Zorn, John

Subterms

    Latest story

    88 Shares109 Views

    Tzadik’s Experimental Music Is Streaming. Start Here.

    by

    Listen to 15 streaming highlights from the vast catalog of Tzadik, the imprint founded by John Zorn.John Zorn started the Tzadik label with Kazunori Sugiyama in 1995. Since then, this imprint has amassed a vast catalog of experimental music from the worlds of classical, jazz, rock and beyond.It has also resisted the streaming economy — that is, until last week. As Zorn was celebrating his 70th birthday with concerts, most of Tzadik’s offerings began popping up on Spotify and other platforms.The range of offerings — from over 800 releases — is astonishing. To get an idea, start with these 15 albums.Electric Masada: ‘At the Mountains of Madness’The large-group setting here offers extraordinary, maximalist power in the Jewish folk themes that Zorn wrote for his first Masada Quartet. (Later, he presented them in new arrangements that reflected his interest in chamber music and metal.)Lee Hyla: ‘My Life on the Plains’Tzadik’s Composer Series line has spotlighted artists whose works deliver a synthesis of concert music and jazz or rock energies. In “Polish Folk Songs,” Hyla combines gorgeous string writing with percussive explosions and clarinet riffs.Shelley Hirsch: ‘The Far In, Far Out Worlds of Shelley Hirsch’Excerpts from radio dramas and live shows populate this multifaceted vocalist’s album. Even during a miniature like “So Tender,” Hirsch can create drama by deploying tensile torch-song vibrato, lip smooches and born-in-Brooklyn Jewish accents.John Zorn: ‘Myth And Mythopoeia’In one of Zorn’s most ravishing classical collections, boisterous items like “Hexentarot” elicit hot playing from select members of the JACK Quartet. “Missa Sine Voces” makes dreamy then abstract use of harp and vibes, and the soprano-and-strings “Pandora’s Box” packs plenty of drama into 14 minutes.Keiji Haino & Tatsuya Yoshida: “New Rap”In the late 1990s, Tzadik was the best-distributed source for Japanese experimental rock in America. This 2006 set from its “New Japan” series is among the most unhinged, and most sublime. Credit the relentless energy of Yoshida, the Ruins drummer, as well as Haino’s textured yelping and guitar playing.Julius Hemphill: ‘One Atmosphere’This saxophonist and bandleader was also active as a chamber music composer — one to whom the classical mainstream paid scant attention, but for whom Tzadik rolled out the red carpet. On the title track, spare material alternates with jolting motivic activity, with Hemphill’s partner, Ursula Oppens, at the piano.Annie Gosfield: ‘Almost Truths and Open Deceptions’This composer’s 2012 set reflects her vast talent: Percussion, piano and cello take their at-bats during “Wild Pitch”; a sampling keyboard and Roger Kleier’s electric guitar power an excerpt from “Daughters of the Industrial Revolution”; “Phantom Shakedown” offers Cagean meditation; and the title work is a thrilling cello concerto.John Zorn: ‘Godard/Spillane’Zorn’s famed “file card” pieces advertised a quick-cutting, cinematic experience for the ears. “Godard,” a mid-1980s entry, was reissued by Tzadik in 1999. And it does evoke the French New Wave works of Jean-Luc Godard, particularly “Alphaville.” It also offers a look at a distinguished Zorn collaborator, the turntablist Christian Marclay.George E. Lewis: ‘Endless Shout’This release presents a wide-angle Lewis portrait. “North Star Boogaloo” is a kinetic work for samples and the solo percussionist Steven Schick. “Smashing Clusters” reinterprets the legacy of Harlem stride piano legends. And in “Voyager” Lewis plays trombone against orchestral backing realized by his improvising software program of the same name.Craig Taborn and Ikue Mori: ‘Highsmith’Mori’s solo-electronics sets have been important to Tzadik, but her skill as a collaborator is just as crucial. Here, she teams up with Craig Taborn, a jazz-world star, for a set of improvisations that cavort and splinter with indefatigable invention.Naked City: ‘Naked City Live Vol. 1: Knitting Factory 1989’This concert date doesn’t benefit from the wild contributions of the ensemble’s regular vocalist Yamataka Eye. Even so, Zorn’s early rock group — capable of delivering grindcore in one minute and the “Batman” TV theme the next — puts on quite the show.Wadada Leo Smith: ‘Golden Quartet’Tzadik championed Smith, reissuing his early albums and putting out new sets. There’s a great band on this one, with the composer on trumpet, Jack DeJohnette on drums and Malachi Favors Magoustous on bass, as well as Anthony Davis on piano.Derek Bailey: ‘Ballads’Bailey, a giant of the free-improvisation scene, enjoyed a fine late-career run on Tzadik, including this at-first-glance quizzical approach to jazz’s core songbook. But the precise use of extended techniques lends an idiosyncratic grace to the chords that you can barely glimpse when Bailey plays “Stella by Starlight.”Alvin Singleton: ‘Somehow We Can’This American artist was recently celebrated at the Darmstadt Summer Course in Germany. Yet he rarely receives the kind of attention he deserves at home. On Tzadik, he does: Here, there is variety, including a duo for Wadada Leo Smith and Anthony Davis, as well as the chamber orchestral highlight “Again.”John Zorn: ‘Spinoza’Simulacrum is one of Zorn’s best groups: a fine-tuned metal band and a smoking jazz-organ trio. Typically, he doesn’t play with the ensemble, but on this 2022 set, he pulls out his sax for the second suite. Both of the album’s long tracks are protean in style, yet unmistakably driven. Very Tzadik. More

