A coalition of advocacy groups for artists, songwriters and managers is warning musicians about the growing risks of artificial intelligence music.
Recently, many major record labels have inked deals with AI music startups such as Suno, Udio and Klay. But the coalition, which includes organizations such as the Music Artists Coalition and the Songwriters of North America, argues in a new letter that “artists and songwriters whose works, voices, performances, likenesses and creative identities make those deals valuable are not being meaningfully consulted.”
The letter, released Monday, stated that many artists and songwriters in existing recording and publishing agreements are currently receiving letters from their labels and publishers claiming that they “will be opted in to AI-related uses by default, with little actual choice offered.” Even new artists are receiving agreements that include “AI rights clauses as a standard condition of signing.”
“We support innovation and recognise that AI can create new opportunities for music,” the coalition wrote in the letter. “However artists are not simply catalogue assets, and innovation cannot be used to override artists’ rights.”
The National Independent Talent Organization, a live entertainment advocacy group that signed the letter, said many of its members are coming to the organization with label contracts that include “non-negotiable AI usage clauses.”
“We can’t allow for contract language signed decades before this technology existed to be the standard bearer. These rights belong to the creators and they get the final say on usage,” said Nathaniel Marro, NITO’s executive director, in a statement to The Times.
“Music companies are leading the fight to protect artists’ and songwriters’ rights in the age of AI,” said a spokesperson for IFPI, the recording industry’s global trade body.
“While our members have taken different approaches, they share the same fundamental objectives: combating the unauthorized use of music and establishing licensing models that return revenue to artists and songwriters,” the IFPI spokesperson added.
The coalition is asking the industry to move forward on AI deals only under four conditions: that musicians directly consent to any agreement; that artists receive fair compensation; that there be transparency between the companies and the talent; and that companies make a public commitment to end contracts built on default AI opt-ins and forced AI clauses.
“Artists need a real seat in these conversations, clear terms on revenue share, and the ability to say no without losing their deal,” said Ron Gubitz, the Music Artists Coalition’s executive director, in a statement.
A little over two weeks ago, the American Federation of Musicians sued Universal Music Group and Warner Music Group. The complaint claims the major labels “received significant compensation” from the AI companies for past copyright violations and licensed “substantial” portions of their music catalogs to them, but haven’t shared that with the musicians.
Despite the confrontational tone of the letter, some signatories struck a more conciliatory note. Overall, the industry seems to be receptive to these AI changes, said Willie “Prophet” Stiggers of the Black Music Action Coalition, another signatory advocacy group. At this point in AI’s development, he added, everyone in the industry — from artists and labels to AI start-ups and policymakers — has a responsibility to establish effective guardrails.
“The companies building these technologies understand that trust is essential to long-term success, and trust begins with respecting creators’ rights,” Stiggers said in a statement to The Times. “There’s still important work ahead, but we’re encouraged that the conversation has shifted from whether protections are needed to how we build them together.”
“The structures being created now will shape the music ecosystem for years to come,” the coalition’s letter said. “The future of music must be built with artists, songwriters and their representatives, not imposed on them.”
Times staff writer Wendy Lee contributed to this report.
JOHANNESBURG — Globally celebrated South African jazz icon Abdullah Ibrahim has died at age 91, his family announced in a statement Monday.
Ibrahim, formerly known as Dollar Brand, passed away peacefully in Germany following a short illness, surrounded by loved ones, the statement issued on behalf of his family said.
As one of South Africa’s most respected jazz figures, he famously played at Nelson Mandela’s 1994 presidential inauguration. Mandela referred to Ibrahim as “our Mozart.”
His final public concert in South Africa took place at the Cape Town International Jazz Festival in March, when he once again captivated audiences with the musical skill that defined his career.
Paying tribute to her partner, Dr. Marina Umari said he “passed away peacefully with South Africa and its people in his heart.”
“His love for his country never wavered, no matter where in the world he found himself,” she said.
His family said that even though his life is over, his influence and voice would continue to resonate around the world.
South African President Cyril Ramaphosa paid tribute to the musician, praising his contribution to the anti-apartheid struggle and acknowledging his lasting impact through music.
“Today our nation mourns the passing of an international icon and global citizen whose profound creations honored the South Africa that shaped his political commitment and musical brilliance,” said Ramaphosa.
Born Adolph Johannes Brand in Cape Town on Oct. 9, 1934, Ibrahim rose to international prominence as a pianist, composer and bandleader. With a career spanning more than seven decades, he forged a unique blend of jazz and South African musical traditions, making him a cultural ambassador whose music struck a chord with listeners worldwide.
