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    Algumas Últimas Notas da ‘Voz de Deus’

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    Milton Nascimento, uma divindade musical no Brasil, colabora com a baixista, vocalista e produtora Esperanza Spalding em um álbum que contempla o efeito da idade sobre a arte.Em 1955, Milton Nascimento tinha 13 anos, estava aprendendo a cantar e, para sua tristeza, chegando à puberdade.“Quando eu comecei a ver que a minha voz estava engrossando, eu falei, ‘eu não quero cantar mais, não’”, lembrou Nascimento, uma das figuras musicais mais importantes do Brasil, em entrevista na semana passada. “Porque os homens não têm coração”.Ele disse que chorava quando um canto suave e expressivo entoou na rádio. Era Ray Charles, cantando “Stella by Starlight”. “Depois que eu ouvi isso, eu falei, agora dá para cantar’”.Nas seis décadas seguintes, floresceu uma das grandes vozes da música, uma força etérea que percorria oitavas com emoção e energia, deslizando perfeitamente entre um barítono aveludado e um falsete celestial.A voz singular de Nascimento e sua ascensão às notas mais altas ajudaram a influenciar uma geração de artistas. Em entrevista, Paul Simon descreveu sua voz como uma “mágica sedosa”. Philip Bailey, cantor da Earth, Wind & Fire, comparou-a com “uma bela praia brasileira”. Sting disse que havia “verdade na beleza” dela.No Brasil, onde a voz de Nascimento conduziu desde músicas introspectivas àquelas icônicas, a nação cunhou uma metáfora ainda mais grandiosa: “a voz de Deus”.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A Dreamlike Collaboration From Milton Nascimento and Esperanza Spalding

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      Milton Nascimento, a musical deity in Brazil, collaborates with the bassist, vocalist and producer Esperanza Spalding on an album that contemplates age’s effect on art.In 1955, Milton Nascimento was 13, learning to sing and, devastatingly to him, hitting puberty.“When I began to see my voice deepening, I said, ‘I don’t want to sing anymore,’” Nascimento, one of Brazil’s most important musical figures, recalled last week in an interview. “Because men don’t have heart.”He was crying, he said, when a smooth, soulful croon came from the radio. It was Ray Charles singing “Stella by Starlight.” “After I heard that, I said, ‘Now I can sing.’”Over the next six decades blossomed one of music’s great voices, an ethereal force that spanned octaves with emotion and verve, gliding seamlessly between a velvety baritone and a celestial falsetto.Nascimento’s unique sound and ascent to the highest notes helped influence a generation of artists. In an interview, Paul Simon called his voice “silky magic.” Philip Bailey, a singer in Earth, Wind & Fire, compared it to “a beautiful Brazilian beach.” Sting described it as “truth in beauty.”In Brazil, where Nascimento’s voice led singalong anthems and emotional ballads, the nation settled upon an even grander metaphor: “the voice of God.”Nascimento has long been one of the biggest acts in Brazil, while also influencing musicians around the world.Larissa Zaidan for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Esperanza Spalding’s Latest Surprise, and 10 More New Songs

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      Hear the jazz musician’s team-up with the Brazilian songwriter Milton Nascimento, plus tracks from Saweetie, Omar Apollo and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs.Milton Nascimento and Esperanza Spalding, ‘Outubro’The ever-surprising bassist and singer Esperanza Spalding persuaded the mystical and ingeniously tuneful Brazilian songwriter Milton Nascimento, 81, to collaborate on a full album that was recorded in 2023 and is due in August. Its preview single is “Outubro” (“October”), a song that Nascimento originally wrote and recorded in the 1960s. Its asymmetrical melody carries lyrics that reflect on solitude, mortality and the possibility of joy. Nascimento no longer has the pure, otherworldly vocal tone of his youth, but Spalding bolsters him, singing in Portuguese alongside him and probing the harmonies with springy bass lines. Near the end, she comes up with a leaping, scat-singing line that he eventually joins, still enjoying what his composition can inspire. JON PARELESCassandra Jenkins, ‘Delphinium Blue’The Brooklyn singer-songwriter Cassandra Jenkins delivers “Delphinium Blue,” the second single from her upcoming third album, “My Light, My Destroyer,” with a slow, cleareyed poise. Among glacially paced synthesizers and gentle percussion, she describes the sensory overload of working in a flower shop, and daydreaming about someone special when business is light. “I see your eyes in the delphinium, too,” she sings, as beauty blooms all around her. “I’ve become a servant to their blue.” LINDSAY ZOLADZOmar Apollo, ‘Dispose of Me’We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A 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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      Bad Bunny’s Surprising Return and 13 More New Songs

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      Hear tracks by Ice Spice, Sleater-Kinney, Roy Hargrove and more.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.Bad Bunny, ‘Mr. October’Bad Bunny surprise-released a new album, “Nadie Sabe Lo Que Va a Pasar Mañana” (“Nobody Knows what’s Going to Happen Tomorrow”). Many of its 22 songs circle back toward the programmed trap beats that helped start Bad Bunny’s career, but now they’re just part of the sonic domain of a world-conquering star. In “Mr. October” he sings and raps about wealth, clothes, fame, sex and celebrity, comparing himself to Michael Jackson and Reggie Jackson and rightfully claiming, “Yo cambié el juego”: “I changed the game.” But the track is far from triumphal; with tolling piano notes, filmy minor chords and skittering electronic tones, the music laces every boast with anxiety. JON PARELESIce Spice and Rema, ‘Pretty Girl’The utterly unflappable Bronx rapper Ice Spice cannily connects with Afrobeats — and with the gentle-voiced, hook-making Nigerian songwriter Rema, who offers slick, robotic blandishments in what sounds like one repeating cut-and-pasted chorus. Ice Spice responds with encouraging, human-sounding specifics: “Think about my future, got you all in it.” But the track ends with Rema’s looped doubts — “Give me promise you ain’t gonna bail on me” — rather than her wholehearted welcome. Why give him the last word? PARELESDesire Marea, ‘The Only Way’The style-melting South African songwriter Desire Marea turns to funk and Afrobeat in “The Only Way.” His voice lofts a sustained melody and layered backup vocals over an arrangement that feels hand-played and organic: all staccato cross-rhythms — drums, bass, guitar, electric piano, horns — with a nervy, constantly shifting beat and one melodic peak topping another. The only lyrics in English are “It’s the only way” — and with such urgent music, there’s no need for more. PARELESEsperanza Spalding, ‘Não Ao Marco Temporal’If Esperanza Spalding has been in feeds this week for precisely the wrong reasons, consider this your cue to close that tab. Spalding’s mind has been elsewhere: specifically in Brazil, where the battle over the fate of the world’s largest rainforest is reaching a decisive point. On “Não Ao Marco Temporal,” recorded in Rio de Janeiro, Spalding and a small crew of musicians protest the Temporal Framework, a recent attempt to roll back Indigenous Brazilians’ land sovereignty that would have left the Amazon increasingly vulnerable to deforestation. (The Brazilian Supreme Court recently rejected the framework, but industry’s attempts to undermine that decision have continued.) Over strums on the cavaco and violão, the resounding of drums and the squeals of a cuica, Spalding sings of the “grabbing hands” that seek to violate the rainforest. “There are some men who stop at nothing to have their way with the body of a woman or a girl,” she and a small chorus of voices declare. “Right now they’re calling her Brazil.” GIOVANNI RUSSONELLOBrittany Howard, ‘What Now’Brittany Howard, who led the Alabama Shakes, grapples with a disintegrating relationship in “What Now,” singing “If you want someone to hate, then blame it on me.” Over a fierce, choppy funk groove, Howard restrains her far-ranging voice to make her point about “learning lessons I don’t want to.” She is not happy about the breakup; she sings like she has no choice. PARELESMadi Diaz, ‘Same Risk’Madi Diaz sings about a high-stakes infatuation in “Same Risk,” spelling out both her physical passion and her misgivings. “Do you think this could ruin your life?