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    Al Foster, Master of the Jazz Drums, Is Dead at 82

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    He was probably best known for his long tenure with Miles Davis, who praised his ability to “keep the groove going forever.”Al Foster, a drummer who worked with some of the most illustrious names in jazz across a career spanning more than six decades, leaving his distinctive stamp on important recordings by Miles Davis, Sonny Rollins, Joe Henderson and many others, died on Wednesday at his apartment in Manhattan. He was 82.His daughter Kierra Foster-Ba announced the death on social media but did not specify a cause.Mr. Foster came up emulating great bebop percussionists like Max Roach, but his most high-profile early gig came with Mr. Davis, who hired him in 1972, when he was refining an aggressive, funk-informed sound. Mr. Foster’s springy backbeats firmly anchored the band’s sprawling psychedelic jams.In “Miles: The Autobiography,” written with Quincy Troupe and published in 1989, Mr. Davis praised Mr. Foster’s ability to “keep the groove going forever.”Mr. Foster also excelled in a more conventional jazz mode, lending an alert, conversational swing to bands led by the saxophonists Mr. Henderson and Mr. Rollins and the pianists Herbie Hancock, McCoy Tyner and Tommy Flanagan.“What he was doing was reminiscent of some of the great drummers of our period,” Mr. Rollins said of Mr. Foster in a phone interview, citing foundational figures like Art Blakey and Max Roach. “He always had that feeling about him, those great feelings of those people. And that’s why I could never be disappointed playing with Al Foster. He was always playing something which I related to.”Mr. Foster often framed his long career as a fulfillment of his early ambitions.“I’ve been so blessed because I’ve played with everybody I fell in love with when I was a young teenager,” he told the website of Jazz Forum, a club in Tarrytown, N.Y.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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      Jazz at Lincoln Center’s New Season Highlights Ties to Africa

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      From July through June 2026, the new season will showcase works by John Coltrane, the South African pianist Abdullah Ibrahim and more.Jazz at Lincoln Center’s 38th season will celebrate jazz, Africa and the African diaspora with programs that pay tribute to genre greats like John Coltrane and Miles Davis, while others will spotlight vocalists, pianists and other trumpeters. It will also include a tour of Africa by the Jazz at Lincoln Center Orchestra.The new season opens on July 24 with a preview concert,, “Reflections on Africa,” in the Rose Theater. The program, with the Jazz at Lincoln Center Orchestra and Vincent Gardner as the musical director, offers compositions reflecting the effect of African consciousness on music composed by jazz artists including Coltrane, Randy Weston, Jackie McLean and Horace Parlan.The season continues on Sept. 18 with “Afro!,” a new composition by Wynton Marsalis, the managing and artistic director of Jazz at Lincoln Center, which illuminates his meditations on the African continent. It will also feature the vocalist Shenel Johns, the djembe player Weedie Braimah and the drummer Herlin Riley.On Oct. 3-4, Jazz at Lincoln Center will present a 91st birthday retrospective of the 75-year-long career of the Capetown-born pianist and composer Abdullah Ibrahim. (He was known as Dollar Brand when Duke Ellington first heard his trio in 1963 and sponsored his first recording.)On Oct. 24 and Oct. 25, the Orchestra will feature another South African pianist, Nduduzo Makhathini, including a debut of new work that he has composed.Works by Ellington take center stage Jan. 15-17, 2026, with “Duke in Africa.” The music directors for that program will be Chris Lewis and Alexa Tarantino, two of the Orchestra’s newest members.On Feb. 13 and on Valentine’s Day, Dianne Reeves will explore the universal theme of love as she shares songs that highlight rapture, anguish, romance and heartbreak.The Orchestra will feature works by Davis from May 14-16, 2026, in “Sketches of Miles: Miles Davis at 100.” Later that month (May 29-30, 2026), Jazzmeia Horn, the winner of the 2015 Thelonious Monk Institute of Jazz International Vocals Competition, will present a program showcasing her vocal range and improvisation, with the Her Noble Force big band.Etienne Charles, the Trinidad-born trumpeter and composer, will take on Anglophone Afro-Caribbean traditions in “Folklore LIVE Vol. 2” from June 5-6, 2026, in the Appel Room. Later that month, June 12-13, 2026, the Orchestra with Marsalis will also explore the African roots that help make up the genres of Brazil, with “Soul of Brazil,” featuring Hamilton de Holanda and the music of Moacir Santos, in the Rose Theater.The full season is online at jazz.org/25-26. More

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      Jazzed About Abstraction: Jack Whitten’s Show Is a Peak MoMA Moment