Ibrahim’s mother Rachel Brand was mixed-race and under the apartheid system he was classified as “colored,” which afforded him certain social privileges that were denied Black South Africans. He was raised by grandparents and was told Rachel was his sister, only learning the truth in adulthood. Influenced by his grandmother and mother playing piano at the AME Church in Kensington, a Cape Town suburb, Irbrahim began piano lessons at age 7 and made his professional debut at 15.
In 1959 and 1960, he played with saxophonists Kippie Moeketsi and Mackay Davashe, trumpeter Hugh Masekela, trombonist Jonas Gwangwa, bassist Johnny Gertze and drummer Makaya Ntshoko in the Jazz Epistles. The group recorded the first full-length jazz LP by Black South African musicians, “Jazz Epistle — Verse 1.” The South African government began targeting jazz groups as part of increasing state repression, and following the Sharpeville massacre in March 1960, the Jazz Epistles broke up.
During this time, Ibrahim met jazz singer Sathima Bea Benjamin and the pair moved to Europe. The following year, in Zurich, Switzerland, Benjamin convinced Duke Ellington to come see Ibrahim perform with the Dollar Brand Trio. Impressed, Ellington helped arrange a recording session with Reprise Records, later released as “Duke Ellington presents The Dollar Brand Trio.”
In 1965, Ibrahim and Benjamin married and moved to New York. He played at the Newport Jazz Festival and toured throughout the U.S. In addition to playing with, and, on occasion, leading the Duke Ellington Orchestra, Ibrahim interacted with such musicians as Don Cherry, Ornette Coleman, John Coltrane and Pharoah Sanders, and was influenced by the Black Power movement, incorporating African elements into his jazz. His compositions also reflected the influence of Ellington and Thelonious Monk.
The musician returned briefly to Cape Town in 1968 and converted to Islam, changing his name from Dollar Brand to Abdullah Ibrahim. As an expatriate, he toured the world for decades, appearing at major venues and working with classical orchestras in Europe. His composition “Mannenberg” became noteworthy as an anthem of South Africa’s anti-apartheid movement.
In 2009, Ibrahim received an honorary doctorate in music from Wits University and the Order of Ikhamanga, a prestigious civilian award, from former President Jacob Zuma in the same year.
Ibrahim was named a Jazz Master by the National Endowment for the Arts in 2019.
Alan Winde, the mayor of the Western Cape, where Ibrahim’s hometown is located, honored the performer and commended him for capturing South Africa’s cultural richness and history in his music.
“South Africa has lost a legend,” Winde said. “Abdullah Ibrahim represented everything that makes South Africa and the Western Cape so remarkable. His music told the story of our unique cultural diversity and past.”
Ibrahim is survived by Umari; his son, Tsakwe, a musician; and his daughter, Tsidi, a rapper who goes by Jean Grae.
According to his family, Ibrahim will be laid to rest in the German state of Bavaria, where he lived.
Oliver Tree, a genre-defying singer-songwriter and Santa Cruz native, was one of six people killed when two helicopters collided Sunday morning in Brazil, according to the Associated Press. He was 32.
Tree, a quirky artist known for his highly theatrical music videos and crisp bowl cut, had been traveling through South America as a part of his world tour. CNN Brazil reported Argentinian YouTuber Gaspar Prim, also known as Gaspi, was among those killed in the crash.
The mid-air collision occurred in Rio de Janeiro, with one of the helicopters landing in the parking lot of a car dealership, the AP reports. Local authorities have launched an investigation into the cause of the crash.
Tree, born Oliver Tree Nickell, broke out in the electronic music world first performing as, simply, Tree. He released an e.p., “Demons,” in 2013, which included a cover of Radiohead’s “Karma Police.” He later attended CalArts north of Los Angeles, and signed to Atlantic Records for his major-label debut e.p. “Alien Boy” in 2018.
To find his distinct look, he told the Santa Cruz Sentinel that “I was making a statement with it. Everybody’s trying to look so beautiful and sexy nowadays. It was my way of rebelling against that. So, I tried to make myself look as silly and ridiculous as possible.”
Tree was an instant hit on the festival circuit for his outlandish stage productions and outsider charisma, performing at Lollapalooza, Coachella and Outside Lands. He collaborated with Skrillex, David Guetta and Zeds Dead, and was fiercely protective of his meticulously weird visual identity and video concepts, telling Rolling Stone that “That’s kind of my signature. The people who do f- with me know me because of my videos..Music is my day job but my real dream is to be making feature films.
