Daybreak Richard Honors New Orleans Second Traces, and seven Extra New Songs

Daybreak Richard provides “Bussifame” 4 syllables — as in “Bust it for me” — when she chants it in her new single, a preview of her April album “Second Line.” The video, launched on Mardi Gras, opens with somebody dancing to a (sadly uncredited) New Orleans brass band’s second-line beat. Then the observe itself begins, with Richard and her dancers sporting pointy, futuristic costumes exterior the giant graffiti on a derelict former Vacation Inn. “Ft transfer with the beat/Bussifame, second line,” she chants, huskily, in an digital observe that’s nearer to deal with than to second line, however simply retains including ranges of perky syncopation. JON PARELES

“Black Myself” begins out as a blunt catalog of stereotyping and discrimination — “You higher lock the doorways as I stroll by/’Trigger I’m Black myself — earlier than affirming Black solidarity and self-determination in its closing verse. The tune was already a bluesy stomp when Amythyst Kiah first recorded it with the folky all-star alliance Our Native Daughters; now she revisits it with a fuller studio manufacturing, reinforcing its distorted guitar with extra results, extra layers and an even bigger beat, including additional clout. PARELES

Over a stuttering bass line, plinking balafon and wah-wah-drenched guitar, the gospel vocalist Theresa Thomason presents an unflinching tribute to Nelson Mandela, lingering on the struggles he endured and vowing to hold his legacy ahead. “At all times wanting left, all the time wanting proper/At all times defending the individuals’s fact/We’ll always remember you,” she sings. The tune comes from “Afrofuturism,” the newest album by the percussionist and multi-instrumentalist Michael Wimberly, who recorded it with a various group of musicians from internationally. GIOVANNI RUSSONELLO

24kGoldn’s model of hip-hop is, in essence, pop-punk coated with simply the faintest layer of R&B — which is to say, exceedingly pop. His newest single, which arrives whereas “Temper,” his current No. 1 with Iann Dior, remains to be at No. 5 on the Sizzling 100, is taut, angsty and very environment friendly, a fait accompli of hybrid pop. JON CARAMANICA

Three or so years in the past, you wouldn’t have pegged Lil Yachty as destined to be one in all hip-hop’s extra versatile skills. And but right here he’s, quick rapping over a nervous beat on “Hit Bout It,” a powerful duet with the fresh-out-of-jail Kodak Black. That comes lower than two weeks after “Royal Rumble,” a posse lower of (principally) nice Michigan rappers stuffed with the non sequitur powerful speak that’s been defining that scene for the final couple of years, and which Yachty has an affinity (if not fairly aptitude) for. Focus as an alternative on nice verses from the stalwart Icewear Vezzo and the up-and-comer Babyface Ray. CARAMANICA

A pattern of flamenco guitar curls by way of the insinuating, two-chord observe of “Jealous” because the English singer Mahalia and the Maryland rapper-singer Rico Nasty casually demolish male delight. “Im’a do what I wish to child/I gained’t be caught with out you child,” they nonchalantly clarify, as Mahalia flaunts her wardrobe, her automobile, her “crew” and her indifference. “Except you bought that coronary heart then you possibly can’t come my manner,” she sings, staccato and unconcerned. PARELES

For his debut album, the rising pianist Chris Pattishall reached again 75 years to revisit Mary Lou Williams’s 12-part “Zodiac Suite.” The result’s neither overly nostalgic nor newfangled and gimmicky. Pattishall’s “Zodiac” is a startling achievement exactly due to how deeply — and personally — this outdated materials appears to resonate with him. Pattishall has mentioned that he’s significantly drawn to Williams due to the way in which she appeared to hopscotch between atmospheres and registers inside particular person compositions, with out sacrificing a way of narrative. That’s borne out on his album’s very first observe, “Taurus” (Williams’s personal star signal), which begins with a passage of ruminative piano earlier than a fast acceleration, with Pattishall main his quintet right into a swirling, bluesy chorus. RUSSONELLO

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