entire band’s parts, rather than just their own.Miles’s skills as an accompanist were in evidence too on Saturday. On “Queen of the South,” another original from the new album with a memorable, folklike melody, after the solo section ended and the band reclined back into the melody, Miles capered happily around it, adding bright coloration and cross-swipes of rhythm.He followed with “Let’s,” an up-tempo tune by Thad Jones, the trumpeter and Vanguard icon, hoisting up the energy and the tempo but not the volume. Moran stayed out as Frisell improvised, starting with spare gestures and getting more creative, treating his solo like an engine being rebuilt one part at a time. Miles took his own solo quickly off the harmonic map, tugging against whatever structure had set in with the swing feel.After “Let’s,” Miles took the microphone off its stand for the first and only time that set, and spoke as if this was just a normal night of music in a highly special place. “We are blessed to be here and blessed to be in this hallowed space,” he said. “We’re going to play some more music for you.”There was an air of celebration as the club came back to life.An Rong Xu for The New York Times More