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    Myra Melford Builds Anew With an All-Star, All-Woman Quintet

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    The pianist’s latest group fills its recent album “For the Love of Fire and Water” with idiosyncratic life.Draft up a list of today’s most inventive and respected players in the realm of what tends to be called improvised music (or creative music or free jazz) and you’ll inevitably name the players in the pianist Myra Melford’s Fire and Water Quintet: the saxophonist Ingrid Laubrock, the guitarist Mary Halvorson, the cellist Tomeka Reid and the percussionist Lesley Mok.These are restless artists, mostly a generation or so younger than Melford, who have built a collaborative scene and individual legacies in the fertile cracks between improvisation and composition, between jazz and other musics, between the club and the academy — cracks that Melford has spent her 30-plus-year career widening.“It’s wonderful to play with them,” Melford, 65, said in late October in a video interview from her home in the Bay Area, where she is a professor of Composition and Improvisational Practices at the University of California, Berkeley. In conversation, she pairs thoughtfulness with a peppery exuberance, a mix that reflects her pianism. “Each is such an important individual voice, and I love to hear what discoveries they make.”Melford thinks of her composing as architectural, as structures to be explored, an approach that seems natural for a musician who grew up in a Frank Lloyd Wright house in Illinois, relishing its curious nooks and crannies. For the Fire and Water Quintet, which comes to Roulette in Brooklyn Monday night to celebrate the release of its album “For the Love of Fire and Water,” Melford provides the structure and the players, together, fill it with idiosyncratic life.Melford’s respect and admiration for her bandmates is mutual, of course. If it weren’t, crucial elements of improvised music — trust, deep listening, empathetic responsiveness — would prove impossible.“Myra is a great composer and conceptualist, and her piano playing is fearless and creative,” Laubrock said in an interview. Halvorson noted that she first became aware of Melford in college, and has admired her ever since: “The intensity, clarity and fearlessness of her improvising, plus her ability to integrate the melodic and rhythmic with the textural and experimental seamlessly, has always been an inspiration.”Mok added, “Working with Myra has given me a framework for how to think about composition, especially when writing for strong improvisers, and how to make simple choices that allow the music to shine.”Melford’s music draws on a host of influences and traditions, including her mentors Don Pullen and Henry Threadgill, and a variety of global musics: She studied harmonium in Calcutta, spent a year in an upstate ashram and has participated in a cultural exchange program with the Huichol people of Mexico. She celebrates what inspires her — her “Snowy Egret” quintet album from 2015 grew from her reading of Eduardo Galeano’s “Memory of Fire” trilogy — but the music stands alone. (Sadly, Melford confirms that with the death of the trumpeter Ron Miles in March, that band is done.)“I realized early on that I wanted to synthesize all the ideas or things that have had an impact on me and my life,” Melford said. “But I don’t want to be didactic. I like ambiguity. I want a world of possibilities suggested by the music.”From left: Melford, Mary Halvorson, Ingrid Laubrock, Tomeka Reid and Lesley Mok. “Each is such an important individual voice, and I love to hear what discoveries they make,” Melford said of the quintet.Magdalena Wosinska for The New York TimesThe release that perhaps best reveals the breadth of her interests and collaborations is “12 From 25,” an album from 2018 that collects performances from shows Melford played with a dozen different ensembles at the Stone during its 2015 celebration of her 25th year of making music. In recent years, trio projects like MZM (with Miya Masaoka and Zeena Parkins) and Tiger Trio (with Nicole Mitchell and Joëlle Léandre) and other collaborations have offered her an expansive palate, a mix of personalities and the chance to make big sounds.The Fire and Water Quintet is a touch more raw, its elbows sharper, suiting the strengths of the players. Its lineup exemplifies how much more open the jazz-adjacent music world is to women than when Melford first played duets with the flutist Marion Brandis in the mid-1980s.