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The article presents a list of jazz and pop music concerts which are scheduled to take place during the summer of 2006. The Hollywood Bowl will be held from June 2 until September 24; the Monterey Jazz Festival will be held from September 15-17; the Litchfield Jazz Festival will be held from August 4-6; the Chicago Blues Festival will be held from June 8-11; Bonnaroo will be held in Manchester, Tennessee from June 16-18.

Presents a calendar of events on performances of entertainers in the popular and jazz music in New York.

Presents information on pop and jazz festivals, concerts and related events in various places in the United States in 2004. Names of theaters and venues; Dates; Contact information; Names of musicians and musical groups.

The article offers information on a festival of conversations and performances by jazz vocalist and composer Abbey Lincoln, titled "Women of the World," to be hosted by Apollo Theater in the New York City on May 4-7, 2017 to celebrate the works of the artists.

The article discusses several festivals held in the U.S. including the Monterey Jazz Festival in California, the Telluride Bluegrass Festival in Colorado and the Atlanta Jazz Festival in Georgia.

The article examines the 2008 Grammy Award for Album of the Year presented to jazz musician Herbie Hancock for his album "River: The Joni Letters." The album, in which Hancock accompanies vocalists who sing works by Joni Mitchell, is said to be both a serious work of jazz and the sort of conservative popular music which appeals to Grammy voters.

Focuses on Nick Spitzer and his radio show, which has long been centered on the music of New Orleans, Louisiana. Spitzer's evacuation with his family before Hurricane Katrina hit the city; Biographical and career details; Plan to record his radio show in a borrowed studio at a Lafayette, Louisiana station; Comments of Spitzer; How the radio show's staple sounds of New Orleans past have become solace after the storm.

Describes the top popular and jazz music recordings in the United States as of December 17, 2000. `Voodoo' by D'Angelo; `Motherland' by Danilo Perez; `The Marshall Mathers LP' by Eminem.

The article offers the author's view on various classic pop and jazz music.

The article offers the author's view on pop and jazz music albums for holidays or Christmas.

The article reviews several jazz and popular music releases including "WomanChild," by Cécile McLorin Salvant, "Sunbather," by Deafheaven, and "Coming Apart," by Body/Head.

Jazz Full reviews of recent jazz performances: nytimes.com/jazz. [ABSTRACT FROM AUTHOR]

Recordings are forever. Concerts -- even in the era of YouTube and the tour-documentary DVD -- are fleeting experiences, subject to many nonmusical variables. But they can transform reputations and careers. Here the pop and jazz critics of The New York Times recap their most memorable performances of 2011, in order of importance. JON PARELES Jon Caramanica [ABSTRACT FROM PUBLISHER]

1. PISTOL ANNIES ''Hell on Heels'' (Columbia Nashville) The country singer Miranda Lambert's side project with Ashley Monroe and Angaleena Presley turned out to be loose, wise, tough, well written, well sung and more in tune with the debt-stricken American moment than her own record this year. 2. JASON MORAN/ROBERT GLASPER DOUBLE TRIO (Live, 1/15/11, streamableat wbgo.org/thecheckout/houstonians-in-nyc-live-at-92y-tribeca/) A 54-minute set of two free-form, convulsive, style-shifting songs, performed during the Houston-centric festival at the 92nd Street Y TriBeCa, programmed by the pianist Mr. Moran, and recorded for broadcast by WBGO (88.3 FM). (Mr. Moran on electric keyboard and Mr. Glasper on piano; Mark Kelley on electric bass and Alan Hampton on acoustic; Chris Dave and Eric Harland on drums.) When it ended, I felt that it said so much about where jazz is now -- inasmuch as it is black music, popular music, regional music, improvised music and a philosophy of play -- that I didn't need to hear any more for a while. (If we can call it an album, it's a better extended statement than most I heard this year; hence the inclusion of so many jazz album tracks in my singles list.) [ABSTRACT FROM PUBLISHER]

WE critics have long argued vehemently that if major musical institutions hope to be regarded as vital, modern institutions, they must keep their listeners (and performers) in touch with the ideas, trendy or otherwise, that excite the composers of their time. But truth be told, we are a little bipolar on that subject. Though we criticize the big organizations for fostering a museum culture, we actually value the museums they have become. Our attitude toward the classical canon, after all -- and this increasingly applies also to older forms of jazz and pop -- is that great music transcends time. If the New York Philharmonic did not regularly give us Beethoven, Brahms and symphonies, we would complain that it had abandoned the conservationist aspect of its charter and lament the disappearance of works that had moved people for decades or centuries. [ABSTRACT FROM PUBLISHER]