    More stories

    • 138 Shares99 Views

      in Music

      Capturing John Zorn at 70: One Concert Is Just a Start

      by

      The Miller Theater at Columbia University began a series of programs to celebrate this restless and eclectic musician’s milestone year.John Zorn may have turned 70 this month, but he looks younger.He sounds younger, too — energetic and irrepressible. Recent recordings of Zorn’s music, issued on his Tzadik label, include the swinging, mystic patterns of “Homenaje a Remedios Varo” and the brightly, largely consonant chamber guitar writing of “Nothing Is as Real as Nothing.” The coming “Parrhesiastes” showcases his trademark ferocity.Zorn has been taking his stylistically varied live performances on the road to celebrate this birthday. His packed calendar includes a recent multiday festival in San Francisco, a daylong marathon at the Walker Art Center in Minneapolis and appearances at Roulette in Brooklyn.On Thursday, the Miller Theater at Columbia University took its turn, with the first in a series of “composer portrait” concerts that continue into November. Throughout the evening, this most hyperactive of American composers could be seen bounding with ease between the stage and his seat in the audience.With a ringleader’s zeal, Zorn introduced different groupings of musicians. During the changes between pieces, he leaped up onstage to describe his childhood interest in, say, the Dada writer Tristan Tzara, whose theatrical work “The Gas Heart” provided inspiration for Zorn’s mini-opera of the same name, performed on Thursday.Befitting his reputation, the pacing of motivic events inside that work and others tended to be fast and furious. Yet each piece also communicated joy — and a certain fellowship among the interpreters who had spent time together mastering Zorn’s rigorous, change-on-a-dime aesthetic.Here, the music featured the barreling riffs familiar from a lot of his chamber works, jazz tunes and extreme rock. But I came away from the Miller show dazzled by way in which a supple new approach to beauty has established itself in the past decade or two of his output. (Something similar has been going on with Zorn’s saxophone playing — not least in his New Masada Quartet, which has held crowds rapt at the Village Vanguard and Roulette in recent seasons.)Thursday’s concert began with a two-trumpet fanfare, “Circe” (2019), rendered with panache by Peter Evans and Sam Jones. The shortest piece on the program at a mere three minutes, it was also the most consistently hardcore. Yet its aggressive motifs were precisely coordinated — and given the independence to roam, even amid the overall feel of maelstrom. In between piercing trills, you could perceive and appreciate the way units of melody passed between the players.From left, the violinists Christopher Otto and David Fulmer, the cellists Jay Campbell and Michael Nicolas, and the violist John Pickford Richards, who formed a quintet for Zorn’s “Sigil Magick.”Rob Davidson for Miller Theatre at Columbia UniversityThe three other pieces on the program, all from 2020, focused on Zorn’s writing for strings. Each involved one or more members of the JACK Quartet. (Austin Wulliman, a violinist with the group, was not available, but David Fulmer substituted with