/’Cause I could see it ruining mine,” she asks, then wonders, “Are you gonna throw me under the bus?” What starts with modest acoustic guitar strumming rises with an orchestral crescendo to match the urgency of her questions. PARELESSleater-Kinney, ‘Hell’“Hell” will be the opening track on “Little Rope,” the album Sleater-Kinney will release in January and which was made in the wake of the sudden deaths of Carrie Brownstein’s mother and stepfather. The song breaks wide open with anguish and inconsolable fury, as tolling, elegiac verses erupt into bitter power-chorded choruses. Corin Tucker unleashes her scream on the word “why.” PARELESJamila Woods featuring Saba, ‘Practice’Jamila Woods takes the pressure off a new relationship in “Practice,” the latest single from her excellent album “Water Made Us.” “We don’t gotta hurry up, you ain’t gotta be the one,” she sings in an airy, unburdened voice, carried along by an insistent beat. The Chicago rapper Saba sounds similarly breezy and wise on his verse — “learned from her, moved on, learned more” — and Woods’s lyrics extend the song’s playful basketball metaphor. After all, in the immortal words of Allen Iverson, we’re talking about practice. LINDSAY ZOLADZSen Morimoto, ‘Deeper’“I lost my senses like I’ve lost so many times/Why do the answers seem impossible to find?” sings Sen Morimoto, who plays most of the instruments on his tracks himself, in “Deeper.” A lurching beat, meandering chromatic harmonies and keyboard and guitar incursions that seem to have wafted in from other songs just add to the sense of disorientation. Morimoto’s saxophone solo sounds more sure of itself than he does, but he’s clearly not too perturbed. PARELESRoy Hargrove, ‘Young Daydreams (Beauteous Visions)’The trumpeter Roy Hargrove was just 23, but already near the top of New York’s jazz scene, when his friend and mentor Wynton Marsalis commissioned him to write “Love Suite in Mahogany.” The suite, which he performed with a septet at Marsalis’s Jazz at Lincoln Center, in fall 1993, begins in a downward slide of moonlit harmony, gesturing toward Gil Evans and Billy Strayhorn (this was the Young Lions era; a direct address to the masters was encouraged). It finds its way gradually into a slowly creeping groove before a false ending gives way to a coda of driving post-bop. The track cuts off as he cues the band into the suite’s next movement. You can hear the rest of the suite’s debut performance, which has just been released as an LP on J.A.L.C.’s Blue Engine Records. RUSSONELLOMendoza Hoff Revels, ‘New Ghosts’There’s gristle and bone in every last satisfying bite of “Echolocation,” the debut album from Mendoza Hoff Revels, a four-piece band co-led by the guitarist Ava Mendoza and the bassist Devin Hoff. There is also a delightfully wide range of musical shapes at play. One moment, they’re descending straight from the slow drag of doom metal and stoner-rock; later, Mendoza’s wily, spiral-bound melodies have more to do with the tactics of John Zorn (both she and Hoff have played on Zorn projects). Her acid-soaked electric guitar rarely leaves center stage here. On “New Ghosts,” Mendoza, Hoff and the saxophonist James Brandon Lewis hover around a heavy minor chord, occasionally repainting it in an uncanny major. Then Hoff and the drummer Ches Smith join, and the improvisation ascends into a gray cloud of swirling saxophone and bludgeoning guitar. RUSSONELLOboygenius, ‘Afraid of Heights’Lucy Dacus regrets confessing her fear of heights on this wry highlight from boygenius’s new four-song EP, “The Rest”: “It made you want to test my courage, you made me climb a cliff at night.” Though, like all boygenius songs, it’s a collaboration with her singer-songwriter peers Phoebe Bridgers and Julien Baker, here Dacus takes the lead, bringing complexity to a simple chord progression through the specificity of her lyricism. “I never rode a motorcycle, I never smoked a cigarette,” she sings, balancing poignancy with dry humor. “I wanna live a vibrant life, but I wanna die a boring death.” ZOLADZAllegra Krieger, ‘Impasse’The folky, deceptively understated songwriter Allegra Krieger released her album “I Keep My Feet on the Fragile Plane” in July; now she extends it with “Fragile Plane — B-Sides.” In “Impasse,” she calmly confronts someone who’s been “building quite a big brand,” touting “family values, patriot song” in a culture where “Everyone here is trying to win/Power or paper or recognition.” Over an unhurried modal guitar line, she warns how it could suddenly come crashing down, and she sings like she won’t mind if it does. PARELESNdox Électrique, ‘Lëk Ndau Mbay’Gianna Greco and François R. Cambuzat, who have worked with post-punk artists including Lydia Lunch, have spent recent years traveling the world, documenting and collaborating with musicians who play traditional trance rituals. For their latest project, Ndox Électrique, they collaborated with Senegalese drummers and singers who perform spirit-possession healing rituals called n’doep, layering drones and assaultive noise-rock guitars atop the fiercely propulsive beat, translating and transmuting the music’s incantatory power. PARELES More

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      Review: A Concerto Makes Two Soloists a Many-Tentacled Creature

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      Felipe Lara’s sensational Double Concerto, with Claire Chase and Esperanza Spalding, was played by the New York Philharmonic under Susanna Mälkki.Placing an old piece in new surroundings can make you think about it in a fresh way. Until the New York Philharmonic played Charles Ives’s short, indelible “The Unanswered Question” on Wednesday at David Geffen Hall under Susanna Mälkki’s baton, I had never thought of it as a tiny double concerto.It isn’t, exactly. A double concerto adds two soloists to the orchestra, and the Ives has five: four flutists and a trumpeter. But its structure — in which soft expanses of consoling strings are the ground for interjections of somber trumpet and bursts of talkative flute — suggests the flutes are a single many-headed unit. It’s a kind of double concerto, then, in which two solo forces have a relationship to one another and to the main ensemble.It’s no surprise that my thoughts went to this form. Felipe Lara’s sensational Double Concerto, exuberant if not always sunny, had its New York premiere on Wednesday after the Ives.Written in 2019 and given its premiere in Helsinki under Mälkki two years later, this is a true double concerto, featuring a pair of soloists, Claire Chase and Esperanza Spalding. But this piece, too, complicates the form, since they each use multiple instruments: Chase, a battery of flutes — another reason the Ives was a wise juxtaposition — and Spalding, a double bass and her bright, pure voice.