Too often holiday music is about comfort: familiar melodies, familiar sentiments, familiar styles. And for some that may well be enough: never underestimate the power of the reliable. But so much great music comes from artists who understand that the holiday season is just another topic -- it can inspire reverence and jubilation, of course, but also self-doubt, skepticism, comedy, fear, resentment and so much more. Here, the pop and jazz critics of The New York Times highlight the best of the traditional, the best of the progressive and some others with room to grow. (Prices may vary from those listed here, depending on where you shop.) JON CARAMANICA GERI ALLEN: 'A CHILD IS BORN' The rare Christmas record that transcends background music, nostalgia or pure business, this first Christmas album by the jazz pianist Geri Allen is serious and thoughtful. She rearranges songs like ''We Three Kings'' and ''It Came Upon a Midnight Clear'' for solo piano and other instruments including celesta and Farfisa organ, darkening them into unanswerable questions; in her hands, they sound influenced by late Coltrane, late-1960s Miles Davis and gospel music. She also weaves in under-a-minute snippets of multitracked improvisations and recorded segments of singing by the Gee's Bend Quilters Collective, the Alabaman craftswomen. (Motema, $14.99) BEN RATLIFF [ABSTRACT FROM AUTHOR]

Pop/Jazz Ben Ratliff [ABSTRACT FROM PUBLISHER]

New music is hardly scarce during the main part of the New York concert season, and spaces like Issue Project Room, Galapagos and the Tank specialize in it year round. But spring and summer are a virtually nonstop parade of festivals celebrating the experimental. Recent weeks have featured the MATA, Look & Listen and Keys to the Future festivals in rapid succession, and on Monday evening the Tribeca New Music Festival opened its 10th season with a tightly packed program performed by Ethel, the string quartet, and devoted almost entirely to premieres. Given that they were writing specifically for Ethel, the six composers who supplied new works (a seventh, Corey Dargel, performed an earlier song cycle) made the most of the quartet's distinctive personality. This is a group that spends much of its time traveling the modern Silk Road, where caravans of avant-garde, pop, jazz and world music barter riffs and techniques. And its approach to sound -- its players use electric instruments, often with processing devices -- gives it an extraordinary flexibility. It prizes grittiness and punch as absolute values, but these expert players can produce a conventionally warm, unified tone when the music demands it. [ABSTRACT FROM PUBLISHER]

Some might call the pesky inner voice that nags us to do the right thing a conscience, others a guardian angel. In the language of Dave Frishberg, the great jazz songwriter, who is playing a rare engagement at the Oak Room of the Algonquin Hotel with the singer Jessica Molaskey, it is the singular sense of self invoked in ''Listen Here,'' his final number in the show. Accompanying himself on piano and singing in the dry, avuncular voice of a dedicated teacher imparting his wisdom to a fidgety class, Mr. Frishberg last week delivered it as offhand scripture. ''You can run, you can hide, oh but sometime, someplace, we each of us winds up face to face with that little voice inside,'' the song declares. [ABSTRACT FROM PUBLISHER]

CORRECTION APPENDED WASHINGTON -- Cecile McLorin Salvant, the winner of this year's Thelonious Monk International Jazz Vocals Competition, grew up in Florida with a Haitian father and a French mother, but has been studying jazz for the last three years in Aix-en-Provence, France, with Jean-Francois Bonnel, a connoisseur of early swing. As a jazz singer she seems both familiar and a little recherche. About 1:30 on Sunday afternoon, she appeared on stage here at the National Museum of the American Indian, at the semifinals of the 23rd-annual competition. It focuses on a different instrument every year, and the vocals contest, last won by Gretchen Parlato in 2004, has been one that the jazz world watches with particular interest. For her appearance, Ms. Salvant looked like an English teacher, wearing a sensible black dress with magenta ballet flats, a short Afro and glasses with thick brown frames. As she sang, she stared inquisitively at the house: really stared, as in ''it's not polite to stare.'' [ABSTRACT FROM AUTHOR]

Jazz Full reviews of recent jazz concerts: nytimes.com/music. [ABSTRACT FROM AUTHOR]

