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Nate Chinen

Wynton Marsalis has always been deeply engaged in the subject of American race relations. The issue was a crucial part of his education as a young musician in New Orleans, and it has been a core preoccupation of his own work going as far back as Black Codes (From the Underground), a trailblazing album from 1985.

In the liner notes to John Coltrane's 1964 album Live At Birdland, Amiri Baraka (then writing as Le Roi Jones) contemplated the gift the saxophonist and his band offered with this music inspired by the horrific deaths of four Black girls in a Birmingham church bombing inspired by white supremacist hatred. "Listen," Baraka wrote. "What we're given is a slow delicate introspective sadness, almost hopelessness, except for Elvin [Jones], rising in the background like something out of nature... a fattening thunder, storm clouds or jungle war clouds.

Every working musician has a story to tell about the upending jolt of this spring, when the pandemic officially took hold. For pianist Brad Mehldau, that story begins with the interruption of his trio's European tour, and the cancelation of a planned trip back to New York.

Jazz and the visual arts have always enjoyed a mutually beneficial relationship. Last year the Jazz at Lincoln Center Orchestra with Wynton Marsalis put that bond front and center with an ambitious original program called Portraits of America: A Jazz Story.

Richard Teitelbaum, an electronic artist, keyboardist and composer who combined an interest in non-western musical languages with a focus on experimental practice, died on Thursday at HealthAlliance Hospital in Kingston, N.Y. His wife, the classical pianist Hiroko Sakurazawa, said the cause was a major stroke. He was 80.

Bucky Pizzarelli, a tasteful sage of jazz guitar who spent the first phase of his career as a prolific session player and the last phase as a celebrated patriarch, died on Wednesday in Saddle River, N.J. Guitarist and singer John Pizzarelli, his oldest son and regular musical partner, said the cause was the coronavirus. He was 94.

A few weeks ago, as the city of New Orleans was preparing to institute a stay-at-home order due to the coronavirus, Nicholas Payton got to work.

Wallace Roney, a trumpeter and composer who embodied the pugnacious, harmonically restive side of post-bop throughout an illustrious four-decade career, died this morning at St. Joseph's University Medical Center in Paterson, N.J. He was 59.

The cause was complications from COVID-19, according to his fiancée, Dawn Felice Jones. She said Roney had been admitted to the hospital last Wednesday.

Wallace Roney, a trumpeter and composer who embodied the pugnacious, harmonically restive side of post-bop throughout an illustrious four-decade career, died this morning at St. Joseph's University Medical Center in Paterson, N.J. He was 59.

The cause was complications from COVID-19, according to his fiancée, Dawn Felice Jones. She said Roney had been admitted to the hospital last Wednesday.

Late last summer, saxophonist Joshua Redman engaged in some light time travel: For a couple of nights, he reconvened a stellar ensemble he'd led 25 years prior, with Brad Mehldau on piano, Christian McBride on bass and Brian Blade on drums.

Updated on Saturday, March 7 at 11:45 a.m. ET

McCoy Tyner, a pianist whose deep resonance, hammering attack and sublime harmonic invention made him a game-changing catalyst in jazz and beyond, died Friday, March 6, at his home in New Jersey. His death was confirmed by his manager. No cause of death was given. He was 81.

Evgeny Pobozhiy, a virtuoso guitarist with a busy profile on the Moscow jazz scene, has won the Herbie Hancock Institute of Jazz International Guitar Competition. As winner of the prize, one of the most prestigious of its kind, he'll receive $30,000 in scholarship funds and a recording contract with the Concord Music Group.

He also joins an honor roll of past winners including pianist Jacky Terrasson, saxophonists Joshua Redman and Melissa Aldana, and singers Jazzmeia Horn and Cécile McLorin Salvant.

Here are a few indisputable truths about Andy Bey. First things first: as he approaches 80, Bey occupies the first rank of living jazz singers. He has led a circuitous career — starting out as a prodigy, slipping into obscurity, experiencing a late renaissance. And he's an original: nobody else has ever sounded quite like him and it's almost certain nobody else ever will.

Jazz has a glorious history, but it's also a music of boundless curiosity, brash experimentation and an ever-changing set of tools. Such is the complex landscape covered by Jazz Night in America, which curates this playlist from music heard on the show. Consider it a modern jazz survey at ground level, from stone classics to state-of-the-art jams.