He released his major label debut LP, “Ugly Is Beautiful,” in 2020. His hit song “Life Goes On” and collaboration “Miss You” with German DJ Robin Schulz earned him international recognition and climbed onto the Billboard Hot 100. He released four full length albums as Oliver Tree, most recently April’s independent LP “Love You Madly Hate You Badly.”
Tree had performed in Buenos Aires on June 4.
From July to October, he had shows scheduled throughout Europe, Australia and China. This year, he performed at the Coachella Valley Music and Arts Festival this year as a special guest of electronic producer Subtronics. In one of his last social media posts, he made a point to spotlight an upcoming show on Aug. 9 in his hometown at the Quarry Amphitheater at UC Santa Cruz.
“I can’t believe Oliver is gone,” Schulz posted on Instagram. “You were such a lovely soul and a one of a kind character. Working with you on ‘Miss You’ was an honor. My deepest condolences to his family, friends and everyone who loved him.”
Musicians have been left out of settlements between major record labels and AI companies, a new lawsuit alleges.
The American Federation of Musicians of the United States and Canada (AFM), which has 70,000 members, said Universal Music Group and Warner Music Group “received significant compensation” from the AI companies for past copyright violations and licensed “substantial” portions of their music catalogs to them, but haven’t shared that with the musicians.
UMG and WMG sued AI companies Udio and Suno in 2024, accusing them of copyright infringement. Both companies settled with Udio last year. In November, WMG announced a partnership with Suno, but Universal Music Group’s lawsuit against Suno is pending.
“While the Defendants protected their own interests and created a significant source of new revenue with the retrospective settlements and prospective licenses, they have refused to compensate the musicians whose work — created with their own instruments and through their talent, creativity, and hard work — is fed into AI machines for profit,” AFM said in its lawsuit, filed in U.S. District Court in New York on Friday.
AFM said it believes the AI settlements fall under the “new use” provision of its collective bargaining agreements, which requires music companies to notify the union of new licenses for purposes not covered by the contract and to compensate musicians, whose work was used to train AI models.
UMG and WMG said in statements that they are in negotiations on a collective bargaining agreement with AFM.
“Warner Music Group is growing the value of music by establishing guardrails and architecting a healthy AI ecosystem on behalf of artists everywhere,” the company said in a statement.
Universal Music Group said it will continue to work to resolve issues during the negotiations.
“Universal Music Group has been at the forefront of protecting the rights and advancing the interests of artists and songwriters in the age of AI — striking responsible AI licensing agreements to ensure they are compensated, leading the charge for legislation to further protect them and taking legal action against bad actors,” the company said in a statement. “We expect to continue our strong working relationship with the AFM built on mutual respect for the talented musicians in our industry.”
AI has become more popular among consumers, dramatically changing the landscape in the entertainment industry. Many startups have popped up allowing users to type text prompts into AI systems to generate original songs, video clips and stories.
Some creatives say the AI tools help them brainstorm or illustrate bold ideas on a budget. But critics have raised concerns about whether AI systems are trained on copyrighted works without permission or payment to artists. Others are worried AI could eliminate their livelihoods.
Udio said it would create a new platform that would train on licensed and authorized music with artists having the ability to opt-in. Suno agreed to change its platform, launching new licensed models, and place download restrictions.
Bradford Auerbach, a partner at law firm OGC, said he expects to see more of these types of lawsuits filed by unions.
“You’ve got the unions always protecting the status quo, so you’ve got this invariable conflict of new technology coming in, and moving the cheese for a lot of people that were accustomed to having their business set up the way it was,” Auerbach said.
Attorneys for musician Chuck Redd say a D.C. Superior Court judge dismissed a breach of contract lawsuit filed against the artist after he canceled a Christmas Eve performance at the Kennedy Center in protest of President Trump’s influence over the venue.
The dismissal was granted Friday under Washington’s Anti-SLAPP laws, which are designed to prevent meritless lawsuits intended to silence opposing points of view on matters of public interest.
Redd, a drummer and vibraphone player who has toured with Dizzy Gillespie, Ray Brown and others, had presided over holiday “Jazz Jams” at the Kennedy Center since 2006. He called off last year’s performance shortly after Trump’s handpicked board for the Kennedy Center voted to add the president’s name to the venue, which Congress named for President Kennedy after his assassination.