“I was so used to being the only woman in bands that at a certain point I sort of stopped noticing,” Halvorson said, referring to projects as late as the 2000s. “I do feel that, in this music community at least, there has been a gradual shift in momentum in that regard over the past 20-plus years.”Jazz critics have long used the term “encounter” to describe musicians playing together. Listen to “For the Love of Fire and Water” and you’ll hear something more like a hyper-creative play date. (On the album, Susie Ibarra plays drums.) Melford composed a suite for improvisers, inspired by a MoMA retrospective of Cy Twombly’s work — abstract art responding to abstract art. It opens with a solo statement, a tart greeting from Melford’s piano, rhythmic pulses and exploratory runs across the keyboard, until Reid’s cello joins in some two minutes later, answering Melford but also pushing someplace new.At intervals, the rest of the band follows, one at a time, pitching in with what the others are building. Eventually, like a destination appearing out of fog, a lopsided groove emerges: a composed passage the band toys with until suddenly lurching to a stop for more free play, pairing off in duets or trios. Once in a while, they ebb to near silence or boil over into collective noise.In her teaching at Berkeley, Melford introduces improvisation and complex music to students, telling them it’s OK not to like it, but asking that they at least truly listen. That’s also what she hopes for in an audience. “What’s being made by improvisers, what’s being said, depends as much upon the listener as the players,” she said.Asked to describe her ideal audience, she responded, “Someone with an open mind and an open heart, with curiosity and a willingness to drop the idea that they’re going to hear an ‘avant-garde’ musician.” (She prefers terms like “creative music,” feeling that “avant-garde” today too often refers to a “genre with expectations and rules rather than an ethos of exploration or surprise.”)However you might care to classify it, Melford’s music is welcoming, suffused with melody and feeling, rooted in both Monk and Bartok, open to plateaus of contemplative beauty, like the final movement of “For the Love of Fire and Water.” When it does boil over, it brings listeners with it. Or maybe “listeners” is the wrong word. Perhaps they’re explorers. More

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      MacArthur Foundation Announces 25 New ‘Genius’ Grant Winners

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      The 2022 awards are going to artists, activists, scholars, scientists and others who have shown “exceptional creativity.” The grants are a bit bigger than before: $800,000 over five years.The 2022 MacArthur fellows include a sociologist working to understand what drives people to own guns; an astrodynamicist trying to manage “space traffic” and ensure that satellites don’t crash into each other in Earth’s orbit; and a lawyer seeking to expose inequities in the patent system that stifle access to affordable medications.The 25 winners of the fellowship, announced on Wednesday, study things as small as molecular materials and as vast as outer space. They are esteemed in their fields, if not yet all household names. And now, in addition to being publicly celebrated for their work, they will have more funding to keep it going.Known colloquially as the “genius” award — to the sometime annoyance of the John D. and Catherine T. MacArthur Foundation — the MacArthur Fellowship comes with a no-strings-attached grant of $800,000 to be awarded over five years. (Program officials noted that the size of the stipend has increased for the new group of fellows, from $625,000.)The class includes scholars tackling some particularly timely topics. Jennifer Carlson, 40, investigates the motivations and assumptions that shape gun culture in America. The longtime activist Loretta J. Ross teaches a class that works to combat so-called cancel culture. And some of Yejin Choi’s work involves using computational linguistics to help detect everything from fake consumer reviews to fake news.“I didn’t think much of myself,” said Professor Choi, 45. “I thought this award was supposed to be for other people out there — not ever for me.”