"There is never any end," John Coltrane said sometime in the mid-1960s, at the height of his powers. "There are always new sounds to imagine; new feelings to get at." Coltrane, one of jazz's most revered saxophonists, was speaking to Nat Hentoff about an eternal quest — a compulsion to reach toward the next horizon, and the next.

Electric Miles. Few word pairings in the jazz lexicon are apt to inspire so much contention and challenge and ferment. What the phrase refers to, of course, is a period in the career of trumpeter Miles Davis, spanning the last third of his life. And while there are other important antecedents, the big bang of this period is an album recorded 50 years ago by the name of Bitches Brew.

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For as long as Esperanza Spalding has been in the public eye, she's been defined in part by her hair.

A wave of shock and sadness moved through the jazz community on Sunday, with news of the death of Lawrence Lo Leathers, a drummer with a steadfast presence in the modern jazz mainstream.

Leathers was 37. He was killed on Sunday in the hallway of an apartment building on East 141st Street in the Bronx neighborhood of Mott Haven, according to Detective Martin Brown of the NYPD. The police have arrested a suspect in connection to the incident.

Two eminent avant-garde elders, a chameleonic vocal improviser, and a pioneering community organizer and presenter will make up the 2020 class of NEA Jazz Masters, according to an announcement this morning by the National Endowment for the Arts.

The four incoming inductees — saxophonist Roscoe Mitchell, bassist Reggie Workman, vocalist Bobby McFerrin, and jazz advocate Dorthaan Kirk — will officially be recognized next April 2, during a tribute concert and ceremony at the SFJAZZ Center in San Francisco.

If you're even a casually observant jazz fan, you might think you know a thing or two about Joe Lovano. A tenor saxophonist with dozens of albums to his name, most of them made during a roughly 25-year tenure on Blue Note Records, Lovano is one of the most instantly identifiable musicians on the jazz landscape and on the New York scene. But he didn't come from nowhere.

Herbie Hancock took a moment during the International Jazz Day All-Star Global Concert to address some fraught geopolitical realities.

Not that Hancock, in his dual capacity as UNESCO goodwill ambassador and chairman of the Herbie Hancock Institute of Jazz, got into specifics, or really needed to. Speaking from a podium at Hamer Hall in Melbourne, Australia on Tuesday night, he just extolled the spirit of cooperation and exchange in jazz, "at a time when internal and external relationships among so many countries are unsettled."

Herbie Hancock and Kamasi Washington, two of the biggest names in jazz, will join forces for a North American co-headlining tour this summer.

Betty Carter, the adroit and unsurpassable jazz singer, was 61 when she took the stage at Aaron Davis Hall in New York for The Music Never Stops on March 29, 1992. Presented by Jazz at Lincoln Center, a newly formed organization at the time, it was a concert of grand, unabashed ambition, celebrating Carter's magnificent prowess in the context of a specially assembled big band with strings, as well as three all-star rhythm sections.

For more than 30 years, the Thelonious Monk Institute of Jazz has been a nonprofit working at the intersection of music education, jazz appreciation and public policy. Beginning in the new year, it will continue those efforts under a new name: the Herbie Hancock Institute of Jazz.

Roy Hargrove, an incisive trumpeter who embodied the brightest promise of his jazz generation, both as a young steward of the bebop tradition and a savvy bridge to hip-hop and R&B, died on Friday night in New York City. He was 49.

The cause was cardiac arrest, according to his longtime manager, Larry Clothier. Hargrove had been admitted to the hospital for reasons related to kidney function.

Every year around this time, the jazz community takes the measure of its highlights and bright moments — along with a tally of its losses. And while it's true that important jazz artists leave us every year, 2017 was tougher than most.

This was an excellent year for jazz on record, across every possible iteration of style. (If you're seeking evidence for the claim, consult the 2017 NPR Music Jazz Critics Poll.) But it's always worth pointing out that albums only tell part of the story, which often assumes different dimensions at street level, where the music pulses in real time.

Chris Dave possesses innumerable gifts as a drummer, but chief among them is the ability to make a groove just feel ... right. This isn't as simple or straightforward a feat as it sounds. And it can be a recipe for invisibility, at least among the general listening public.