      HKO Screen – Felipe Lara: Double Concerto from Helsinki Philharmonic on Vimeo.Unlike “The Unanswered Question,” which maintains a demure separation between the trumpet (for Ives, representing “the perennial question of existence”) and the flutes (attempts at answers), Lara intertwines his soloists into what Chase calls in a program note “a many-tentacled creature.”The two often play together, with the trail of one — a whipped breath of flute, a cool curve of voice, a slightly bending reverberation of bass — audible only as a comet’s tail off the joint sound. Neither stops for long over the work’s half-hour length.Which is not to say that either player is homogenized by combination. The vocabulary here is sprawling and idiosyncratic on both sides. Chase makes virtuosically parched, percussive exhalations; she can be sheerly sweet on the standard flute and has, on the enormous contrabass flute, the milky penetration of a whale’s deep-sea call.Spalding’s mellow, dancing bass plucks are a sound we know best from jazz, but are totally at home here, and her singing is guileless without being childlike. She mostly vocalizes, sometimes on the syllable “ah,” sometimes on “mm” and sometimes — most memorably at the end — on “shh.” She briefly sings a Portuguese text Lara wrote about life’s blessings, though to listeners that can blur into incantatory vocalizing, too. (From the audience it’s also hard to perceive a secret of the score: Chase is sometimes producing sound by singing into the flute.)The music is mostly notated, but in a large-scale dual cadenza Chase and Spalding improvise together, remarkably responsive, unified and relaxed, creating a miniature universe of sounds — whispery, earthy, otherworldly-woozy, underwater-translucent, simple and raucous: a paean to the joy of collaboration, of play.The orchestra, led by Mälkki with focused confidence on Wednesday, tends to be active but subdued, the way you can perceive seething activity even in a seemingly still jungle. There are hazy effusions of brass; little thickets of rattling, shivering percussion; and whooshing, glistening strings that were a textural link to the Ives, as well as to Stravinsky’s “Petrushka,” which came after intermission.Performed in the pared-down orchestration Stravinsky made in 1947, decades after writing the piece, “Petrushka” here seemed both to echo and to have generated the Lara concerto’s off-kilter abruptness, fearless colors and wry enigmas.The Philharmonic, sounding poised throughout the concert, was especially evocative in Stravinsky’s humid third tableau. Alison Fierst brought nuance and a sense of mystery to her crucial solo on, yes, the flute. (The instrument could hardly get a more profound showcase than this program.) Under Mälkki, “Petrushka,” more than any other quality, had unexpected intimacy.As did Lara’s concerto. Even as it builds to flourishes of gleaming Hollywood-golden-age grandeur, and even with substantial forces — there are two full string sections onstage, one tuned slightly higher than the other — Lara has the maturity to resist doing too much.He also has the skill to shape a gorgeously varied but unbroken single movement that evolves organically over its 30 minutes to a final lullaby, pricked by starry harp. This is a complex but legible, lovable piece; a funky yet elegant ritual; thrilling and taut, if also fundamentally unhurried and unpressured.Spalding performed in a jumpsuit printed, in bold capital letters, with “LIFE FORCE,” and I felt that way about the music, too.New York PhilharmonicThis program is repeated through Friday at David Geffen Hall, Manhattan; nyphil.org. More

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      5 Minutes That Will Make You Love Jazz Vocals

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      Nat King Cole, Billie Holiday and Louis Armstrong were A-list celebrities at the top of their art form. Today’s jazz singers are finding new paths. Listen to these 11 favorites.Lately The New York Times has asked jazz musicians, writers and scholars to share the favorites that would make a friend fall in love with Duke Ellington, Alice Coltrane, bebop and Ornette Coleman.Now we’re putting the spotlight on jazz vocals. If you’re a listener to the latest jazz, you’ve probably noticed that vocalists are some of the beacons guiding this music toward new paths. It’s been decades since jazz singers played such an active and contemporary role, but for most of the mid-20th century it was hard to distinguish many jazz singers from pop stars. Nat King Cole, Louis Armstrong, Frank Sinatra, Billie Holiday, Peggy Lee — these were all Page 1 celebrities, and jazz musicians. Throughout jazz history, singers have also served the role of breaking up the bandstand’s closed circuit of masculinity: In the Jazz Age, they were often the only women on the bus with the all-male big bands.This list’s aim is not to be comprehensive — if it were, we’d have to explain why there’s no Abbey Lincoln, Sarah Vaughan or Babs Gonzales, at the very least. We put a bigger emphasis on breadth, and encouraged contributors to give us their sincere favorites. Enjoy listening to these excerpts from songs chosen by a range of musicians, scholars and critics. You can find a playlist at the bottom of the article, and be sure to leave your own favorites in the comments.◆ ◆ ◆Luciana Souza, vocalistIf one arrives at this 1938 recording of Ray Noble’s “The Very Thought of You” with fresh ears, the listener will immediately be taken by Billie Holiday’s unique sound and deeply personal phrasing — they embody vocal jazz. Billie sings in a relaxed, almost spoken way, as if she is telling each of us her story. The rhythm section plays quarter notes, laying a clear foundation for the swing feel that permeates this track. The busy piano commentary and the horn solos help create a state of conversation and storytelling, which is also essential to jazz.“The Very Thought of You”Billie Holiday (Columbia/Legacy, Warner Chappell Music)◆ ◆ ◆Cécile McLorin Salvant, vocalistThis 1933 performance of “Dinah” is a perfect example of how free and radical Louis Armstrong was. He grounds the time at the bridge, flies over the A sections, and sings exactly the way he plays: Every choice he makes is undeniable, feels casual, and is extremely attractive. There is so much life and happiness in his singing and his sound. There’s wisdom and playfulness at the same time. He gives us the lyrics and then takes them away as he sees fit; it’s almost like an erasure poem. It’s a party.◆ ◆ ◆Kurt Elling, vocalistIf there is one recording of one song that manifests every element of jazz singing at its highest elevation, it is that of Betty Carter singing “Spring Can Really Hang You Up the Most,” from “The Audience With Betty Carter” (1980). Recorded live (with no studio “fixes”), Carter broadcasts her signature and unmistakable sonic identity from a single opening sigh. From there she goes on to spontaneously reinvent the song’s original melody in toto — not to “show off” or exclude the audience, but in service of the composition’s story and of the audience’s emotional experience. Her techniques allow her to be utterly transparent, emotionally, to her audience. She is a philosopher of love, a comedian, a heartbroken waif and an artist beyond her years. In one tour-de-force performance she shows herself to have mastered and metabolized every individual facet of jazz singing in such a way that her work has become seamless and solid-state. The intimate musical interaction with her rhythm section (John Hicks, piano; Curtis Lundy, bass; Kenny Washington, drums) — probably the finest in a career she populated with the best in the business — shows her to be a consummate bandleader. This performance makes a strong case for Betty Carter as the absolute most: the pinnacle virtuoso in a line of definitive musical masters.