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      “I’m a product of American Apartheid,” the artist Jack Whitten wrote, a blunt fact that led him to project, in his art, a very different reality, one of “infinite diversity in infinite combinations.” It was a vision that propelled and buoyed him through a nearly six-decade career. “This is why I get up in the morning,” he wrote, “and go to work!”And how very lucky we are, at a moment when references to diversity and difference are being scrubbed from accounts of our national history, to have a refreshing tidal wave of a Whitten career retrospective sweeping and scintillating through the special exhibition galleries on the Museum of Modern Art’s sixth floor.Titled “Jack Whitten: The Messenger,” the show encompasses some 180 paintings, sculptures and works on paper, from a 1963 art-school collage to a final painting from just before he died in 2018. Over that span Whitten called every studio he worked in a “laboratory,” and every piece of art he made an “experiment.” And, indeed, much of what’s in the show challenges ready definition.Whitten at his studio in 1974 with a large rake-like tool that he had made to apply a wide layer of paint to a horizontal canvas.Paul Viani, via The Museum of Modern Art, New YorkSuch is the case with a piece called “The Messenger (for Art Blakey)” installed just outside the first gallery. From a distance it could be a photograph of a star-drenched night sky, or of clouds of foam on a dark sea. Or it could a painting with white paint glopped and dripped, Abstract Expressionist-style, on a black ground. Get close and you find that, in fact, it’s a large rough-textured mosaic pieced together from thousands of pixel-like cubes of dried paint.You consult the title for meaning: Art Blakey, Black drummer extraordinaire, leader in the 1950s of the hardbop group called the Jazz Messengers. Suddenly the glops and drips look sonic, like musical bursts and pings.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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      Roy Ayers, Vibraphonist Who Injected Soul Into Jazz, Dies at 84

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      He helped introduce a funkier strain of the music in the 1970s. He also had an impact on hip-hop: His “Everybody Loves the Sunshine” has been sampled nearly 200 times.Roy Ayers, a vibraphonist who in the 1970s helped pioneer a new, funkier strain of jazz, becoming a touchstone for many artists who followed and one of the most sampled musicians by hip-hop artists, died on Tuesday in New York City. He was 84.His death was announced on his Facebook page. The announcement said he died after a long illness but did not specify a cause or say where in New York he died.In addition to being one of the acknowledged masters of the jazz vibraphone, Mr. Ayers was a leader in the movement that added electric instruments, rock and R&B rhythms, and a more soulful feel to jazz. He was also one of the more commercially successful jazz musicians of his generation.He released nearly four dozen albums, most notably 22 during his 12 years with Polydor Records. Twelve of his Polydor albums spent a collective 149 weeks on the Billboard Top 200 chart. His composition “Everybody Loves the Sunshine,” from a 1976 album of the same name, has been sampled nearly 200 times by artists including Tupac Shakur, Dr. Dre, Mary J. Blige and Snoop Dogg. The electric piano hook from “Love,” on his first Polydor album, “Ubiquity” — which introduced his group of the same name — was used in Deee-Lite’s 1990 dance hit “Groove Is in the Heart.”“Roy Ayers is largely responsible for what we deem as ‘neo-soul,’” the producer Adrian Younge, who collaborated with Mr. Ayers and Ali Shaheed Muhammad of the hip-hop group A Tribe Called Quest in 2020 on the second album in the “Jazz Is Dead” series, which showcases frequently sampled jazz musicians, told Clash magazine. “His sound mixed with cosmic soul-jazz is really what created artists like Erykah Badu and Jill Scott. It was just that groove.“That’s not to say people around then weren’t making music with a groove,” he added, “but he is definitely a pioneer.”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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      Harlem House Where Billie Holiday Lived Is Damaged in Fire

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      The jazz legend lived in the five-story building on West 139th Street as a teenager with her mother.A four-alarm fire on Wednesday evening severely damaged a building in Harlem where the jazz legend Billie Holiday once lived.The Fire Department said it received the call at about 9 p.m. and extinguished the fire, which spread through all five floors of the building, shortly before 1 a.m. on Thursday morning. No civilians were injured, though four firefighters sustained minor injuries. The cause of the fire is under investigation.“Due to the structural stability of this building, as it was vacant for many years and the amount of fire, we had to pull our members out of the building and go to an exterior fire attack,” Kevin Woods, the Fire Department’s chief of operations, said in a news conference.A portrait of Billie Holiday at Carnegie Hall in 1946.Heritage Images, via Getty ImagesThe building is owned by the city’s Department of Housing Preservation and Development, which is responsible for maintaining the quality and affordability of housing, among other duties.“Even before the fire, HPD had been actively working with our partners to plan the complete rehabilitation of this building through our preservation programs, relocating tenants to safer housing as part of that process,” Natasha Kersey, a spokeswoman for the Department of Housing Preservation and Development, said in an emailed statement to The Times.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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      Dan Morgenstern, Chronicler and Friend of Jazz, Dies at 94