“Being an immigrant, being a woman — I had to overcome a lot,” she said. “I had impostor syndrome.”The fellowship is meant for those who “show exceptional creativity in their work and the prospect for still more in the future,” according to the foundation.The purpose “has always been to provide recipients with unrestricted financial support so that they might further their creative work and their creative inclinations with as much freedom as flexibility as possible,” said Marlies Carruth, director of the MacArthur Fellows program.Few honors carry the prestige — and mystique — of the MacArthurs. Potential fellows cannot apply but are suggested by a network of hundreds of anonymous nominators from across the country and narrowed down by a committee of about a dozen people, whose names are not released.Professor Ross said she was driving when she got a call from the foundation. She assumed, at first, that someone wanted an employment reference: “I told them, kind of rudely, ‘I’m driving right now, I’ve got to teach today, call me back at 4:15.’”She did not give the caller time to explain. “I don’t drive and talk,” she said.The foundation called back at 4:15 p.m., as instructed.“I felt honored and I felt a little bewildered,” Professor Ross said. “The hardest part is that they told me a month ago and I had to keep it all to myself.”Much of the winners’ work feels urgent. Jenna Jambeck, an environmental engineer, investigates the scale and pathways of plastic pollution and is among the researchers who provided the first estimate of the amount of plastic waste entering the ocean annually (eight million metric tons).Moriba Jah, 51, the astrodynamicist, is an advocate for a different kind of environmentalism: space environmentalism, which calls for treating Earth’s orbit, which now contains almost 30,000 human-made objects, as a finite natural resource.Priti Krishtel, 44, the lawyer, is trying to change the patent system so that pharmaceutical companies can no longer file multiple patents on small changes to existing drugs — a move aimed at increasing access to affordable medications.In some cases, the urgent work is the study of the past. The literary historian P. Gabrielle Foreman founded the Colored Conventions Project, a digital initiative that documents Black organizing efforts between 1830 and the 1890s.“We know about white-led movements for social change in a way that has a tendency, in the public square, to overshadow Black brilliance, Black leadership and Black organizational capacity,” Professor Foreman said.“Why don’t we know about Black-led movements? One reason is because they are saying the same thing we are saying today,” she continued, noting that the conventions dealt not just with ending slavery but also with issues like equal pay, labor rights, voting rights and other issues that remain pressing almost two centuries later.There are multiple artists in the class as well. Among them is Amanda Williams, whose “Embodied Sensations” installation was at the Museum of Modern Art in 2021. There are also musicians like Ikue Mori, who, over five decades, transformed the use of percussion in improvised music, and the jazz cellist and composer Tomeka Reid.The youngest fellow is Steven Prohira, 35, a physicist engineering new tools to detect subatomic particles. The oldest, at age 69, are Professor Ross and Robin Wall Kimmerer, a plant ecologist known for environmental stewardship that is grounded in both scientific research and the body of knowledge cultivated by Indigenous peoples.Steven Ruggles, 67, is also among this class of fellows. A historical demographer, he built the world’s largest publicly available database of population statistics.“I’m not the most obvious candidate for something like this,” he said, noting that he is older and has already procured considerable grant money. Still, he, conceded, “It’s a humbling thing.”This year’s fellows also include: the artists Paul Chan, Sky Hopinka and Tavares Strachan; the mathematicians June Huh and Melanie Matchett Wood; the historian Monica Kim; the writer Kiese Laymon; Danna Freedman, a synthetic inorganic chemist; Martha Gonzalez, a musician and scholar; Joseph Drew Lanham, an ornithologist and naturalist; Reuben Jonathan Miller, a sociologist, criminologist and social worker; and Emily Wang, a primary-care physician and researcher.Professor Choi, a computer scientist with expertise in what is known as natural language processing, has focused much of her recent research on common sense knowledge and reasoning — and developing artificial intelligence systems that can reason with that common sense.