The “Pillowtalk” singer speaks candidly of his departure from the group: “We’d got sick of each other.”
Category: Music
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Apocalypse Nowish: An Octavia Butler Opera May Be Prophetic
Toshi Reagon and Bernice Johnson Reagon adapted Butler’s dystopian “Parable of the Sower.” Their opera makes its New York debut at Lincoln Center’s Summer for the City.
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Review: Ted Hearne’s ‘Farming’ Is a Sweet, Sad American Elegy
“Farming,” a choral work that had its New York premiere at Caramoor, is a chaotically ambitious reflection on colonization, consumption and marketing.
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Peter Nero, Pianist Who Straddled Genres, Is Dead at 89
He soared to popularity with a swinging hybrid of classics and jazz. He later conducted the Philly Pops, often with one hand while the other played piano.
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Five Minutes That Will Make You Love Avant-Garde Jazz
This challenging subgenre, including the subset of free jazz, is driven by the fire of spontaneity, and its rules are still being written. Eleven writers, critics and musicians share their favorites.
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‘Wham!’ Review: They Made It Big, Then Broke Up
A new movie documents George Michael and Andrew Ridgeley’s storming of the pop airwaves as the duo Wham! and laughs past the thorny questions.
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Her Symphony Reclaims an Ancestral Story, and Classical Music
Tamar-Kali, a former punk rocker, wove episodes of Gullah Geechee history into “Sea Island Symphony,” premiering at Lincoln Center in Manhattan.
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Echoes of William Byrd in Caroline Shaw, Nico Muhly and Others
Four popular composers explain how this Englishman’s ideas ricochet through their own works today.
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Echoes of William Byrd in Caroline Shaw, Nico Muhly and Others
Four popular composers explain how this Englishman’s ideas ricochet through their own works today.
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William Byrd: An Essential English Composer for Four Centuries
As the music world celebrates the 400th anniversary of Byrd’s death, it looks back on an artist of nimble styles and stubborn beliefs.
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Peter Brötzmann, 82, Dies; His Thunderous Saxophone Shook Jazz Traditions
One of Europe’s most influential free-jazz musicians, he played with “a kind of scream” to exorcise his demons, and those of German history.