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The article discusses the Arizona Coyotes' struggles, from being ousted from their Glendale arena to failed relocation attempts, leading to their move to Utah for the 2024-25 season and leaving owner Meruelo with plans to bring a team back but facing skepticism.

The article focuses on the avant-garde variety show "Snatch Adams & Tainty McCracken Present It's That Time of the Month" at Soho Rep, featuring provocative and shock-inducing performances that aim to challenge and reinforce liberal politics but may lose impact over time.

Focuses on the classical music performance of keyboardist Charles Rosen in New York City.

The article discusses a music director at St. Patrick's Old Cathedral Jared Lamenzo and focuses on his experience in playing keyboard.

An obituary for Bernie Worrell, a keyboardist and member of the funk, soul, and rock music group Parliament-Funkadelic, is presented.

An obituary for English progressive rock band Emerson, Lake & Palmer's keyboardist, Keith Noel Emerson, is presented.

Focuses on Chuck Leavell, arborist and keyboard player for the 2005 Rolling Stones tour. Highlights of his three-generation Georgia plantation, where he and his wife, Rose Lane Leavell, store their collection of albums; Background on Leavell, who has played keyboards with the Allman Brothers Band, George Harrison, Eric Clapton and the Rolling Stones, traveling the world on yearlong concert tours; Comments of Leavell, 52; Background on the sprawling homestead that the couple inherited in 1981; Mention of two books by Leavell; Why these are hard times for the nation's independent tree growers; How the Leavells have kept their plantation a going concern.

An obituary for keyboardist and songwriter Michael Brown is presented.

An obituary for rock band Three Dog Night keyboardist Jimmy Greenspoon is presented.

An obituary for keyboardist Ian McLagan with the British rock bands the Small Faces is presented.

An obituary for Paul Revere, the keyboard player who founded Paul Revere & the Raiders band, is presented.

An obituary for rock keyboardist Ray Manzarek is presented.

The article offers information related to disco bands in New York City. It says that Crystal Ark Party Machine has performed their electronic dance music ensemble in Williamsburg in Brooklyn. It mentions that the Escort has became the biggest live acts in the city with 17 musicians including female singer Adeline Michèle. It adds that Midnight Magic blends music with disco, soul, and funk with its vocalist Tiffany Roth.

Jon Lord, the keyboardist of the pioneering British hard-rock band Deep Purple, died on Monday in London. He was 71. The cause was a pulmonary embolism, said his manager, Bruce Payne. Mr. Lord announced last year that he had cancer. [ABSTRACT FROM PUBLISHER]

JUNE has become a dependable time for grass-roots new-music initiatives. On Tuesday the East Village collective INCUBATOR ARTS PROJECT opens June Days, a five-concert series that offers familiar faces in novel settings. The series begins on Tuesday with two intrepid keyboardists, Kathleen Supove and Wil Smith, playing a Paula Matthusen piece for extracted piano frame. Chris McIntyre, a composer and trombonist, introduces a new project on Thursday. And on Saturday the guitarist James Moore plays John Zorn's compendium of fractious virtuosity, ''The Book of Heads.'' 8 p.m., Tuesday and Thursday through Sunday, Incubator Arts Project, St. Mark's Church, 131 East 10th Street, East Village, (866) 811-4111, incubatorarts.org; $12 in advance, $15 at door. Throughout his career the composer PHILIP GLASS has been an avid collaborator and an eager promoter of emerging artists. ''Philip Glass: Music With Friends,'' a three-evening series, finds him in both modes. Wednesday's collaboration with Stephin Merritt, a droll singer and songwriter, is a likely high point; Friday's meeting with Laurie Anderson, a sure bet. 8 p.m., Wednesday through Friday, Issue Project Room, 22 Boerum Place, Downtown Brooklyn, (718) 330-0313, issueprojectroom.org; $85 Wednesday and Thursday, $150 Friday. [ABSTRACT FROM AUTHOR]

Miike Snow, the Swedish band that started a three-night stand at Terminal 5 on Tuesday night, has given itself a tricky assignment: bringing angst and enigma into the artificial electronic paradise of electronic dance music. Its best-loved song, ''Animal'' -- the crowd-pleasing finale on Tuesday -- begins, ''There was a time when my world was filled with darkness, darkness, darkness,'' and doesn't find much comfort from there. There's no ironclad rule that synthesizers and four-on-the-floor beats have to carry simple lyrics about romance, dancing and uplift. That's just a matter of expectation that has also been defied by groups like Hot Chip. Still, Miike Snow -- the five-man band led by the singer Andrew Wyatt and the keyboardist-producers Christian Karlsson and Pontus Winnberg -- can often sound like a band at odds with itself: Coldplay wrestling with David Guetta. [ABSTRACT FROM AUTHOR]