“Spring Can Really Hang You Up the Most”Betty Carter (Verve Reissues)◆ ◆ ◆Tammy Kernodle, musicologistThis performance captures a side of Ella Fitzgerald’s artistry that isn’t always conveyed through her studio recordings. The complete “Live in Berlin” album is a hallmark of Fitzgerald’s catalog because of its documentation of the energy, creativity and intimacy that links audience and musician in the live setting. I think “How High the Moon” overshadows all of the other performances on this album as it strongly illuminates Ella’s role in shaping the modern vocal jazz idiom, especially her embrace of the harmonic approaches advanced through bebop. The impeccable timing, musical knowledge and vocal dexterity employed in this seven-plus-minute vocal improvisation exemplifies musical genius. Ella doesn’t just cover this standard, she owns it! Deconstructing its melodic identity and seamlessly fusing musical quotations drawn from a litany of sources, she creates an indisputable piece of art.“How High the Moon”Ella Fitzgerald (Verve Reissues)◆ ◆ ◆Aaron Diehl, pianistThis song is poignant, as if a mother is consoling her child in the throes of heartbreak and despair. It is the melody which Maxine Sullivan sings in combination with the lyric that makes this message bittersweet — her simple treatment only embellished with an occasional scooped note and the supple feeling of swing. Bob Haggart’s band provides a subtle undercurrent in a performance both haunting and hopeful. It urges the ear (and the heart) to come back for more.“Cry Buttercup Cry”Maxine Sullivan & Her Orchestra (American Popsongs)◆ ◆ ◆Dee Alexander, vocalistWhile on this journey through life and music I have encountered many artists that have influenced me. One such person is Urszula Dudziak, a phenomenal Polish jazz vocalist with a five-octave range that soars effortlessly and leaves me breathless. My introduction to her album “Midnight Rain” and her rendition of “Bluesette” showcased her courageous and creative approach to her music, especially her use of wordless sounds, which I also incorporate in my performance. Thank you, Ms. Dudziak, for sharing your gift with the world. You are one of my greatest inspirations.“Bluesette”Urszula Dudziak (Arista)◆ ◆ ◆Melissa Weber (a.k.a. Soul Sister), D.J. and scholarUnlike today, Black radio in the 1970s lacked silos for R&B and “jazz.” Many wonderful vocal artists fused those boundaries, like Patti Austin, George Benson, Dee Dee Bridgewater and Jean Carn. Angela Bofill’s 1978 debut album, “Angie,” is one of the finest examples of a fusion of Black American music influences and the Nuyorican and Cuban roots that are also part of Bofill’s background. The album’s opening composition, the self-penned “Under the Moon and Over the Sky,” is a searing, ethereal work of beauty. And “Angie,” a Top 5 seller on the Jazz Albums chart, crossed over to R&B and pop, and was filled with more stunning moments.“Under the Moon and Over the Sky”Angela Bofill (Arista/Legacy)◆ ◆ ◆Will Friedwald, author“Joe Turner’s Blues” climaxes Nat King Cole’s most famous concert album, “At the Sands,” taped in 1960 but not released until 1966, about a year after his tragically early death. Cole was a brilliant blues player as well as singer, and few artists have ever captured the sheer exuberance of the blues — the idea of confronting hard times with a smile — as well as he does here. Cole’s 1958 studio recording of this Dave Cavanaugh arrangement of a W.C. Handy song is exciting enough, but the live performance is positively ecstatic. Here’s the most vivid example imaginable of how hearing the blues makes you feel good.“Joe Turner’s Blues”Nat King Cole (Capitol Records)◆ ◆ ◆Catherine Russell, vocalistNancy Wilson demonstrates everything I look for in excellent jazz singing! “Never Will I Marry” is not an “easy” tune, yet Wilson is in full command of melody and lyric, using her voice as an instrument. Her point of view is clear, honest and playful. She achieves this by where she chooses to use straight tone and vibrato, and the push/pull and swing of her phrasing. Her delivery is strong and vulnerable simultaneously. Then she leaves us with a long, perfectly delivered last note while the band dances around her to bring the tune to a close. Absolutely brilliant!“Never Will I Marry”Cannonball Adderley & Nancy Wilson (Blue Note Records)◆ ◆ ◆Giovanni Russonello, Times jazz criticAndy Bey’s four-octave baritone range and tightly controlled, emotive vocal instrument have covered a lot of ground in 83 years: jazz-pop harmony with his sisters, hard-bop alongside Horace Silver, avant-garde theater with Cecil Taylor. But like a true jazz vocalist, he’s never strayed too far from the blues. It’s there with him on “Experience and Judgment,” his 1974 debut album as a leader, an imperfectly made record that’s nonetheless full of broad-minded Bey compositions touching on love, lust and transcendental philosophy. This is jazz sailing into New Age, but staying grounded; Bey’s is a sound of earned truth. “Tune Up,” maybe the most slyly funky song he ever wrote, displays his gymnastic composure as he doubles with the bass’s two-note vamp then soars up to entreat us: “Get close to all that’s pure and beautiful.”“Tune Up”Andy Bey (Rhino Atlantic)◆ ◆ ◆Roxana Amed, vocalistEsperanza Spalding represents, in my opinion, what a contemporary jazz vocalist is. Her flexible instrument — expressive and light — can follow the challenging requirements of her music, can flow alongside her bass, can tell the delicate stories in her poetry. Over the decades, the profile of a jazz vocalist has changed; we’ve had everything from virtuosic scatters to deep storytellers, from songwriters to vocalists and pianists. In every case, facing this repertoire requires a versatile instrument and mind, knowledge of the tradition and some skills to break it and create a new sound, a new vocal language. Esperanza has been exploring all the corners of this amazing music.“Lest We Forget (blood)”Esperanza Spalding (Concord Records)◆ ◆ ◆ More

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      Rina Sawayama Flips Damnation Into a Dance Party, and 15 More New Songs

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      Hear tracks by Burna Boy, Metric, Sudan Archives 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.Rina Sawayama, ‘This Hell’Ever the pop maximalist, Rina Sawayama’s first single from her upcoming album, “Hold the Girl,” has it all: a fiery chorus, cheeky humor, devil puns for days and even a gloriously cheesy hair-metal guitar solo. “This hell is better with you, we’re burning up together/Baby that makes two,” she sings on the towering hook, making eternal damnation sound like an exclusive VIP party. Both the glammy intensity and be-yourself messaging feel like a throwback to “Born This Way”-era Lady Gaga, but it’s all remixed through Rina’s signature, neo-Y2K-pop sensibility. LINDSAY ZOLADZmxmtoon, ‘Frown’If the California singer-songwriter mxmtoon has a mission statement, it’s something like catchy, smiley self-help. “Frown” is from her new album, “Rising,” and it presents itself as an antidote to being “stuck in a loop overthinking all our pain.” She musters four-chord pop optimism, multitracked vocals and a pop-reggae backbeat to insist, “It’s OK to frown/smile upside-down.” JON PARELESDiana Ross and Tame Impala, ‘Turn Up the Sunshine’Nothing screams “Minions” like a collaboration between … Tame Impala and Diana Ross? Yet their styles blend surprisingly well on “Turn Up the Sunshine,” the first single from the Jack Antonoff-produced soundtrack for the animated summer movie “Minions: The Rise of Gru.” (Yes, the man is so ubiquitous, he’s even producing for the Minions now.) A sleek, seamless and lovingly conjured disco throwback, “Turn Up the Sunshine” allows Kevin Parker an opportunity to go fully retro in his arrangement and saves Ross ample space for ecstatic vocals and some groovy spoken-word vamping. ZOLADZCarrie Underwood, ‘She Don’t Know’Infidelity gets a fierce retaliation in “She Don’t Know,” a canny country revenge song from Carrie Underwood and her collaborators, David Garcia and Hillary Lindsay. A foot-tapping beat and country instruments like mandolin and fiddle back her as she sings, with the vindictive glee of someone escaping a very bad situation, “What she don’t know is she can have him.” PARELESKatzù Oso, ‘Conchitas’A good dream-pop song sparkles, like sunlight refracting through water. On the lustrous “Conchitas,” from Katzù Oso’s debut album, “Tmí,” the Los Angeles-based artist Paul Hernandez bathes in ’90s nostalgia, soaking in shimmering synths, buzzing guitar riffs and a breathy falsetto. The result harnesses Cocteau Twins’ most tender, romantic qualities, but Hernandez glazes the track in his own special gloss, too: Much of “Tmí” was written in Boyle Heights, and as sweet as the pan dulce treats of its namesake, “Conchitas” embraces the spirit of that neighborhood, casting it into the soundtrack for a saccharine, lovesick daydream. ISABELIA HERRERASudan Archives, ‘Selfish Soul’It might not seem like the impish charm of a playground rhyme and a jagged violin hook would seamlessly coalesce, but Sudan Archives has always taken risks. On her new single “Selfish Soul,” the artist born Brittney Parks reprises her irreverent boho whimsy, crashing together reverbed vocals, a rapped verse and wild visuals with a razor-sharp message: a promise to love and embrace every kind of Black hair texture. “If I wear it straight will they like me more?