aplomb.) And there were other guests, including the cellist Michael Nicolas in the string quintet “Sigil Magick.”In that work, listeners were offered short, droning chords, as well as polyphonic ensemble passages of whipsawing extended technique. But players within the quintet also diverged to present deliriously contrasting material: At one such juncture, while two parts held down a static pattern with a parched, brittle approach to sound production, the violinist Christopher Otto launched into sumptuously singing parlando.At the end of the concert, the violist Yura Lee joined the JACK players and Nicolas to create a sextet for — deep breath — “Prolegomena to Any Future Metaphysics That Will Be Able to Present Itself as a Science.” At over 20 packed minutes, this struck me as one of the loveliest and most widely ranging chamber music pieces in Zorn’s considerable catalog.In addition to moments of chromatic density, the work welcomed gently strummed early music melody into its soundscape. At another point, both cellists bowed doleful yet gorgeous patterns near the top of the necks of their instruments, close to the tuning pegs, collaborating on a slightly sour intonation that seemed in line with medieval tunings. Given this range, “Prolegomena” shares something with recent Zorn string quartets, like “The Alchemist,” which JACK has recorded with his other quartets (for a planned release on Tzadik in 2024).In between the quintet and sextet came Zorn’s adaptation of “The Gas Heart.” This was Zorn in absurdist-opera mode. Here, the JACK cellist Jay Campbell and Nichols joined two percussionists — Sae Hashimoto and Ches Smith — to form the cast. Smith provided expertly swinging rhythms at a traditional kit, but also slurped water and appeared to be operating a device that played back giddy laughter; when not playing vibraphone or other pitched percussion, Hashimoto could be seen torturing a pillow with a long whip or sawing a wooden board.The cello music — often smartly, subtly amplified — was sometimes grim and gravely, and produced by bowing below the bridge. But there were also delicate moments for the strings, often positioned in contrast to some of the wildness of the percussionists. This was all funny, as intended. Every bar, though, seemed as carefully deliberate as in the more obviously “profound” string music of “Prolegomena.”And here may be a secret of Zorn’s longevity: A piece may tend comic or grave, but every moment is intensely felt.Earlier on Thursday, rumors had swirled online about the possible arrival of the Tzadik catalog on streaming services. On Friday, Zorn’s distributor, Redeye, confirmed that the move would happen, next week. This is big news, given how long Zorn has held out against streaming — and given the amount of care he takes in designing his physical releases.However you access it — on recordings or in person — Zorn’s recent catalog is worth seeking out. This fall, the Miller will host Zorn and his New Masada Quartet, on a bill with one of his great metal groups, Simulacrum. Then comes a program of his music with the star soprano Barbara Hannigan.The implicit message: One night is probably insufficient in encapsulating this artist’s range. But it could, as on Thursday, provide a riotously good start. More