Orchestre Poly-Rythmo de Cotonou, from Benin, belongs on the very short list of the world's greatest funk bands. More than four decades into its career, most of them spent touring Benin and nearby West African countries, the 10-man orchestra made its blistering North American debut on Sunday night at the Gerald W. Lynch Theater at John Jay College as part of the Lincoln Center Festival. Its founder and one of its main composers, Clement Melome, was on saxophone. Orchestre Poly-Rythmo's funk has a trans-Atlantic recipe. Take the rhythms that worship the deities of vodun (or voodoo) in their ancestral West African home, Benin. Add the influence of the Agoudas, a group on Benin's Atlantic coast descended from Brazilian slaves who returned to Africa in the late 1800s. Stir in the Afro-Cuban big-band music that was welcomed in Africa from the 1930s onward, horns and all. Plug in an electric guitar and some biting analog keyboards. [ABSTRACT FROM PUBLISHER]

SIX years ago, the Pleasantville Music Festival debuted as a modest folk-based event attended by 800 people. This year, more than 6,000 guests are expected for a day of blues, rock, world music and more. The performers will include Jakob Dylan, the Bacon Brothers (Kevin and Michael) and Rusted Root. Mr. Dylan said he was looking forward to playing at the festival. ''The town has a great atmosphere,'' he said, ''and the intimate local setting will undeniably bring out great performances from everyone in the lineup.'' [ABSTRACT FROM PUBLISHER]

People, Places & Things There's a long tradition in Chicago jazz of pragmatic experimentation, bands that don't exactly play in the common language but still aren't breathing fire or going all out. They may be squawking or rustling or smuggling in whole-tone scales, like dream sequences in old movies, but their feet are on the ground. [ABSTRACT FROM PUBLISHER]

BROWS furrowed, Brad Mehldau and Jon Brion wore the same look of concentration here one evening last spring, perched on Aeron chairs in a mixing room at Ocean Way Recording studios. Mr. Mehldau, the acclaimed jazz pianist, was listening to a piece he had recently recorded in the adjacent room. Mr. Brion, the independent-minded pop producer and composer, had his hands on a console, tweaking and toggling, adjusting and readjusting the sound. [ABSTRACT FROM PUBLISHER]

Forty-eight years after she first appeared at the Village Vanguard opening for Miles Davis, Barbra Streisand, below, will celebrate the release of ''Love Is the Answer,'' her new album of jazz and popular standards, by performing a selection of its songs at the club on Sept. 26, her publicist Ken Sunshine announced. This storied jazz club is a far cry in both size and atmosphere from Ms. Streisand's usual settings, like the arenas she played on her last farewell tour in 2006. A chance to get free tickets will be available to those who either pre-order the CD or register for a lottery online. Full details and rules can be found on barbrastreisand.com. The arrangements on ''Love Is the Answer,'' Ms. Streisand's first new studio collection since 2005, are by Diana Krall and Johnny Mandel and feature members of Ms. Krall's band. The album will be released Sept. 29. [ABSTRACT FROM PUBLISHER]

Pop/Jazz Ben Ratliff [ABSTRACT FROM PUBLISHER]

Pop/Jazz Ben Ratliff [ABSTRACT FROM PUBLISHER]

A tablespoon of blues and two teaspoons each of soft-rock, jazz and traditional pop: that recipe only begins to describe the stylistic ingredients in the music of Boz Scaggs, the astringent-voiced singer, songwriter and guitarist who opened at the Blue Note on Monday evening. Five years ago, Mr. Scaggs, now 64, officially entered the same old-geezer territory as Rod Stewart with the release of his first standards album, ''But Beautiful.'' Monday's concert (the first of five nights at the club) supported its follow-up, ''Speak Low'' (Decca). Gil Goldstein, the pop-jazz alchemist charged with finding the right instrumentation to complement Mr. Scaggs's craggy mountain slope of a voice with its hidden pools of warmth, is an alumnus of the great arranger Gil Evans's jazz orchestra. As Mr. Scaggs performed a mixture of standards and his hits from the 1970s and early '80s, you could feel the ensemble groping toward and sometimes finding the kind of fit Mr. Evans reached in his experimental arrangements of music by Jimi Hendrix and Sting. [ABSTRACT FROM PUBLISHER]

Beto Villares ''Musica do Brasil'' is a four-disc survey of traditional music from across Brazil, field-recorded in the late 1990s. Released by the multimedia company Abril, which also produced a television series on the same theme, it has a staggering depth and variety of singing, string playing, drumming, sacred music and party music. If you are lucky enough to hear it, you will understand how this country's pop vanguard will never lack ideas from its roots. (The set is unavailable on Amazon, but keep looking.) The musician and producer Beto Villares helped compile ''Musica do Brasil,'' and his own first album, ''Beto Villares'' -- made in 2003 but just released here by Six Degrees -- reveals his perfect sense of security about matching electronics, pop and jazz with the rustic verities of Brazilian music, its bass drums, tambourines, flutes and hand claps. New and ancient co-exist happily; the tracks all have the right sense of scale. This great record should be celebrated, even if we're celebrating it five years late. [ABSTRACT FROM PUBLISHER]