/Like those girls on front covers,” Parks sings. The video oozes euphoria, too; Parks climbs a chrome stripper pole, plays the violin upside down and twerks in a mud pit with her girlfriends. What did you ever do? HERRERAMetric, ‘Doomscroller’Over 10 minutes long, Metric’s “Doomscroller” is a minisuite that proceeds from electronic dystopia to a plea for empathy to an offer of reassurance that’s cradled by physical instruments. The dystopia is convincing: a tireless mechanical thump and throbbing, blipping tones — racing like a gathering troll mob — behind Emily Haines’s calmly caustic observations about internet rabbit holes and entrenched inequality. “Salt of the earth underpaid to serve you,” she notes, and, “Scum of the earth overpaid to rob you.” The reassurance, though it builds up to a full-bodied rock-band march, is shakier; as the song ends, electronic blips reappear. PARELESSylvan Esso, ‘Sunburn’Sylvan Esso celebrates self-indulgence and rues its aftermath in “Sunburn”: “Sunburn blistering, the heat under your skin,” Amelia Meath sings. “Oh, but it felt so good.” The electronic backup is bouncy and pointillistic — nearly all staccato single notes, rarely a chord — and punctuated with the cheeriest of samples: a bicycle bell. PARELESBurna Boy, ‘Last Last’Burna Boy juggles heartache, accusations, self-medication and reminders of his success in “Last Last,” a post-breakup song about a roller coaster of feelings: “I put my life into my job and I know I’m in trouble/She manipulate my love,” he sulks. “Why you say I did nothing for you/When I for do anything you want me to do.” The video shows him surrounded by friends, possessions and awards, smoking and drinking. The title of the sample that provides the track’s nervous strummed rhythm and vocal hook suggests a very different scenario: It’s from Toni Braxton’s 2009 single “He Wasn’t Man Enough.” PARELESMeridian Brothers & El Grupo Renacimiento, ‘Metamorfosis’Meridian Brothers, a high-concept Colombian band formed in 1998 by Eblis Álvarez, delights in twisting and time-warping the roots of salsa and other Latin American styles. “Metamorfosis” — from an album due Aug. 5 — borrows Kafka’s title for a song about a man waking up transformed into a robot, facing a futuristic world of drones and screens; he summons Yoruba deities to battle transhumanism. Blending brisk guaracha and montuno rhythms with eruptions of psychedelic reverb and jazzy piano, it’s a percussive romp. PARELESCalypso Rose featuring Carlos Santana and the Garifuna Collective, ‘Watina’The Garifuna people, an Afro-Caribbean culture that has maintained its own language and traditions primarily in Belize and Honduras, are descendants of Indigenous Arawaks and of West Africans who survived a 17th-century shipwreck to escape slavery. The Garifuna Collective, founded by Andy Palacio, revived and updated old Garifuna songs and “Watina” (“I Called Out”) was the title song of its 2007 album. This remake adds a horn section — pushing the arrangement a bit closer to ska — and has lead vocals from the Trinidadian icon Calypso Rose, 82, who has been an honorary citizen of Belize since 1982, along with stinging guitar from Carlos Santana and some lyrics translated into English: “Lord please help me, even if I’m alone.” PARELESOneida, ‘I Wanna Hold Your Electric Hand’The long-running Brooklyn band Oneida loves repetition, layering and noise, and its catalog includes plenty of arty, elaborate structures. But “I Wanna Hold Your Electric Hand,” previewing an album due in August, recalls foundational punk-rock songs like “Roadrunner” by the Modern Lovers. It uses just two chords nearly all the way through (with one more for a bridge), a hurtling beat and terse lyrics: “So sure of ourselves/Who needs a plan?” But those two chords support a welter of guitar parts and drum salvos that just keeps getting more euphoric. PARELESFKJ featuring Toro y Moi, ‘A Moment of Mystery’Vincent Fenton, the French producer who bills himself as FKJ (for French Kiwi Juice), collaborated with Chaz Bundick, who records as Toro y Moi, and Toro’s keyboardist, Anthony Ferraro, on a track from FKJ’s album due in June, “Vincent.” It’s three minutes of lush, wistful uncertainty: serenely blurred vocals, hovering keyboard tones, ambiguous chords that stay unresolved. “I love the drama because I never know what the ending’s like,” Bundick sings, matching the music. PARELESEsperanza Spalding, ‘Formwela 12’“Our bodies are Music/You cannot play/Music/Without the body/Dancing.” The 91-year-old dancer and choreographer Carmen de Lavallade, a former Alvin Ailey star, opens Esperanza Spalding’s latest with those lines of poetry; in the ensuing 13 minutes, she brings them to life. She glides and tilts across the floor of an open studio, surrounded by four dancers and four musicians — including Spalding, who uses her upright bass and a quiet, cooing voice to coax and support de Lavallade. Early in the performance, de Lavallade sits down beside her, laying an ear and a hand on the bass while Spalding plays. As the piece carries on, the band’s lush flourishes and pointillism are clearly coming in response to the dancers, as much as their steps are responding to the music. Mostly, everyone is focused on the guidance and the unhurried elegance of de Lavallade. The audio of this piece is a bonus track on the newly released vinyl version of Spalding’s “Songwrights Apothecary Lab.” GIOVANNI RUSSONELLOShabaka, ‘Explore Inner Space’Shabaka Hutchings begins this track improvising on a lone wood flute, against a backdrop of silence. Soon analog synthesizers and loops are pooling around him, and an electric guitar adds dewy, flickering plucks. The music never fully crescendos, but its mysterious serenity might invite to take up the charge of the track’s title. The tune comes from “Afrikan Culture,” the first solo EP released by this famed U.K.-based saxophonist, who has begun performing simply under the name Shabaka. RUSSONELLOMary Lattimore and Paul Sukeena, ‘Hundred Dollar Hoagie’The harpist Mary Lattimore and the guitarist Paul Sukeena, two experimental musicians and Philly-area expats who occasionally collaborate, have teamed up to release the stirring ambient album “West Kensington,” out Friday on the indie label Three Lobed recordings. The opener “Hundred Dollar Hoagie” announces itself humbly, with its playful title nodding to the all-time greatest regional slang word for a submarine sandwich, which does not quite prepare you for the seven-and-a-half minutes of otherworldly sublimity that it contains. Lattimore’s synthesizer chords and Sukeena’s warping, weeping guitar lines layer to create an almost lunar soundscape, pleasantly reminiscent of Brian Eno’s awe-struck 1983 masterwork “Apollo: Atmospheres and Soundtracks.” ZOLADZ More

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      Best Albums of 2021