After his recital at the Frick Collection on Sunday afternoon the young Iranian-American harpsichordist Mahan Esfahani said it was an honor to perform on the same stage where, in 1954, the acclaimed harpsichordist Wanda Landowska gave her final public recital. Landowska did much to revive the art of harpsichord playing in the 20th century. But while the instrument has long been an integral part of early-music concerts, it is less common to hear solo recitals. Mr. Esfahani was the first harpsichordist to be named a BBC New Generation Artist and the first to be recognized by the Borletti-Buitoni Trust. [ABSTRACT FROM AUTHOR]

In ''Crystalline,'' one of the new songs Bjork performed on Friday evening at the New York Hall of Science, she sang: ''Octagon polygon/pipes of an organ/sonic branches/ murmuring drone.'' Video screens arranged octagonally above the in-the-round stage showed crystal shapes advancing along the inside of something branchlike. There was a droning pipe organ onstage, activated from afar during the set via MIDI controller -- a type of sonic branch -- by Max Weisel, the programmer and keyboardist. ''Crystalline'' comes from the album ''Biophilia,'' which is a worlds-within-worlds piece of work. When we talk about ''Biophilia,'' we are inevitably talking first about process and ideas, which tend to be stronger than its music. Despite strong singing, typically intense and full throated with strange phrasing and emphasis, the songs can grow dry and austere. Some of the older songs she performed on Friday night, including ''Hidden Place,'' ''Mouth's Cradle'' and ''Pagan Poetry,'' had far greater emotional and musical power. [ABSTRACT FROM AUTHOR]

The line outside Le Poisson Rouge on Tuesday night wrapped around the block for a CMJ Music Marathon showcase with the header ''Future Now.'' The question this seemed to invite was: Could ''jazz'' actually be making an impression this year? Let's be clear: ''Future Now'' wasn't really a jazz showcase, even if all three acts on the bill -- the Robert Glasper Experiment, and the vocalists Jose James and Taylor McFerrin -- have varying degrees of jazz experience. The show's compass pointed more toward sleek and stylishly woozy electro-soul, after the example of the influential producer J Dilla. [ABSTRACT FROM PUBLISHER]

The Canadian pianist Glenn Gould, who died at 50 in 1982, has been a figure of fascination since he burst onto the classical music scene, with startling virtuosity and an unusual brand of flamboyance, in the 1950s. His interpretations of the piano repertory -- the work of Bach in particular -- were fresh and provocative, and his self-presentation was both matinee-idol charismatic and winningly odd. As Gould's celebrity grew, some of his peculiarities became as famous as his playing. He insisted on sitting in a special low-slung chair, so that his long arms seemed to angle upward to the keyboard. He wore scarves, gloves and overcoats in all kinds of weather. He rambled charmingly in interviews and hummed loudly onstage. In 1964, after a triumphant tour of the Soviet Union and ecstatically received concerts in Europe and North America -- and in the wake of a controversial performance of Brahms's First Piano Concerto with Leonard Bernstein at Carnegie Hall two years earlier -- Gould stopped performing in public. His belief that the recording studio allowed for greater artistic expression and a deeper exploration of music seemed radical, even outlandish at the time, but proved to be prophetic. And his celebrity did not wane after this withdrawal, though his reputation for eccentricity grew. Nearly 30 years after his death he remains an object of fervent and passionate admiration, especially in Canada. [ABSTRACT FROM PUBLISHER]

It would be hard for any decent-hearted listener, having read about the 77-year-old pianist Fuzjko Hemming's personal struggles, not to root for her. Born in Berlin to a Japanese mother and a Swedish-Russian father, she was reared by her mother under difficult circumstances in Japan, where she studied piano as a child. She lost hearing in her right ear as a teenager after an inflammation. She trained at conservatories in Tokyo, Berlin and Vienna. Then a cold left her deaf in her other ear. While undergoing medical treatment, she worked as a janitor at a psychiatric hospital to support herself. Eventually, she regained some hearing in her left ear. A 1999 documentary propelled her to stardom in Japan, and she has sold two million copies of her 1999 CD, ''La Campanella.'' [ABSTRACT FROM PUBLISHER]