“The Center sued Mr. Redd because he publicly and rightly objected to adding Donald Trump’s name to the Kennedy Center, a living memorial to former President John F. Kennedy,” Lisa J. Banks, one of Redd’s lawyers, said in a statement. “The lawsuit against Mr. Redd was political retribution, pure and simple, by the Trump Kennedy Center, and the Court correctly saw it as such in dismissing the case with prejudice.”
Redd told the Associated Press in an email Saturday that he is “very pleased with the judge’s ruling.”
The motion to dismiss, filed in March, argued that Redd wasn’t contractually obligated to perform. It included the contract provided by the Kennedy Center, which the artist never signed.
Representatives for the Kennedy Center did not immediately respond to a request for comment on the suit’s dismissal.
Some are calling the controversy over Olivia Rodrigo’s recent outfit choices babydoll-dress-gate, Olivia Rodrigo calls it “weird.”
The dress debacle kicked up in early May when Rodrigo released the music video for “Drop Dead,” in which she runs through the Palace of Versailles wearing a pink-and-blue ruffled babydoll set while singing about the intensity of a crush. Then on May 8, she wore a cottage-core pink-and-white floral babydoll dress with knee-high Dr. Martens during a live performance in Barcelona.
Rodrigo was drawing from subversive feminist and punk fashion of yore, but internet critics were quick to slam the “deja vu” singer, saying the ensemble was sexualizing child-like imagery. In an hour-and-a-half interview with the New York Times Popcast that dropped on Thursday, Rodrigo staunchly defended the dress and called the criticism disturbing.
“I have worn outfits that are maybe revealing on stage, like I’ve been on stage in a sparkly bra and little shorts — which is my right — that’s fun,” she said. “I felt cool and comfortable in that, and that wasn’t inappropriate, but me fully covered up in a dress that people deemed to be, like, childlike was inappropriate, and I think it shows how we really normalize pedophilia in our culture.”
Rodrigo further decried the criticism as rhetoric that girls are fed from a young age, “which is ‘don’t wear that, because then a man is going to sexualize your body, and it’s your fault’ — it’s so weird.”
Rodrigo said she didn’t think she looked “sexy” in the babydoll dress; she was going for a cool look à la Kathleen Hannah or like Courtney Love, musicians whom the pop star said are her heroes. Love appeared to defend Rodrigo on social media by resharing posts defending the singer-songwriter in since-expired Instagram stories.
“I just think if we start dressing in a way that’s like, ‘Oh, I don’t want some f— freak to think that I am sexy like a baby’ or some crazy thing like that, I think it’s losing the plot a little bit,” she said. “I’m very protective of younger women and girls, and I don’t ever want them to be fed that rhetoric. You shouldn’t be responsible for some guy sexualizing you in a way that was never your intention.”
Rodrigo’s third studio album, “You Seem Pretty Sad for a Girl So in Love,” which features hit singles “Drop Dead” and “The Cure,” will be released June 12.
INTERLOCHEN, Mich. — A Michigan summer arts camp and boarding school where Jeffrey Epstein has been accused of meeting at least two of his victims will tear down a lodge that once bore his name.
The Interlochen Center for the Arts said this week that its board of trustees has approved a plan to demolish the Green Lake Lodge, which had been known as Jeffrey E. Epstein Scholarship Lodge until the school cut ties and scrubbed references to the late millionaire sex offender after his first conviction in 2008.
Epstein attended the Interlochen Arts Camp in 1967 as a teenager, and donated more than $400,000 to the school between 1990 to 2003, including $200,000 for the construction of the lodge.
“The lodge has, over time, come to carry associations that are not reflective of who we are as an institution or the values we strive to uphold,” Interlochen said in a statement. “After careful consideration, the Board determined that removing this structure in a safe and timely manner is the right step for Interlochen at this time.”
A world-renowned destination for young artists, actors and musicians, Interlochen’s alumni include Grammy winners Chappell Roan and Norah Jones and Oscar winner Da’Vine Joy Randolph.
At least two of Epstein’s accusers have said they met him at Interlochen in the 1990s.
The school said it was aware of news reports about the women’s claims and said it has invited them to speak with an independent investigator as part of an external investigation into reports of historical misconduct at Interlochen.
A pair of internal reviews, most recently after Epstein’s sex trafficking arrest in 2019, found no reports of misconduct at Interlochen involving Epstein in its records, the school said.
Epstein visited Interlochen periodically, often with his confidante and former girlfriend Ghislaine Maxwell, and stayed in the lodge now marked for demolition.