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      Less isolation didn’t mean a return to normalcy. Albums with big feelings and room for catharsis made the most powerful connections.Olivia Rodrigo, Moneybagg Yo and Allison Russell stood out in 2021.From left: Grant Spanier; Noam Galai/Getty Images; Bethany Mollenkof for the New York TimesJon Pareles | Jon Caramanica | Lindsay ZoladzJon ParelesSongs of Trauma, Fear and TriumphThe past year was awash in recorded music — not only the stuck-at-home recordings that musicians occupied themselves with when touring evaporated during the pandemic, but also many albums that had been made before the lockdowns but had been shelved in hopes of some return to normalcy. The albums that resonated most with me during 2021 were songs of reflection and revelation, often dealing with traumas and crises, transfigured through music.1. Bomba Estéreo, ‘Deja’The Colombian duo Bomba Estéreo released “Deja” as a series of EPs tied to the ancient elements: water, air, fire, earth. Each new one broadened an album that entwines folklore and electronics, personal yearning and planetary concerns. With Liliana Saumet’s tartly endearing singing and rapping and Simón Mejía’s meticulously kinetic productions, the songs dance through their fears. (Read our interview with Bomba Estéreo.)Simón Mejía and Liliana Saumet of Bomba Estéreo released “Deja” as a series of EPs.Valerie Amor C2. Allison Russell, ‘Outside Child’Allison Russell, the longtime frontwoman of Birds of Chicago, transforms a horrific childhood — she was abused by her stepfather — into songs of joyful survival. “I’m still rising, stronger for my pain and suffering,” she sings. Drawing on soul, country, folk and deep blues, she connects her own story to myth and metaphor, remembering the trauma yet decisively rising above it. (Read our interview with Allison Russell.)3. Mon Laferte, ‘Seis’Sometimes visitors can see what residents take for granted. Mon Laferte is from Chile, but she has been living for more than a decade in Mexico and has immersed herself in its music. On “Seis,” she wrote songs that draw deeply on regional Mexican traditions — mariachi, banda, ranchera, corrido, norteño — to sing, in a voice that can be teasing or furiously incendiary, about deep passions and equally deep betrayals. (Read our interview with Mon Laferte.)Mon Laferte drew on Mexican traditions for one of two albums she released this year, “Seis.”Gabriela Bhaskar/The New York Times4. The Weather Station, ‘Ignorance’Tamara Lindeman, who writes songs and records as the Weather Station, surrounded herself with a jazzy, intuitive backup group for “Ignorance,” clearly aware of Joni Mitchell’s folk-jazz precedent. The rhythms are brisk and precise; winds, keyboards and guitars ricochet respectfully off her breathy vocal lines. She sings about impending disasters, romantic and environmental, and the widespread disregard for what’s clearly about to happen. (Read our interview with the Weather Station.)5. Mdou Moctar, ‘Afrique Victime’Mdou Moctar is a Tuareg guitarist born in Niger. Like Tinariwen, his band plugs North African rhythms and modal vamps into rock amplifiers and drums. But “Afrique Victime” further expands the sonic possibilities for Tuareg rock, from ambient meditation to psychedelic onslaught. Six-beat rhythms and skeins of guitar lines carry Moctar’s voice in songs that can be modest and introspective or unstoppably frenetic.6. Julien Baker, ‘Little Oblivions’“Beat myself until I’m bloody/And I’ll give you a ringside seat,” Julien Baker sings in one of the brave, ruthlessly self-indicting songs that fill “Little Oblivions,” an album about the toll of one person’s addictions on everyone around her. She played all the instruments herself, scaling her sound up to arena size and chiming like U2, even as she refuses herself any excuses or forgiveness. (Read our review of “Little Oblivions.”)7. Black Midi, ‘Cavalcade’The virtuosic British band Black Midi bristles in every direction: with jagged, skewed funk riffs; with pointed dissonances; with passages of Minimalistic, ominous suspense; with lyrics full of bitter disillusion. And then, just to keep things unsettled, come passages filled with tenderness and wonderment, only to plunge back into the fray. (Read our interview with Black Midi.)8. Olivia Rodrigo, ‘Sour’Olivia Rodrigo, now 18, fixates on a breakup with an adolescent’s obsessiveness on “Sour,” building on the audience she found as a cast member in Disney’s “High School Musical.” With Taylor Swift as a role model for craftsmanship, her songs are as neatly detailed as they are wounded, and the production whipsaws through styles — calm piano ballad, ethereal choir harmonies, fierce distorted guitars — to match every mood swing. (Read our review of “Sour” and watch her “Diary of a Song.”)Olivia Rodrigo’s songs are neatly detailed.Erica Hernandez9. Esperanza Spalding, ‘Songwrights Apothecary Lab’“Songwrights Apothecary Lab” was the bassist and singer Esperanza Spalding’s pandemic project; she consulted neuroscientists, music therapists and ethnomusicologists to devise music for healing, and an online user’s guide prescribes the purpose of each song. But the songs are equally effective off-label; they encompass meditations, serpentine jazz compositions, calm or turbulent improvisations, open-ended questions and sly bits of advice, the work of a graceful, perpetually questing mind. (Read our interview with Esperanza Spalding.)10. Tyler, the Creator, ‘Call Me if You Get Lost’A life of luxury can’t mollify Tyler, the Creator. He’s no longer the trolling provocateur he was a decade ago when he emerged with Odd Future, but he’s still intransigent and high-concept. After singing through most of his 2019 album, “Igor,” he’s back to rapping, now simulating a mixtape with DJ Drama as hypeman. In his deep voice, he raps about all he owns and all he can’t control — mostly romance — over his own dense, detailed productions, at once lush and abrasive. The album peaks with an eight-minute love-triangle saga, “Wichita”: a raw confession, cannily orchestrated. (Read our review of “Call Me if You Get Lost.”)Tyler, the Creator swings back to mostly rapping on his 2021 album.Luis “Panch” PerezAnd here are another 15 deserving albums, alphabetically:Adele, “30”Arooj Aftab, “Vulture Prince”Khaira Arby, “New York Live”Billie Eilish, “Happier Than Ever”.css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-1kpebx{margin:0 auto;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-1kpebx{font-size:1.25rem;line-height:1.4375rem;}}.css-1gtxqqv{margin-bottom:0;}.css-1g3vlj0{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-1g3vlj0{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-1g3vlj0 strong{font-weight:600;}.css-1g3vlj0 em{font-style:italic;}.css-1g3vlj0{margin-bottom:0;margin-top:0.25rem;}.css-19zsuqr{display:block;margin-bottom:0.9375rem;}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-qjk116{margin:0 auto;overflow:hidden;}.css-qjk116 strong{font-weight:700;}.css-qjk116 em{font-style:italic;}.css-qjk116 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}Floating Points, Pharoah Sanders and the London Symphony Orchestra, “Promises”Flock of Dimes, “Head of Roses”Rhiannon Giddens with Franceso Turrisi, “They’re Calling Me Home”Idles, “Crawler”Ka, “A Martyr’s Reward”Valerie June, “The Moon and Stars: Prescriptions for Dreamers”L’Rain, “Fatigue”Arlo Parks, “Collapsed in Sunbeams”Robert Plant and Alison Krauss, “Raise the Roof”Omar Sosa, “An East African Journey”Jazmine Sullivan, “Heaux Tales”Jon CaramanicaProcessing Pain, Blurring BoundariesIn the second year of global quasi-paralysis, what made the most sense were, once again, albums that felt like wombs and albums that felt like eruptions. When there was nowhere to go, literally or metaphorically, there were still places to retreat — to the gut, to history, to memory, to forgetting.1. Mustafa, ‘When Smoke Rises’Did you mourn this year? Were you broken in some way that was beyond words? Mustafa’s debut album was there with you, a startling, primal chronicle of relentless loss and the relentless grace required to navigate it. In moments when the ground buckled, this album was a cradle. (Read our interview with Mustafa.)Mustafa’s debut album is a profound meditation on loss.Bethany Mollenkof for The New York Times2. EST Gee, ‘Bigger Than Life or Death’The latest in a string of excellent releases from the Louisville, Ky., rapper EST Gee, whose verses are refreshingly burly and brusque, and who tells stories sprinkled with surprisingly vivid left-field details. A bold back-to-basics statement, utterly free of filigree.3. Olivia Rodrigo, ‘Sour’The most important new pop star of the year delivered a debut album of poppy punk and punky pop that’s sometimes musically blistering and always emotionally blistered. A reminder that a failed relationship might leave you icy or bruised or drained, but in truth, it frees you to be emboldened. (Read our review of “Sour” and watch her “Diary of a Song.”)4. Moneybagg Yo, ‘A Gangsta’s Pain’Moneybagg Yo is a casually