    • 138 Shares179 Views

      in Music

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

      by

      Buzzy debuts (Chappell Roan, Evian Christ) and anticipated follow-ups (Jorja Smith, yeule) are due this season.After a summer dominated by blockbuster tours by Taylor Swift and Beyoncé, this fall the music business gets back to the business of releasing albums. Longstanding acts are returning with new LPs (Dolly Parton, Wilco, Usher), and long-awaited follow-ups are arriving, too (the Streets, Sampha, Nicki Minaj). Dates and lineups are subject to change.SeptemberSAM RIVERS CENTENNIAL Amid the hardscrabble realities of 1970s New York, Studio Rivbea was a crucial crack in the pavement where creative life flourished. A downtown loft run by the esteemed saxophonist Sam Rivers and his wife, Beatrice, Rivbea — and its resident big band — gave musicians young and old a space to rehearse and perform on their own terms. Craig Harris, Joseph Daly and Steve Coleman all spent formative time there in the ’70s, and they’ve come together to organize a big-band performance in recognition of Rivers, who would have turned 100 this month. (Sep. 22; Mt. Morris Ascension Presbyterian Church) — Giovanni RussonelloSOUL REBELS One of New Orleans’s best-known exports, the Soul Rebels carry forward the classic brass-band tradition by infusing it with plenty of modern-day flavor across the spectrum of Black American music. Their upcoming four-night stand at the Blue Note includes guest appearances from the golden-age rap eminences Rakim and Big Daddy Kane (Sept. 21); Ja Rule (Sept. 22); G-Eazy (Sept. 23); and a potpourri of contemporary-jazz heavyweights, including James Carter and Elena Pinderhughes (Sept. 24). — RussonelloKYLIE MINOGUE For decades, Kylie Minogue has been making dance floor manna that pingpongs between curiosity and undeniability, This year, she released one of her best — “Padam Padam,” a gay nightclub anthem that spawned slang and memes and, over time, a pop crossover. Minogue’s new album, on its heels, is “Tension.” A Las Vegas residency will follow, starting in November. (Sept. 22; BMG) — Jon CaramanicaKylie Minogue got a boost from another club anthem this year, “Padam Padam.”Don Arnold/Getty ImagesCHAPPELL ROAN Over the past year, the pop singer Chappell Roan has been releasing a string of theatrically intimate singles that touch on relationship awkwardness with uncommon candor. The music on her debut album, “The Rise and Fall of a Midwest Princess” — which touches on wobbly ’80s new wave and ’90s singer-songwriter pop-rock and ’00s dance-pop — suggests a singer less beholden to style than to ensuring she says the exact thing she needs to say. (Sept. 22; Amusement/Island) — CaramanicaYEULE The songwriter, singer and producer yeule embraces extremes on “Softscars,” the follow-up to “Glitch Princess,” from 2022. Nothing is predictable on an album that holds guitar ballads, a piano waltz, bristling rock guitar riffs, gleaming electronics, hyperpop tweaks and bluntly distorted beats. The songs consider pain, love, technology and carnality, the experience of a 21st-century life that’s simultaneously physical and virtual. (Sept. 22; Ninja Tune) — Jon ParelesJOHN ZORN’S NEW MASADA QUARTET Opportunities are few to hear the saxophonist, composer and downtown jazz doyen John Zorn simply throwing down, in the company of improvisers that elevate him. That’s what happens when he gets together with the New Masada Quartet, which plays music from Zorn’s 613-piece “Masada” songbook (composed based on aspects of Jewish folklore and theology) and features the guitarist Julian Lage, the bassist Jorge Roeder and the drummer Kenny Wollesen. (Sept. 26 through Oct. 1; The Village Vanguard) — RussonelloCHERRY GLAZERR On the bluntly titled new album “I Don’t Want You Anymore,” Clementine Creevy, who leads the indie-rock band Cherry Glazerr, wrestles with a clearly toxic relationship. As the songs go style-hopping — explosive grunge, chugging synth-pop, hints of funk and jazz — the obsession persists. (Sept. 29; Secretly Canadian) — ParelesDARIUS JONES The avant-gardist Darius Jones has such a distinctive sound on the alto saxophone — widely dilated, yet so rough it could peel paint — he could make a living off his tone alone. But he also has a fiercely innovative streak as a composer. Now he returns with a wide-ranging new album showing off both sides of his talent, “Fluxkit Vancouver (Its Suite but Sacred),” with a string section in prickly repartee with Jones and the commanding drummer Gerald Cleaver. (Sept. 