#jazz-and-rb

#jazz-and-rb

"It's slow music, the lyrics transmit good feeling and it's moody," said frontman Gustavo Raya Garcia following the album's release on March 26.

I love reading about bands. I've read the AllMusic reviews of my favorite albums multiple times over. If my Apple Music selection has a writeup to go with, I'll read it. And I can read a good band book in a matter of hours. I'm not a professional nostalgia whore, but reading about these bands really does put me back in that time, and in that headspace. Like the music itself! I can't get enough of that particular high.

Oumy is a leading figure in contemporary Senegalese music. Her style, which blends hip-hop, African R&B and global pop, makes her one of the most exciting artists on the country's urban scene. Beyond her music career, she has also been involved in social projects within her community, participating in cultural festivals and campaigns related to the environment and equality.

Tharpe, a veteran of the gospel scene, has picked Knight out of a backing quartet the previous evening. Now she intends to teach her partner how to 'swing', to infuse Knight's religious repertoire with some nightclub rhythm and blues. Knight, the younger, more restrained church singer, is awestruck by Tharpe's musical adventurousness.

Celebrated by the BBC as one of the city's top 8 literary destinations, The Urbane Arts Club is more than just a venue-it's a vibrant hub for culture and creativity. Through an eclectic mix of literary launches, musical showcases, and theatrical performances, it fosters an environment rich in conversation and artistic expression.

R&B in the 21st century has been in a constant state of flux, tugged between safe traditionalism and blurry attempts at progression. For the last decade-plus that "progression" has seen R&B music become more indebted to trap records and the moody atmospherics of alternative bands like Radiohead, Coldplay, or My Bloody Valentine.

When Norman Sylvester was 12, long before he garnered the nickname "The Boogie Cat" or shared a stage with B.B. King, he boarded a train in Louisiana and headed west, toward the distant city of Portland, Oregon. He'd lived all his life in the rural South, eating wild muscadine grapes from his family's farm, fishing in the bayou and churning butter at the kitchen table to the tune of his grandmother's gospel singing.

Referring to Franklin as "music royalty," Lagasse welcomed the singer to his show for a birthday dinner of fried oysters with horseradish cream, tomato and sweet corn relish, grilled veal chops with herbed cheese, wild mushrooms in Bordelaise ​​sauce, and prosciutto-wrapped asparagus. Needless to say, Franklin was quite impressed with the beautiful meal, even asking Lagasse between bites, "Did I hear you were single?"

When Berry Gordy Jr. founded Motown Records in 1959, only a select few had any clue about the cavalcade of indelible sounds, life-changing songs, and beautiful faces that were about to become part of the American soundscape.

Maybe we ran into an old acquaintance at the supermarket and said "Let's catch up sometime" or told our friends we would "check out" the boring-sounding show they spent the past five minutes recommending? That's what country-music superstar Jelly Roll appeared to do after the Grammys last week when, in response to a question about the state of the country, he said he had "a lot to say"

Fujiwara's hustling brushes set up a churning guitar hook on the title track that sounds infectiously like a kind of highlife bebop, before Reid's superb pizzicato cello solo takes off with Halvorson comping the tune in the background. Her own seamlessly skimming improvisation is then followed by a spontaneous counter-melodic dance between the two of them.

The Grand Tasting is the best value. For $69 per person, guests may select three sample-sized entrees, and their choice of white or red wine (my server allowed me to swap out my drink for a nonalcoholic hibiscus lemonade). While servings are smaller than those offered a la carte, each portion is still quite hefty. The New Orleans gumbo yakamein ($39) suited the cold Chicago day I visited.

Flipping through the jazz section on a visit to his local record store a few years ago, artist Kye Potter found a battered tape by American pianist and composer Jessica Williams. It looked every bit the quintessential DIY release. The labels had come off the tape, he says. It was home-dubbed, with photocopied notes, a little bit of highlighter to accentuate the artwork, and released on her own label, Ear Art.

"Many found the music offensive, the dancing objectionable, and the popularity of both with young people verging on a mental health crisis." So writes music historian Susan C. Cook about ragtime, the heavily syncopated ancestor of jazz that arose in the late 1800s. Like all things, ragtime's subversiveness faded over time, and, a century later, the works of Scott Joplin and other practitioners had been relegated to carnivals and fairs, their jaunty piano melodies now evoking quaint notions of old-timey fun.

At the turn of the 1960s, when free jazz was making its initial seismic impact, multi-instrumentalist Phil Cohran-he later added the name Kelan-was living in Chicago and playing trumpet for Sun Ra's Arkestra. He contributed to crucial recordings by the band during his tenure, including We Travel the Space Ways, but Cohran was a restless autodidact who never stuck with any one project for long.

January is the month where music is moving underneath the surface, feeling out the venues, plotting and planning for those great days under the sun, at a festival. If you are a globe-trotting DJ or band, January is the month you're finishing up those FaceTime calls with managers and bookers, and plotting out which month you'll be on the road playing the Empty Bottle in Chicago, the Iron Horse in Northampton, MA, or the Continental Club in Austin, TX.

Even if you're just a casual jazz fan, you probably recognize "Take the A Train," Duke Ellington's swinging theme song. Or you've heard the melancholy ballad "Lush Life" sung by Nat King Cole, by Linda Ronstadt during her Great American Songbook era, or by Lady Gaga on the album she recorded with Tony Bennett. Both of those - and many other tunes - were written by a gay man, musician, composer, and arranger Billy Strayhorn.

In the midst of Grammy weekend, New Edition's L.A. tour stop at the Kia Forum on Saturday was a forceful statement on longevity and a reminder never to underestimate the power of R&B. Seeing all six members of the iconic vocal group on stage for a sold-out crowd more than four decades after their careers began reflects a group still fully present, with a visible love for the music they continue to perform.

They should have known right off the bat that they had something special, as the opening night had Dr. John, Stevie Wonder and Johnny Winter performing to the likes of Mick Jagger and Carly Simon in the audience. Over the years, the 400-person capacity club became the place to be to see one's favorite artist up close or catch an up-and-coming unknown.

The Recording Academy has announced that this Sunday's Grammy Awards will feature Ms. Lauryn Hill performing during the "In Memoriam" segment in honor of the late D'Angelo and Roberta Flack. Elsewhere, Post Malone, Slash, Duff McKagan, and Chad Smith will pay tribute to the late Ozzy Osbourne, and Reba McEntire will be joined by Brandy Clark and Lukas Nelson to honor "some of the musical icons" who passed away in the last year.

A trumpeter and composer of rare intuition and inspiration, Blanchard will perform Feb. 20 in Miami as part of the Arsht Center for the Performing Arts' acclaimed Jazz Roots series, returning to his iconic Malcolm X Jazz Suite with his band, The E-Collective, and two-time Grammy-winning Turtle Island Quartet. Created after he wrote the score for the 1992 Spike Lee biopic "Malcolm X," Blanchard has over the years updated and expanded the suite, performed here as part of the ongoing centennial celebration of the slain civil rights icon. Visit ArshtCenter.org.

The 2026 edition of NYC Winter Jazzfest wrapped up on Tuesday (1/12) with a special reimagining of Miles Davis' classic 1970 album Bitches Brew at Le Poisson Rouge, to celebrate Davis' centennial year. The evening, which was also dedicated to the late Bob Weir, began with a discussion of the album between Adam O'Farrill and Lenny White, who drummed on the original recording at age 19. He mentioned how Davis liked to cook, and directed White to be the "salt."