sassy rapper — a don of tsk-tsking, fluent in arched eyebrows, dispositionally blunt. This is his fourth major-label album, and it’s punchy and robustly musical. À la peak 2 Chainz, Moneybagg Yo boasts so long and so intently that he sounds fatigued, and in turn, uproarious.5. PinkPantheress, ‘To Hell With It’This is music about listening to music, about the secret places we burrow into in order to make sure our favorite songs can wash over us unimpeded. The singing is sweet and melancholic, and the production flirts with memory and time — stories of right now and back then, all told as one. (Read our review of “To Hell With It.”)6. Summer Walker, ‘Still Over It’The most emotionally direct vocalist working in R&B today, Summer Walker is a bracing listen. And this album, her third full-length release, is rawly vindictive and unconcerned with polish, the equivalent of a public-facing Instagram account that feels like a finsta. (Read our notebook on Summer Walker.)Summer Walker’s third album is appealingly unpolished and intimate.Theo Wargo/Getty Images7. Lana Del Rey, ‘Chemtrails Over the Country Club’Lana Del Rey albums have become pop music’s most compelling ongoing saga about American loneliness and sadness. This, the better of her two albums this year, is alluringly arid and dreamlike. (Read our review of “Chemtrails Over the Country Club.”)8. Tyler, the Creator, ‘Call Me if You Get Lost’In which the rapper who introduced himself a decade ago as the genre’s great anarchist reveals something that was long clear to close observers: He reveres tradition. Brick-hard rhyme structures. Ostentatious taunts. Mixtape grit. All of it. (Read our review of “Call Me if You Get Lost.”)9. Playboi Carti, ‘Whole Lotta Red’Just an unyieldingly odd record. Notionally a cousin of mid-2010s SoundCloud rap, it also has echoes of 1980s industrial rock and also the glitchcore of the 2000s. It’s buoyant and psychedelic and totally destabilizing.10. Kanye West, ‘Donda (Deluxe)’“Donda” lives at the intersection of Kanye’s “Yeezus” era and his Jesus era. On the one hand, there’s scabrous, churning production that sets a chaotic mood. On the other, there are moments of intense searching, gasps for air amid the unrest. (Read our notebook on “Donda.”)11. Rauw Alejandro, ‘Vice Versa’Rauw Alejandro, the most imaginative meta-reggaeton Latin pop star, dabbles in drum ’n’ bass and baile funk on his second major-label album. But the star is his hypertreated voice, which is synthetically sweet and appealingly lush, almost to the point of delightful suffocation. (Read our review of “Vice Versa.”)Rauw Alejandro’s latest album puts a spotlight on his vocals.Thais Llorca/EPA, via Shutterstock12. Doja Cat, ‘Planet Her’Outlandish, eccentric, lustrous, mercenarily maximalist pop from the sing-rapper with the richest and keenest pop ear not named Drake.13. Chloe Moriondo, ‘Blood Bunny’Openhearted and effortlessly catchy indie punk-pop about lovelorn confusion and beginning to figure out you’re too cool for that. (Read our notebook on Chloe Moriondo.)14. Kidd G, ‘Down Home Boy’Why yes, those are Juice WRLD cadences in the singing on the year’s best country debut album. (Read our interview with Kidd G.)15. The Armed, ‘Ultrapop’Shrieking sheets of nervy noise — a battering ram.16. Carly Pearce, ’29: Written in Stone’A brief marriage, a messy divorce, a helluva album.17. Yeat, ‘4L’If “Whole Lotta Red” is too coherent for you, try Yeat.18. Conway the Machine, ‘La Maquina’A cold, cold, cold growl of a classic-minded hip-hop album.19. Farruko, ‘La 167’“Pepas” is here, along with a confidently expansive range of reggaeton styles.Farruko’s “La 167” is a showcase for reggaeton styles.Rich Polk/Getty Images20. Mickey Guyton, ‘Remember Her Name’A pop-country winner that feels both universal and singular. (Read our interview with Mickey Guyton.)… and 20 more albums for a more well-rounded year.42 Dugg, “Free Dem Boyz”Gracie Abrams, “This Is What It Feels Like”Aespa, “Savage”Jay Bahd, “Return of Okomfo Anokye”Benny the Butcher and Harry Fraud, “The Plugs I Met 2”Ivan Cornejo, “Alma Vacía”Jhay Cortez, “Timelezz”Dave, “We’re All Alone in This Together”Drake, “Certified Lover Boy”Halsey, “If I Can’t Have Love, I Want Power”Cody Johnson, “Human the Double Album”NCT 127, “Sticker”RXK Nephew, “Crack Dreams”serpentwithfeet, “Deacon”Spirit of the Beehive, “Entertainment, Death”Don Toliver, “Life of a Don”Rod Wave, “SoulFly”Tion Wayne, “Green With Envy”Wiki, “Half God”Young Thug, “Punk”Lindsay ZoladzOpening Up Hearts and MindsIn an emotionally hung over year when so many people were trying to process loss — of loved ones, of charred or flooded homes, of the world as we once knew it — some of the best music offered an opportunity to slow down and reconnect with feelings we may have rushed right by before truly acknowledging. Sometimes we just needed a voice to capture and echo the absurdity all around us, but other times records gave us a way of experiencing nothing less than mass catharsis.1. Adele, ‘30’It takes a certain kind of record to make me want to quote Rumi, but Adele really killed this, so let me say: “You have to keep breaking your heart until it opens.”Adele has been our mass-cultural bard of heartbreak for the past decade, but in her music — save for the handful of instant-classic ballads scattered across her discography — I did not really get the sense that she was truly open in all the terror and glory that implies. Then she turned 30. “I’m so afraid but I’m open wide,” she sings on the divine “To Be Loved,” her imperial voice trembling but assured. Most breakup albums are full of anger, scorn, and blame, but this one is remarkably self-directed, a grown woman making a deeply considered choice to leap into the void and break her own heart wide apart. “I took some bad turns that I am owning,” she sings, audibly italicizing that last phrase, as if the preceding 10 tracks in all their startling honesty hadn’t already made that clear.On “19,” “21,” and “25,” Adele acted wise beyond her years: “We both know we ain’t kids no more,” she chided an ex on an album about being in her mid-20s, which also included a world-wearied number called “When We Were Young.” “30” refreshingly winds back the clock and finds her admitting that all along she was “just a child, didn’t get the chance to feel the world around” her. But now she sings like a mature woman who knows there’s still plenty of time to get wine-drunk on the everyday wonders of her own freedom, to break her heart open again and again in her newly omnivorous and sonically eclectic songs. This, at last, is Adele living up to her promise, pop majesty at the highest count. (Read our review of “30.”)Adele breaks her own heart open on “30.”Cliff Lipson/CBS2. Tyler, The Creator, ‘Call Me if You Get Lost’He’s still on the boat! Tyler has never sounded this breezy yet in control, but for all the luxurious braggadocio, there’s a darker undercurrent at work, too. “I remembered I was rich so I bought me some new emotions,” he raps at the beginning of the album; by the stunning penultimate track, the heart-tugging epic “Wilshire,” he’ll have to admit that’s impossible. Full of playful reflections on his past (“I was canceled before canceled was with Twitter fingers”) and auspicious blessings for his future, “Call Me” finds Tyler dropping a stone into that murky blue and discovering unexplored new depths. (Read our review of “Call Me if You Get Lost.”)3. Snail Mail, ‘Valentine’Lindsey Jordan begs, bargains and finally accepts the pain of heartache in this searing song cycle that further establishes her as one of indie rock’s brightest young stars. There’s a raw immediacy to these 10 songs that make them almost feel hot to the touch — the thrashing title track, the keening acoustic ballad “Light Blue,” even the slinky, synth-driven vamp “Ben Franklin.” Her nimble guitar work highlights a sharp ear for off-kilter melody, but at the core of “Valentine” is Jordan’s passionately hoarse voice, lungs filled to the brim with sound and fury. (Read our review of “Valentine.”)4. Jazmine Sullivan, ‘Heaux Tales’The chatty, candid interstitials woven through this wonderful album play out like an adult reunion of those young girls in the classroom from “The Miseducation of Lauryn Hill” — now grown women swapping secrets, recollections and hard-earned