According to correspondence included in the Justice Department’s recent release of Epstein-related records, he directed that tuition for at least one student be paid out of his donations and once flew violinist Itzhak Perlman to the school on his private jet.
Epstein killed himself in a federal jail in Manhattan in August 2019, a month after being indicted on federal sex trafficking charges. In 2008 and 2009, he served jail time in Florida after pleading guilty to soliciting prostitution from someone under the age of 18.
Maxwell was convicted in 2021 of sex trafficking for helping to recruit some of Epstein’s underage victims, and is serving a 20-year prison sentence.
Thirty-five years after his death, jazz giant Miles Davis, who would have turned 100 years old Tuesday, remains a truly larger-than-life figure in music and well beyond.
Still possessor of the biggest-selling jazz record in history, “Kind of Blue,” Davis casts a huge influence over the whole music world for his uncompromising artistic vision, constant evolution, style and more. Though he came from jazz, he may be the biggest rock star there ever was. Talk to any musician, regardless of genre, and they will tell you Davis defined swagger and cool. He had a vibe unlike that of anyone else.
In honor of Davis’ centennial, The Times spoke to an array of notable artists from all walks of music, some who knew and played with him, some fans of the man, but all agreed, Miles Davis was and is a singular force in music, an artist like no other in his vision, passion and feeling for the music. In short, there was only one Miles Davis.
‘A complete innovator’
Chuck D, rapper: I like Miles Davis and all the exterior aesthetics. I like the Blue Note album covers, Prestige album covers, his style, his way of life.
Cindy Blackman Santana and her husband Carlos Santana in 2019.
(Ethan Miller / Getty Images)
Cindy Blackman Santana, drummer: Stylistically, Miles was a complete innovator. I remember hearing him say that he didn’t play right if he wasn’t dressed right. That is completely something that inspires me as well, because it becomes not only what you’re putting out on your horn or your drums or your guitar or your piano, but it’s your whole being that is expressing this innovative approach to music and to life.
Bilal, singer: If you play the music you’ve got to look the part, and it was almost like he got into a movie role or something like that. But he was always into the clothes … It was almost like every era had a different outfit. But, yeah, I definitely take his style. The clothes make you feel a certain way to play that way. So that’s the vibe. You’ve got to have that character, that attitude.
Emmet Cohen, left, performs with Terence Blanchard at Lincoln Center in 2025.
(Slaven Vlasic / Getty Images for Find Your Light)
Emmet Cohen, pianist and composer: I think when you listen to Miles’ records you can really appreciate them all the way through and there’s something in there for all sides of humanity. Whether it was the Prestige records that he pumped out in a couple of days, or there was “Birth of the Cool,” he just knew how to assemble musicians and let them tell their stories. And the storytelling is really where I think the deepest connections are made. He was a rock star, but he had a story to tell. And that always comes first.
‘Always evolving’
Guitarist Lenny Kaye performs onstage at Carnegie Hall in 2023.
(Noam Galai / Getty Images for Tibet House US)
Lenny Kaye, guitarist: He started in the bebop era, with the immortals of that moment in time. But I always got the sense that he was looking for something else. He didn’t want to participate in the faster-than-light speed changes and virtuosity. So, I really respect the fact that when he moved into “Birth of the Cool,” he pulled it back so he could inject more of his human self into it. And over the years, he kept on doing that, “Sketches of Spain,” “Kind of Blue,” one of the most jazz friendly records of all time.
Flea, bassist: Every time Miles changed it up, he destroyed everything that came before. He is the ultimate artist, always evolving, always coming organically from the depths. His music is the warmest and the wildest.
Flea of the Red Hot Chili Peppers released a solo jazz album in March.
(Allen J. Schaben / Los Angeles Times)
Bilal: I really like his electric era, but I would say I keep discovering and rediscovering stuff from Miles that I’m just like, “Damn, man. It’s like it’s another artist because he went through so many different changes.” … The other day I found his “Sketches of Spain” record. I put it on. I was like, “This is crazy. I forgot he was into this too.”
Wyclef Jean, rapper: When you go through Miles’ whole catalog, you see you can have quiet days. You can have loud days. You can have explosive days. But the key is that consistency. And that discipline.
Kaye: I respect Miles. For me, he’s an artist that transcends the jazz genre. He’s so alert to the shifting moods of the culture, the directions of the music. And what I find fascinating about him is his ability to morph into new styles and to keep challenging himself. One thing about Miles is that he doesn’t repeat who he is.