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      He wrote prolifically about the music and played an important role in documenting its history, especially in his many years with the Institute of Jazz Studies.Dan Morgenstern, a revered jazz journalist, teacher and historian and one of the last jazz scholars to have known the giants of jazz he wrote about as both a friend and a chronicler, died on Saturday in Manhattan. He was 94.His son Josh said his death, in a hospital, was caused by heart failure.Mr. Morgenstern was a jazz writer uniquely embraced by jazz musicians — a nonmusician who captured their sounds in unpretentious prose, amplified with sweeping and encyclopedic historical context.He was known for his low-key manner and humility, but his accomplishments as a jazz scholar were larger than life.He contributed thousands of articles to magazines, newspapers and journals, and he served the venerable Metronome magazine as its last editor in chief and Jazz magazine (later Jazz & Pop) as its first. He reviewed live jazz for The New York Post and records for The Chicago Sun-Times, as well as publishing 148 record reviews while an editor at DownBeat, including a stint from 1967 to 1973 as the magazine’s chief editor.His incisive liner-note essays won eight Grammy Awards. He was named a National Endowment for the Arts Jazz Master in 2007 and received three Deems Taylor Awards for excellence in music writing from the American Society of Composers, Authors and Publishers, two of them for his books “Jazz People” (1976) and “Living With Jazz” (2004). He was involved — as a writer, adviser, music consultant and occasional onscreen authority — in more than a dozen jazz documentaries. Most decisively, he served from 1976 to 2011 as the director of the Institute of Jazz Studies at Rutgers University-Newark, elevating the institute into the largest repository of jazz documents, recordings and memorabilia in the world.“I don’t like the word ‘critic’ very much,” Mr. Morgenstern often maintained. “I look at myself more as an advocate for the music than as a critic,” he wrote in “Living With Jazz.” “My most enthusiastic early readers were my musician friends, and one thing led to another. What has served me best, I hope, is that I learned about the music not from books but from the people who created it.”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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      Hear Billie Eilish and Charli XCX’s ‘Guess’ Remix

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      Hear tracks by MJ Lenderman, Miranda Lambert, ASAP Rocky featuring Jessica Pratt 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.Charli XCX featuring Billie Eilish, ‘Guess’In the slightly less than two months since its release, Charli XCX’s sixth album, “Brat,” has transformed from a clubby cult classic into a mainstream phenomenon, fueled by a sense of cool so elusive yet galactically powerful that a CNN panel recently convened to discuss, with magnificent awkwardness, its potential impact on the presidential election. Strange times indeed. Luckily, Charli is still keeping it light, not allowing the new patina of Importance to cloud the fact that “Brat Summer” is, above all things, about messy, hedonistic fun. So let’s just say that the latest “Brat”-era remix, the deliriously suggestive “Guess,” is unlikely to appear in an upcoming Kamala Harris campaign ad.“You wanna guess the color of my underwear,” Charli winks atop an electroclash beat produced by the indie-sleaze revivalist the Dare, who interpolates Daft Punk’s 2005 single “Technologic”; Dylan Brady of 100 gecs also has a writing credit. It’s an underground loft party crashed by a bona fide A-lister: Billie Eilish, making her first guest appearance on another artist’s song, purring a playfully flirtatious verse that ends, “Charli likes boys but she knows I’d hit it.” It’s refreshing to once again hear Eilish on a beat as dark and abrasive as those on her debut album, but she and her brother and collaborator Finneas know they are ultimately on Charli’s turf, reverently endorsing the trashy aesthetic and if-you-know-you-know humor of “Brat.” “You wanna guess if we’re serious about this song,” Charli intones at the end, as Eilish lets out a conspiratorial giggle. Against all odds, reports of Brat Summer’s death seem to have been slightly exaggerated. LINDSAY ZOLADZOkaidja Afroso, ‘Kasoa’Okaidja Afroso, from Ghana, sings about cycles of nature and human life in his childhood language, Gãdangmé, on his new album, “Àbòr Édiń.” But his music exults in modern technology and cultural fusions. The six-beat handclaps and bass riffs of “Kasoa” look toward Moroccan gnawa music, while the vocal harmonies exult in computerized multitracking. “There will be meetings and partings, and joys and sorrows,” he sings. “May we journey with ease, and hope to cross paths again in another lifetime.” JON PARELESWe 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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      At 100, the Intergalactic Jazz Hero Marshall Allen Is Still on a Mission