wisdom. “Heaux Tales” is a prismatic, multiperspective snapshot of female desire in the 21st century, enlivened by the testimonies of friends like Ari Lennox and H.E.R. but made cohesive by the soulfully versatile voice of Jazmine Sullivan. She breathes life into a spectrum of emotions, from the sassy assertion of “Pick Up Your Feelings” to the naked yearning of “The Other Side,” proving that it would be too limiting to choose between being a hard rock or a gem. Aren’t we all a little bit of both? (Read our review of “Heaux Tales.”)Jazmine Sullivan explores the multiple dimensions of female desire in the 21st century on “Heaux Tales.”NAACP, via Reuters5. Illuminati Hotties, ‘Let Me Do One More’The indie producer turned surprisingly ebullient frontperson Sarah Tudzin is a personable and occasionally hilarious guide through the surreal ruins of late capitalism. “You think I wanna be a part of every self-appointed start-up?” she seethes in a punky, cartoonish voice, but a few songs later she’s exhausted enough to sound resigned to inevitable compromise: “The corner store is selling spit, bottled up for profit,” she sighs, “can’t believe I’m buying it.” Still, Tudzin’s songs glow with the possibility of human intimacy amid all the rubble, and they show off her mastery of so many different genres that by the end of the record, it seems like there’s no ceiling to her talent as both a producer and a finger-on-the-pulse songwriter. (Read our interview with Illuminati Hotties.)6. Olivia Rodrigo, ‘Sour’Hell hath no fury like a young woman out to prove she’s no one-hit wonder. From the opening guitar-crunch of the Zoomer primal scream that is “Brutal,” Olivia Rodrigo proves there’s so much more to her than could be expressed even in a song as exquisitely expressive as her seismic smash “Drivers License.” Rodrigo fashions teen-girl sarcasm into a lethal weapon on the dream-pop “Deja Vu,” rails against the Instagram industrial complex on the barbed social critique “Jealousy, Jealousy” and transforms a sample of one of her idol Taylor Swift’s sweetest love songs into a tear-streaked heartbreaker on “1 Step Forward, 3 Steps Back.” If it feels comparatively weak on the back end, that’s only because the first half of this album is probably the most impressive six-song run anybody put together this year. (Read our review of “Sour” and watch her “Diary of a Song.”)7. The Weather Station, ‘Ignorance’How do you make music about climate change without it sounding too didactic and abstract? Tamara Lindeman, the Canadian musician who records as the Weather Station, came up with a winning solution on her stirring album “Ignorance,” which finds her singing elegiac love songs to a dying planet. The graceful melancholy of “Tried to Tell You” surveys the natural beauty we’ve been too numb to mourn, while the sparse, jazzy “Robber” is a kind of musical tone-poem about large-scale corporate destruction. With her nimble voice — sometimes high and fluttery, other times earthy and low — and evocative lyricism, the songs of “Ignorance” animate, as one of her bandmates puts it, “the emotional side of climate change,” employing music’s depth of feeling to ignite political consciousness. (Read our interview with the Weather Station.)Tamara Lindeman of the Weather Station finds artful ways to sing about the climate crisis.Angela Lewis for The New York Times8. Low, ‘Hey What’If only every band could sound this adventurous 30 years into existence. As their eerily heartfelt harmonies cut through with rhythmic blurts of electronic noise, Mimi Parker and Alan Sparhawk sound, quite literally, like ghosts in the machine, imbuing vast, steely soundscapes with a disarming beauty. Following the sonic reinvention of the stunning 2018 album “Double Negative,” the Duluth band have continued to frame human yearning amid a churning and apocalyptic backdrop, with career-best songs like “Disappearing” and “Days Like These” capturing both the difficulty and the necessity of finding light in a dark age.9. Lucy Dacus, ‘Home Video’Lucy Dacus’s wrenching third studio album is as much an achievement of memoir as it is of songwriting, a vividly conjured coming-of-age story so personal that she used her own teenage diaries for research. “In the summer of ’07, I was sure I’d go to heaven,” she sings on “VBS” (as in, Vacation Bible School), before a gradual and all-consuming doubt begins to creep in. By the final song, when a friend tells her she’s afraid that their desires have rendered them “cursed,” Dacus responds, “So what?” As thoughtfully crafted as a collection of short stories, “Home Video” achingly chronicles the tale of a young person who loses her religion but in the process gains autonomy, a sense of identity and the glorious strength to tell her own truths in song. (Read T magazine’s interview with Lucy Dacus.)10. Dry Cleaning, ‘New Long Leg’“Are there some kind of reverse platform shoes that make you go into the ground more?” the ever-droll Florence Shaw asks, one of many absurdist yet somehow relatable philosophical questions she poses on the English post-punk band Dry Cleaning’s singular debut album. The instrumentation around Shaw swells like a sudden squall, but her deadpan, spoken-word musings — a mixture of found text, overheard chitchat and offbeat poetry — are the eye of the storm, remaining steady and strangely unperturbed in all kinds of weather.11. Billie Eilish, ‘Happier Than Ever’No record grew on me more this year than Billie Eilish’s patient and personal sophomore effort, which shuns repeat-the-formula predictability and unfolds at its own unhurried pace. It’s somehow even quieter than her sumptuously ASMR-triggering debut, until those sudden moments when it isn’t — as on the corrosive conclusion to the Nine-Inch-Nails-like “NDA,” or the fireworks display of pent-up frustration that rips open the title track. Exquisitely sequenced, this is a rare pop album that doesn’t show all its cards right away, but instead saves its strongest material for the end, building toward a satisfying finale and a hint at the potential versatility of her future. (Read our review of “Happier Than Ever.”)Billie Eilish’s second album, “Happier Than Ever,” reveals itself at its own pace.Rich Fury/Getty Images12. Mdou Moctar, ‘Afrique Victime’The fluid and incandescent playing of the Tuareg guitar hero Mdou Moctar transcends borders, seamlessly fusing Western psychedelia with North African desert blues. “Afrique Victime,” his strongest and most focused record to date, showcases not only his quicksilver fingerwork but his innate gift for melody and songcraft, proving in every one of these nine blazing tracks that shredding is a universal language.13. Bitchin Bajas, ‘Switched on Ra’This shouldn’t work, or at least not nearly as well as it does: A drone synth outfit tackling the otherworldly compositions and complex harmonies of cosmic jazz pioneer Sun Ra? But Chicago’s Bitchin Bajas approach the task with equal parts reverence and playfulness, assembling an Arkestra of 19 different analog synths and in the process creating a prolonged musical meditation on time, space and the meaning of retrofuturism. The vibes are exquisite, and the whole thing sounds like the Muzak that would play in an intergalactic portal’s waiting room.14. Remi Wolf, ‘Juno’Here’s to anyone who takes a technically skilled voice and chooses to do something delectably weird with it. The Palo Alto native Remi Wolf’s pipes are strong enough to have propelled her to Hollywood on the 2014 season of “American Idol,” but she’s since carved out a much less conventional path, making bold, psychedelic pop that bursts at the seams with ideas, melodies and truly wild wordplay (“I love my family intrinsically, like Anthony Kiedis,” she sings, which — sure!). On “Juno,” one of the most promising debut albums of the year, Wolf throws everything she’s got at the wall — and a surprisingly high percentage of it actually sticks. (Read our interview with Remi Wolf.)Remi Wolf makes bold, psychedelic pop that bursts at the seams with ideas.Amy Sussman/Getty ImagesSome runners-up worth mentioning:L’Rain, “Fatigue”Rostam, “Changephobia”Flock of Dimes, “Head of Roses”Lana Del Rey, “Chemtrails Over the Country Club”/“Blue Banisters”Halsey, “If I Can’t Have Love, I Want Power”Palberta, “Palberta 5000”/Lily Konigsberg, “Lily We Need to Talk Now” More