29; Northern Spy/We Jazz) — RussonelloONEOHTRIX POINT NEVER Daniel Lopatin has built a two-lane career: as a producer creating cavernous backdrops for hitmakers like the Weeknd, and recording on his own as Oneohtrix Point Never, exploring changeable, ambiguous soundscapes. His new Oneohtrix Point Never album, “Again,” is largely instrumental, incorporating orchestral arrangements, glitchy electronics, stray vocal samples, artificial intelligence and countless other elements that are subject to change at whim in dynamic, inscrutable tracks. Lopatin has described the music as “crescendo-core.” (Sept. 29; Warp) — ParelesJORJA SMITH “Falling or Flying” is only the second studio album by the English songwriter Jorja Smith, but she has been prolific as a collaborator with Kali Uchis, Burna Boy, Drake, FKA twigs and others. She’s fond of minor chords and lean, moody grooves that hint at soul, jazz and Nigerian Afrobeats; they suit her aching but supple voice, as it projects both sympathy and resilience. (Sept. 29; Famm) — ParelesJorja Smith has become a frequent collaborator in the gap between albums. Her second LP arrives in late September.Alex Pantling/Getty ImagesWILCO To make its 13th studio album, “Cousin,” Wilco brought in an outside producer for the first time since 2007: the Welsh songwriter Cate Le Bon, who opens folk-rock into electronica. She encouraged Wilco to extend the sonic experimentation it opened up on its 2002 album “Yankee Hotel Foxtrot.” As Jeff Tweedy sings about desolation, loss and obstinate hope, the music carries roots-rock into disorienting and illuminating territories but still sounds handmade. (Sept. 29; dBpm) — ParelesOctoberUSHER Some of the most viral performance clips of this past summer have belonged not to Taylor Swift or Beyoncé, but to Usher, whose Las Vegas residency has been a celebrity magnet and also a showcase for grown-folks-business R&B. His new music continues to delve into the sticky-situation soul that helped make him a superstar two decades ago. (October; mega/gamma.) — CaramanicaBUTCHER BROWN A spirit of generous communion runs through “Solar Music,” the latest album from the Richmond-based hip-hop-jazz fusion quintet Butcher Brown. The album features guest appearances by the saxophonist Braxton Cook, the M.C.’s Pink Siifu and Nappy Nina and the trumpeter Keyon Harrold, among others. Butcher Brown will toast “Solar Music” at a concert Oct. 18 at Le Poisson Rouge. (Oct. 6; Concord Jazz) — RussonelloSLAUSON MALONE 1 Slauson Malone 1 is the updated name for the recording project of Jasper Marsalis, a musician and artist who plays with myriad genres and styles, denaturing them well beyond their familiar contours. His new album, “Excelsior,” is deeply ambitious, engaging and full of winning eccentricities. (Oct. 6; Warp) — CaramanicaSUFJAN STEVENS Love — physical, divine, longed-for, embattled, cherished — is the subject on Sufjan Stevens’ new album, “Javelin.” Its songs usually start out folky, but they rarely stay that way; they expand and billow. Working alone at his home studio, Stevens orchestrated them all by himself, playing nearly every instrument. (Oct. 6; Asthmatic Kitty) — Pareles“BOSSA NOVA: THE GREATEST NIGHT” The United States was formally introduced to Brazil’s bossa nova, or “new style”— suave, understated, sophisticated — with a concert at Carnegie Hall on Nov. 21, 1962 that included Antonio Carlos Jobim, João Gilberto, Sergio Mendes, Luis Bonfá and others. It’s nearly a year late for a 60th anniversary, but a concert will bring together Brazilian stars including Seu Jorge and Carlinhos Brown along with Daniel Jobim — Antonio’s grandson — to revisit the now-classic bossa nova repertory. (Oct. 8; Carnegie Hall.) — ParelesROY HARGROVE By the time he died in 2018, at 49, Roy Hargrove had become the most impactful trumpeter of his generation. Back in 1993, he was still the new kid on the block when Jazz at Lincoln Center commissioned him to write and perform “Love Suite in Mahogany,” with a septet. That performance is being released on record for the first time and a series of shows at Dizzy’s Club will mark its release: The drummer Willie Jones III and the bassist Gerald Cannon will colead a sextet featuring alumni of Hargrove’s bands Oct. 11-13, and the Roy Hargrove Big Band will appear Oct. 14-16. (Oct. 13; Blue Engine) — RussonelloL’RAIN The songwriter Taja Cheek, who records as L’Rain, dissolves genre boundaries and explores mixed emotions on her third album, “I Killed Your Dog.” The songs are lush and immersive, layered with instrumental