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      The Sun Ra Arkestra saxophonist, who remains captivated by the power of sound, is an inspiring onstage presence.In late June, the Sun Ra Arkestra was onstage at Roulette in Brooklyn, swinging its way through “Queer Notions,” a jaunty big-band tune by the saxophonist Coleman Hawkins. The rendition hewed closely to the relaxed, seesaw riffing of the original, recorded by Fletcher Henderson and His Orchestra in 1933. But there was one prominent difference: the barrage of bleeps, whooshes and wobbly theremin-like tones emanating from an EVI — short for electronic valve instrument — played by Marshall Allen, the multi-instrumentalist and longtime Arkestra mainstay who had recently celebrated his 100th birthday.Allen’s longevity onstage would be noteworthy on its own. But when you take in an Arkestra gig — watching Allen repeatedly leap to his feet to solo, resplendent in a gold-sequined cap and vest — his endurance is mind-boggling. Both at Roulette, where the ensemble played the concluding set of the Vision Festival in honor of Allen’s centennial, and during a trio performance at the Brooklyn Music School a few days earlier, he wasn’t merely an eminent elder but a mirthful dynamo. His contributions on EVI and alto saxophone often clashed brilliantly with the surrounding textures, embodying the joyous eclecticism that helped make Sun Ra — the pianist, composer and Afrofuturist thought leader who helmed the Arkestra from the mid 1950s until his death in 1993 — one of the 20th century’s most prescient musical visionaries.Much like Sun Ra’s own keyboard work, Allen’s art is a study in extremes. His alto saxophone phrases are mini eruptions: Tensing his shoulders as he blows and raking his right hand up and down over the keys, he produces squeals, snarls and honks that register as Expressionist gestures as much as avant-garde sounds. Even set against the alto work of a musician one-fourth his age — as on the tribute LP “Red Hot & Ra: The Magic City,” where Allen appears alongside the rising star Immanuel Wilkins — his sonic splatters still hold a bracing power.But focusing on Allen’s more outré qualities can obscure just how much history he embodies. Enlisting in the Army during World War II, he played clarinet in a military band and, after an honorable discharge, studied at the Paris Conservatory and recorded with the bebop luminary James Moody. When he joined up with the Arkestra in Chicago in 1957, it was a compact, immaculately swinging big band, with a sound rooted in both Sun Ra’s admiration of giants like Fletcher Henderson and a pervasive Space Age aesthetic, manifesting in shiny costumes and sung slogans like “We travel the space ways/From planet to planet.” Allen was drawn in, he recalled to The New York Times in 2020, by the leader’s lectures on space and “all this other stuff: ancient Egypt and the Bible.”The Brooklyn Music School performance — where Allen was joined by fellow Arkestra members Tara Middleton (vocals) and Farid Barron (piano) — served as a reminder of his firm grounding in a bygone era. Though the set featured plenty of jump-scare saxophone and echoey EVI tones, there were also roomy stretches of poignant lyricism. On “Sometimes I’m Happy,” a 1920s-era standard that Sun Ra often played, Allen answered Middleton’s lines with soft, ruminative phrases that strongly evoked Johnny Hodges, whose legacy is as closely intertwined with Duke Ellington as Allen’s is with Sun Ra.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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      Jean-Philippe Allard, Jazz Producer and Musicians’ Advocate, Dies at 67

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      He called himself a “professional listener,” and he tended to develop lifelong relationships with the artists he worked with.Jean-Philippe Allard, a French record executive and producer who helped revive the careers of jazz greats who had been all but forgotten in the United States, and who earned a reputation for uncommonly fierce advocacy on behalf of musicians, died on May 17 in Paris. He was 67.The music producer Brian Bacchus, a close friend and frequent collaborator, said Mr. Allard died in a hospital from cancer, which had returned after a long remission.Artists ranging from Abbey Lincoln to Juliette Gréco to Kenny Barron all said they had never worked with a more musician-friendly producer.“Regarding my work, I would always consider it as co-producing with the artist,” Mr. Allard told the music journalist Willard Jenkins in an interview in March. “Some producers are musicians or arrangers, like Teo Maceo or Larry Klein; others are engineers; some are professional listeners. I would fall in this last category: listening to the artist before the session, listening to the music during the session, and listening to the mixing engineer.”He tended to develop lifelong relationships with the artists he worked with. “His ear was always open to the artist, and he was always concerned about what was best for the artist,” the vocalist Dee Dee Bridgewater said in an interview. “He saw me. He embraced me. He wasn’t afraid of me. He encouraged my independence. He encouraged me speaking out.”Mr. Allard, right, in the studio with the bassist Charlie Haden, one of the many prominent jazz musicians he worked with.Cheung Ching Ming, via PolyGram/UniversalWe 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