“People really looked down on me,” she said, recalling that someone had once chased her down at a conference to convince her that attempting to study common sense was a fool’s errand.Getting a MacArthur, she said, has been “enabling” — both financially and mentally, Professor Choi said. The same person who had sought her out at the conference asked her years later to recommend reading for a class the person wanted to teach, she said. The topic of the class? Common sense. More

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      Alicia Keys’s Hypnotic Love Jam, and 12 More New Songs

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      Hear tracks by Anaïs Mitchell, Hurray for the Riff Raff, ASAP Rocky and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.Alicia Keys, ‘Best of Me’The steady, diligent beat is from Sade’s “Cherish the Day” by way of Raphael Saadiq; the promises of loyalty, honesty and absolute devotion are from Alicia Keys as she channels Sade’s utterly self-sacrificing love. “We could build a castle from tears,” Keys vows. The track is hypnotic and open-ended, fading rather than resolving, as if it could go on and on. It’s from a double album coming Dec. 10 featuring two versions of the songs: “Originals,” produced by Keys, and “Unlocked,” produced by Keys and Mike Will Made-It. JON PARELESHurray for the Riff Raff, ‘Rhododendron’The first single from Hurray for the Riff Raff’s forthcoming album “Life on Earth” is frisky and poetic, contrasting the wisdom of the natural world with the chaos of humanity. The New Orleans singer-songwriter Alynda Segarra (who uses they/she pronouns) is so enthralled with the wonders of plant life that they are able to extract lyricism from simply listing off some famous flora (“night blooming jasmine, deadly nightshade”) in a wonderfully Dylan-esque growl. The chorus, though, comes as a warning in the face of ecological destruction: “Don’t turn your back on the mainland.” LINDSAY ZOLADZKylie Minogue and Jessie Ware, ‘Kiss of Life’Following her excellent 2020 disco-revival record “What’s Your Pleasure?” (and this year’s Platinum Pleasure Edition, which contained enough top-tier bonus material to make an equally excellent EP) Jessie Ware gets the ultimate co-sign from the dancing queen herself, Kylie Minogue, on this playful duet. Their breathy vocals echo throughout the lush arrangement, as they trade whispered innuendo (“Cherry syrup on my tongue/how about a little fun?”) and eventually join together in sumptuous harmony. ZOLADZBaba Harare featuring Kae Chaps and Joseph Tivafire, ‘Vaccine’Baba Harare, from Zimbabwe, is a master of the genre called jiti: a speedy four-against-six beat that carries stuttering, syncopated guitars and deep gospel-tinged harmony vocals. In “Vaccine,” he’s joined by fellow Zimbabweans Kae Chaps and Joseph Tivafire, and between the hurtling beat and the call-and-response vocals, the song is pure joy. PARELESBitchin Bajas, ‘Outer Spaceways Incorporated’The latest project from the freewheeling ambient drone group Bitchin Bajas is boldly conceptual: a homage to one of the Chicago trio’s formative heroes, Sun Ra. As daunting as it may sound to reinterpret some of the cosmic jazz god’s most innovative compositions, Bitchin Bajas approach the challenge with a playful ingenuity. Take their cover of “Outer Spaceways Incorporated,” which in its original form is a loose, interstellar groove. Bitchin Bajas refract it instead through the lens of one of their other major influences, Wendy Carlos (hence the title “Switched on Ra”) and turn it into a kind of retro-futuristic waltz. The guest vocalist Jayve Montgomery uses an Electronic Wind Instrument to great effect, enlivening the song with an energy that’s both eerie and moving. ZOLADZASAP Rocky, ‘Sandman’ASAP Rocky has been featured on plenty of other artists’ tracks over the past few years, but “Sandman” — released to commemorate his breakthrough 2011 mixtape “Live.Love.ASAP” finally coming to streaming services — is his first new solo song since 2018. Produced by Kelvin Krash and ASAP fave Clams Casino, “Sandman” toggles between hazy atmospherics and sudden gearshifts into the more exacting side of Rocky’s flow. Plus, it gives him an opportunity