patterns and vocal harmonies; they’re also cryptic and open-ended, to be deciphered through repeated listening. (Oct. 13; Mexican Summer) — ParelesOFFSET Offset is the second Migos member to release a solo album in the wake of the killing of Takeoff, the group’s third member and creative heart. The first single from “Set It Off” is “Jealousy,” a collaboration with his wife, Cardi B, that suggests that the couple is willing to play their relationship and fame for laughs, and art. (Oct. 13; Motown) — CaramanicaOffset will release his first album since the death of Migos’s Takeoff in October.Chris Pizzello/Invision, via Associated PressTROYE SIVAN It’s been five years since Troye Sivan has released an album. His re-emergence in recent months, however, suggests the time away has been emboldening. As an actor, he was one of the standouts on “The Idol,” the besieged HBO drama about the music business, and “Rush,” the lead single from “Something to Give Each Other,” his third album, is a remarkably confident assertion of carnal interest. (Oct. 13; Capitol) — CaramanicaJIHYE LEE ORCHESTRA The composer and bandleader Jihye Lee is becoming well-known for her fluid integration of Western classical and big-band jazz techniques, and for arrangements in which heavily loaded horn parts move with apparent ease. At a Brooklyn show, her 18-piece orchestra will debut “Infinite Connections,” a suite-length meditation on the bond Lee shares with her mother and grandmother. (Oct. 15; National Sawdust) — RussonelloJ.D. ALLEN A tenor saxophonist known for the hefty swing and raw intellect of his improvising, and the back-to-basics approach of his jazz trios, J.D. Allen has never before made an album featuring electronics. That will change this fall, when he releases “This,” with Alex Bonney’s dark and enveloping atmospherics wreathed around Allen’s high-velocity horn playing and the thundering drums of Gwilym Jones. (Oct. 20; Savant) — RussonelloEVIAN CHRIST A long-awaited debut album is finally arriving from the electronic music producer Evian Christ, who has been releasing shiver-inducing music for over a decade. The songs on “Revanchist” are chaotic and blissful, tactile and expansive — all in all, a physical experience as much as an aural one. (Oct. 20; Warp) — CaramanicaSAMPHA In the seven years between his own albums, the English songwriter Sampha has lent his richly melancholy voice to tracks by Kendrick Lamar, Drake, Frank Ocean and Alicia Keys. “Lahai” — named after his grandfather, who was from Sierra Leone — is an exploratory, ambitious album that contemplates time, love and transcendence with otherworldly electronics and thoughtful melodies. (Oct. 20; Young) — ParelesAfter a seven-year gap, Sampha will release “Lahai” in October.Alberto Pezzali/Invision, via Associated PressTHE STREETS British rap’s great literalist, the Streets (Mike Skinner) returns with “The Darker the Shadow the Brighter the Light,” a new album that nods to various stripes of U.K. club culture while adhering firm to Skinner’s keen-eyed storytelling. In conjunction with the album, the Streets will also release a clubland-themed murder mystery film of the same name. (Oct. 20; 679 Recordings/Warner Music UK Ltd) — CaramanicaTHE MOUNTAIN GOATS “All Hail West Texas,” a sparsely arranged but lyrically vivid 2002 album released when the Mountain Goats was still a moniker for the solo music of John Darnielle, remains one of the most beloved entries in the group’s vast discography. Now the band — featuring the bassist Peter Hughes, the drummer Jon Wurster and the multi-instrumentalist Matt Douglas — will release a sequel, “Jenny From Thebes,” updating the fates of its characters and fleshing out its sound. (Oct. 27; Merge) — Lindsay ZoladzMIKE REED “The Separatist Party,” the forthcoming album from the drummer, composer and Chicago jazz instigator Mike Reed, is Part 1 of a forthcoming three-album cycle meditating on solitude, loneliness and the elusiveness of community (surprisingly, he was already working on this project before pandemic lockdowns). The irony, though, is how much fun he seems to be having in the company of the multi-instrumentalist Ben LaMar Gay, the poet Marvin Tate and the three members of Bitchin Bajas, his compatriots on this LP, who surge through grimy post-rock or drift into ethereal, odd-metered, electrified airspaces with whiffs of Ethio-jazz. (Oct. 27; Astral Spirits/We Jazz) — RussonelloDOJA CAT: THE SCARLET TOUR Though she’s wowed audiences with ambitious awards show performances, the rambunctious rapper and pop