THE band was well into its set at National Underground on the Lower East Side when a guy in an olive T-shirt deposited beers at the musicians' feet: a Budweiser for the singer, a Red Stripe for the keyboardist. The singer, Doug Keith, took a swig. ''You guys might not have noticed,'' he said, ''but the beer fairy just rolled through.'' [ABSTRACT FROM PUBLISHER]

The Japanese pianist Aki Takahashi is an eloquent new-music interpreter who records prodigiously but whose New York recitals are far too infrequent. Perhaps as a way of recognizing that her audience keeps tabs on her work mainly through her CDs, Ms. Takahashi devoted her concert at Le Poisson Rouge on Tuesday evening entirely to music she has recorded, and on her printed program (itself a welcome rarity at this informal club), she listed the discs on which the works can be found. She began with Giacinto Scelsi's ''Cinque Incantesimi'' (1953), a set of assertive, gnarly movements in which short, quietly rumbling bass figures and staccato chord bursts coalesce into surprisingly picturesque miniature dramas. Ms. Takahashi's renderings were muscular at times, and she also brought considerable finger power to Iannis Xenakis's ''Herma'' (1961), with its rapid, pointillistic lines, dramatic pauses and constant shifts of speed and density. [ABSTRACT FROM PUBLISHER]

The jazz musician Sun Ra, ambassador from the Airy Kingdom World Tomorrow, creator of Enterplanetary Solar Exploding Music, and founder of the Astro Intergalactic Infinity Arkestra, is a hero of mine. To my ears he was not only a genius composer, keyboardist and bandleader, but also constantly surprising. One minute he's playing elevator schmaltz; then he's making you float on air; then he's making you deaf. I love that he was a sharp dresser, sort of kingly, sort of queenly, in faux leopard-skin capes and miner's hats with lights. [ABSTRACT FROM PUBLISHER]

When an artist is as gifted and accomplished as the pianist Murray Perahia, he should be cherished on his own terms. Mr. Perahia played a magnificent recital at Avery Fisher Hall on Tuesday night, giving sensitive and exciting performances of works by Bach, Mozart, Beethoven and Brahms. The music lover in me who esteems great pianism could not have been happier. But as someone who also wants the field of classical music to be dynamic and adventurous, I have always been puzzled by Mr. Perahia's conservatism. His forays into 20th-century repertory have been limited, with occasional exceptions, as when he worked with Benjamin Britten in the last years of his life and then became co-artistic director of the Aldeburgh Festival in England during the 1980s. [ABSTRACT FROM PUBLISHER]

Billy Powell, a keyboardist for the Southern rock band Lynyrd Skynyrd, died on Wednesday at his home here, in northeast Florida. He was 56. He called 911 around 1 a.m. on Wednesday to report trouble breathing, the Orange Park police said, and died despite rescue efforts. Mr. Powell had a history of heart problems, and a heart attack is suspected. [ABSTRACT FROM PUBLISHER]

Few pianists approach Philip Glass's music with the level of devotion and insight that Bruce Brubaker brings to it, precisely the reason he gets so much expressivity out of it. On Wednesday night at the Stone, a small experimental-music space on the Lower East Side, Mr. Brubaker performed two of Mr. Glass's major piano works as well as compositions by William Duckworth and Alvin Curran. In an introduction from the stage, Mr. Brubaker said that Mr. Glass's ''Mad Rush,'' from 1979, conveys the perception of two speeds at once while driving, by alternating between forward and sidelong views. That observation works well enough for a piece in which blocks of slow and fast activity simply repeat in alternation. Mr. Brubaker played with a beautiful, even tone and shaped phrases with subtlety. [ABSTRACT FROM PUBLISHER]

The article presents information related to Carol Williams, who is the civic organist of San Diego, California. Williams earned her doctorate at the Manhattan School of Music in New York City in 2001. The organ, which is played by Williams is one of the few in the world that stand out in the open. The city of San Diego is one of the few which is maintaining an old American tradition of having an organist on the city payroll.

The article presents information about the funeral of Billy Preston, a songwriter and keyboardist.

The article provides information about Chick Corea, a keyboard player.

Focuses on the growing number of pianists from China, who are emerging stars with big careers in the U.S.

Discusses the findings of a cache of privately made recordings from pianist William Kapell, a keyboardist who died in a plane crash in 1953 during his return from a concert tour in Australia. Question of whether or not the recordings will be commercially released after they are returned to Kappell's widow; Consideration of how Kapell is admired and respected by pianists all over the world who would love to hear his last works; Praise of Kappell's accuracy in detail and deep sense of lyricism and passion in his work; Preservation of the recordings by retired department store salesman and manager Roy Preston in Melbourne.