to practice his French: “Merci beaucoup, just like Moulin Rouge/And I know I can, can.” Quelle surprise! ZOLADZCollectif Mali Kura, ‘L’Appel du Mali Kura’The project Collectif Mali Kura gathered 20 singers and rappers to share a call for hard work, civic responsibility (including paying taxes) and national unity in Mali. Sung in many languages, with bits of melody and instrumental flourishes that hint at multiple traditions, the song starts as a plaint and turns into an affirmation of possibility. PARELESJorge Drexler and C. Tangana, ‘Tocarte’“Tocarte” (“To Touch You”) is the second deceptively skeletal collaboration released by Jorge Drexler, from Uruguay, and C. Tangana, from Spain; the first, a tale of a showbiz has-been titled “Nominao,” has been nominated for a Latin Grammy as best alternative song. “Tocarte” is a pandemic-era track about longing for physical contact: It constructs a taut, ingenious phantom gallop of a beat out of plucked acoustic guitar notes, hand percussion and sampled voices, and neither Drexler nor Tangana raises his voice as they envision long-awaited embraces. PARELESHayes Carll, ‘Nice Things’In the twangy, foot-stomping, gravel-voiced, fiddle-topped country-rocker “Nice Things,” which opens his new album, “You Get It All,” the Texan songwriter Hayes Carll imagines a visit from God. She (yes, she) runs into pollution, over-policing and close-minded religion. “This is why I blessed you with compassion/This is why I said to love your neighbor,” she notes, before realizing, “This is why y’all can’t have nice things.” PARELESAnaïs Mitchell, ‘Bright Star’Before she wrote the beloved Tony-winning musical “Hadestown,” Anaïs Mitchell was best known as a gifted if perpetually underrated folk singer-songwriter with a knack for traditional storytelling. The stage success of “Hadestown” (which itself began life as a 2010 Mitchell album) forced her to put her career as a solo artist on hold, but early next year she’ll return with a self-titled album, her first solo release in a decade. Its leadoff single “Bright Star” is a worthy reintroduction to the openhearted luminosity of Mitchell’s voice and lyricism: “I have sailed in all directions, have followed your reflection to the farthest foreign shore,” she sings atop gently strummed acoustic chords, with all the contented warmth of someone who, after a long time away, has at last returned home. ZOLADZAoife O’Donovan featuring Allison Russell, ‘Prodigal Daughter’Aoife O’Donovan sings delicately about a reunion that could hardly be more fraught; after seven years, a daughter returns to her mother with a new baby, needing a home and knowing full well that “forgiveness won’t come easy.” O’Donovan reverses what would be a singer’s typical reflexes; as drama and tension rise, her voice grows quieter and clearer, while Allison Russell joins her with ghostly harmonies. As a tiptoeing string band backs O’Donovan’s pleas, Tim O’Brien plays echoes of Irish folk tunes on mandola, a musical hint at multigenerational bonds. PARELESMarissa Nadler, ‘Bessie, Did You Make It?’How about a chillingly beautiful modern murder ballad to cap off spooky season? The folk singer-songwriter Marissa Nadler’s new album “The Path of the Clouds,” (out Friday on, appropriately enough, Sacred Bones) was partially inspired by her quarantine binge-watch of choice: “Unsolved Mysteries.” The opening track “Bessie, Did You Make It?” creates a misty atmosphere of reverb-heavy piano and arpeggiated guitar, as Nadler tells a tale of a nearly century-old boat accident that was never quite explained. “Did you make it?” she asks her elusive subject, who seems to have perished that day along with her husband. Or: “Did you fake it, leave someone else’s bones?” ZOLADZArtifacts, ‘Song for Joseph Jarman’Artifacts features three of the leading creative improvisers on the Chicago scene: the flutist Nicole Mitchell, the cellist Tomeka Reid and the drummer Mike Reed. All are deeply entwined in the lineage of their home city, and on “Song for Joseph Jarman” — from Artifacts’ sophomore release, “ … and Then There’s This” — the trio pays homage to an influential ancestor with this slow, hushed, deeply attentive group improvisation. It’s not unlike something Jarman himself might have played. Reid and Mitchell hold long tones more than they move around, sounding as if they’re listening for a response from within each note. GIOVANNI RUSSONELLO More