star Doja Cat has not yet embarked upon an arena tour. (Tonsil surgery forced her to pull out of a slot opening for the Weeknd last year.) The Scarlet Tour — which begins at San Francisco’s Chase Center on Oct. 31 and makes stops at Brooklyn’s Barclays Center on Nov. 29 and Newark’s Prudential Center on Nov. 30 — will give her a chance to command her largest stages yet and showcase music from her latest album, “Scarlet,” due Sept. 22. The rising rapper Doechii and of-the-moment it-girl Ice Spice will open. (Oct. 31 through Dec. 13) — ZoladzNovemberCAT POWER Last November, Cat Power (the stage name of the smoky-voiced crooner Chan Marshall) played a song-for-song reimagining of her hero Bob Dylan’s May 1966 Manchester concert — the one at which an audience member, disgruntled by Dylan’s departure from acoustic folk, infamously yelled out “Judas!” Now it is arriving as an album titled “Cat Power Sings Dylan: The 1966 Royal Albert Hall Concert.” Marshall, a gifted interpreter of other musicians’ material, structured the set to be half acoustic and half electric, just like Dylan’s; a muted “She Belongs to Me” contrasts with a rollicking, full-band “Ballad of a Thin Man.” (November; Domino) — ZoladzChan Marshall (a.k.a. Cat Power) will release her live concert covering Bob Dylan.Alberto Pezzali/Invision, via Alberto Pezzali, via Invision, via Associated PressCODY JOHNSON “The Painter,” the new song from Cody Johnson, one of mainstream country’s sturdiest performers, extends his streak of music that’s deeply earnest, unflashily produced, and a blend of emotionally stoic and trembling. It’s the lead single from “Leather,” his third studio album on a major label after a long and robust independent career. (Nov. 3; COJO Music/Warner Music Nashville) — CaramanicaMYRA MELFORD’S FIRE & WATER QUINTET The pianist and composer Myra Melford’s five-piece band of all-star creative improvisers is aptly named: There is something volatile and elemental about the music she makes with Ingrid Laubrock, the saxophonist; Mary Halvorson, the guitarist; Tomeka Reid, the cellist; and Lesley Mok, the percussionist. On “Hear the Light Singing,” the group’s second LP, Halvorson’s effects-laden guitar comes in splashes and jolts, and Reid’s cello moves in hurrying steps or generous waves. (Nov. 3; RogueArt) — RussonelloLIZ PHAIR: ‘EXILE IN GUYVILLE’ 30th ANNIVERSARY TOUR Liz Phair’s 1993 debut “Exile in Guyville” captured young adulthood in a wry, vivid voice and brought a refreshing female perspective to indie rock’s boys club. Thirty years later, it continues to inspire younger musicians, including Kate Bollinger and Sabrina Teitelbaum (who records searingly honest music under the name Blondshell), both openers for Phair when she plays “Guyville” in its glorious entirety on an anniversary tour. The show comes to Brooklyn’s Kings Theater on Nov. 24. (Nov. 3 through Dec. 9) — ZoladzCAMP FLOG GNAW CARNIVAL The annual festival helmed by Tyler, the Creator continues to be one of the most innovatively programmed, in any genre. He is a headliner this year, along with SZA and the Hillbillies (Kendrick Lamar and Baby Keem). The deep lineup includes the corridos tumbados stars Fuerza Regida, various generations of dream-pop from Willow, Toro y Moi and d4vd, accessibly tough rapping from Clipse and Ice Spice and much more. (Nov. 11-12; Dodger Stadium Grounds in Los Angeles) — CaramanicaNICKI MINAJ Reportedly, when Lil Uzi Vert was planning the release of his most recent album, “Pink Tape,” Nicki Minaj reached out to him to ask, in essence, how he could release a pink-themed album and not include her. (He obliged.) Now, Minaj returns with “Pink Friday 2,” her own album, on the heels of a pair of collaborations with Ice Spice, “Princess Diana” and “Barbie World,” that have given her new spark. (Nov. 17; Republic) — CaramanicaDOLLY PARTON Last year, when she was nominated for induction in the Rock & Roll Hall of Fame, Dolly Parton initially declined because she did not consider herself a rock artist. (She was eventually inducted anyway.) “This has, however, inspired me to put out a hopefully great rock ’n’ roll album at some point in the future,” she said in a statement. That future has now arrived: Dolly Parton’s “Rockstar” is a sprawling, star-studded 30-track album that features originals (the stomping “World on Fire”), covers of rock classics (“Stairway to Heaven,” “Let It Be”), and an impressive list of guests that include Paul McCartney, Ringo Starr, Debbie Harry and more. (Nov. 17; Butterfly Records/Big Machine Records) — Zoladz More