When Le Poisson Rouge opened, in June, the two recent conservatory graduates who founded it said they planned to present classical music as part of a wide-ranging, eclectic schedule. But partly because of seasonal timing, the first couple of months tilted more in the direction of jazz and various flavors of indie pop, with occasional classical teasers. Now this Greenwich Village club, on the site of the old Village Gate, is starting to look as if it means business, classically speaking. On Thursday evening it was transformed into an intimate opera theater for a three-and-a-half-hour staging of Monteverdi's ''Coronation of Poppea,'' the inaugural offering of another new venture, Opera Omnia. [ABSTRACT FROM PUBLISHER]

DOWN a dingy alleyway lined with beer gardens and hookah bars, an Afro-jazz funk band took the small stage at the Piano Cafe, a smoke-filled lounge in the center of Kosice. It was not exactly what a first-time visitor expected to find in a Central European town of steel factories and Soviet-era apartment blocs. But as the beat of African samba filled the cramped cafe, an arty crowd of young Slovaks in metal-rock T-shirts and bookish glasses sat in rapt attention, slow-sipping their Mojitos and ignoring the techno music downstairs. [ABSTRACT FROM PUBLISHER]

Helen Merrill and Dick Katz By the mid-1960s jazz was obviously not popular music anymore. Gigs were scarcer; great musicians were leaving the country or looking for work on television shows. But all this had an upside too. Jazz was becoming wise, strange and bitter, a dream world full of wide-open space or density, meta-thoughts and paradoxical impulses. The history of this period isn't well lighted by CD reissues, and still brings forth surprises. [ABSTRACT FROM PUBLISHER]

A NUMBER of notable concerts of Brazilian music around the world this year, including one by Joao Gilberto next Sunday at Carnegie Hall as part of the JVC Jazz Festival, are being advertised with the line ''50 Years of Bossa Nova.'' Mr. Gilberto is considered by many to have defined the musical form, which was embraced internationally and has never really gone away in Brazil. Yet Mr. Gilberto's first three albums, some of the best music of the 20th century, have largely been unavailable. For 10 years or so they haven't been in record stores, nor on Amazon.com (unless you're willing to pay $100 or more for used copies) nor on iTunes. The only way you may have found them was through illegal file sharing, or, if you were lucky enough, to know someone who had copies. This is a weird turn of events in an age that keeps valuable cultural artifacts at close reach. [ABSTRACT FROM PUBLISHER]

The article offers information regarding several pop and jazz music programs which are scheduled to take place in New York City. Jazz pianist Eric Reed will perform with his quintet at the Frederick P. Rose Hall at Lincoln Center from June 12-17, 2007. The quintet includes two saxophonists Stacy Dillard and Seamus Blake. Bassist Esperanza Spalding will perform on June 13, 2007 at the Jazz Standard in Manhattan.

The article reviews the music release "How Low Can You Go?," by Dick Spottswood.

The article announces the release of several sound recordings including "Bang Bang Rock'n' Roll," by Art Brut, "Eyes Open," Snow Patrol, and "Waterloo to Anywhere," by Dirty Pretty Things.

The article reviews the music release "Concrete Jungle: The Music of Bob Marley," performed by Monty Alexander at B. B. King's Blues Club and Grill in New York City on April 24, 2006.

The article reviews the music release "Don't Count On Glory," by Lindsey Horner.

Previews several pop and jazz performances at different venues in New York City.

Reviews the music release "Once to Every Heart," by Mark Murphy.

Previews several pop and jazz performances in New York City.

Presents a list of jazz and popular music concerts in New York.

Presents a list of pop and jazz concerts shown in New York.

Presents a list of popular music and jazz concerts in New York.

Features several popular and jazz music concerts in New York City in May 2005.

Describes the sound recordings that MTV executive vice president in charge of video programming and artist relations Tom Calderone listens to in the United States. Four-CD box set "Left of the Dial: Dispatches from the 80's Underground"; Alternative rock record "Now Here Is Nowhere"; Nine Inch Nails band; Performer Common; Hip-hop performer Jin; Jazz band David Kane Quartet.