Musician Ron Carter in 2011.
(Theo Wargo / Getty Images)
Ron Carter, bassist: We always thought that we were honored to have Miles hire us out of other guys who were available to him. The first few gigs, we had a couple of weeks up and down the West Coast, and everybody but Miles was trying to find out what the tunes were, what the changes were. I was just trying to do what I thought was necessary to make this guy think he hired the right guy and make the band sound good. … Whatever his method was, it was successful.
Ibrahim Maalouf, trumpeter:Quincy [Jones] always spoke about Miles not just as a genius, but as someone who knew when to move on. And that’s a lesson I still carry with me every day.
Kaye: In “Bitches Brew” he created the template for what would be jazz fusion and made rock ‘n’ roll an important part of his evolution. Just an artist who never stands still and that is what I personally respect and honor within his work. When he saw what an artist like Jimi Hendrix was doing, he thought, ‘Yeah, I know how to access that and not be Jimi Hendrix. I can be myself.’ He understood the tides of cultural transformation as much or better than most musicians of the 20th century.
Don Was performs onstage at Ryman Auditorium in Nashville in 2022.
(Jason Davis / Getty Images for Americana Music)
Don Was, musician and producer:In life, as exemplified by music, if you don’t change, you stagnate. And the thing about Miles that really stands out, I think, is that he was always willing to risk losing his audience in order to keep moving forward. He was courageous in every era, including eras when maybe courage wasn’t held at a premium.
‘More than that’
Maalouf: For me, as a trumpet player, of course, the musical influence; space, phrasing, silence, we can talk about this for hours. But I think that more than that, there’s an attitude.
Ibrahim Maalouf performs at the Paris 2024 Cultural Olympiad at L’Olympia on July 24, 2024, in Paris France.
(Julien M. Hekimian / Getty Images)
Trombone Shorty, musician: Miles has inspired me because of that attitude, ‘I’m going to do what I want.’ He was playing what he felt in whatever time period or whatever decade he was inspired by. He really embraced that tremendously. And that’s always the thing that I admire about him as a person and as a musician. Whatever the spirit is, he’s going to go with that. That’s what I always got from Miles.
Nas, rapper: With Miles it wasn’t just about the music he made, it was about how he carried himself as an artist and a pioneer. His impact on me personally is as much on a human level as it is on the artist level.
Trombone Shorty performs at the Anaheim Convention Center in 2015.
(Jesse Grant / Getty Images for NAMM)
Trombone Shorty: The swagger, he may have created the swag.
Vince Wilburn Jr., nephew and drummer, who now co-manages Davis’ estate: He liked to catch things, that’s why the tape kept continuously rolling, because he said it was songs inside of songs.
Carlos Santana, guitarist: “I recommend that people who never heard of Miles Davis, I’ll say start with “Kind of Blue,” then move on to “Bitches Brew.” Because the thing about Miles Davis is that he teaches people who have never meditated how to stop and be coherent about absoluteness. In one note, Miles can play absoluteness. One note for Miles, like Billie Holiday, like Cindy says, that’s enough to understand all the whys and all the reasons why it’s sacred to be alive.
Was: He probably changed the face of music more than anybody did, at least four or five times. Maybe more than that. It’s a combination of mastery and an unstoppable spirit of adventure that I think make him unique. Because he was absolutely a master of harmony, rhythm, of creating a vibe. Yet he loved upsetting the cart and I think went out of his way to create friction musically, within the band, to keep things stirred up constantly and make every day an adventure. It requires tremendous courage. But also, supreme excellence to do it on the level that he did with the level of musicians that he surrounded himself with. That’s another thing, too. He wasn’t just the most innovative man on the horn. His genius was also as a curator of human chemistry.”
‘Larger than life’
Musician Wyclef Jean performs in 2023.
(Christian Petersen / Getty Images)
Jean: The main thing that I learned from Miles at a very young age is just the braveness, you can’t be scared to just go. Going doesn’t just mean learning one part of it. It means learning the entire metrics. … When it comes to Miles, he’s just a complete teacher; even on how he sees art, how he sees shapes, and also there’s a whole part of Miles that’s tough love when it comes to it. So, all of that instills character.
Bilal: As an older musician, you could see all of the building blocks are in those records. If you take some of those records out, I don’t know where jazz would be. You can see the essential building blocks.
Izzy Escobar, singer: Miles Davis made jazz feel cinematic to me. When I listen to songs like “It Never Entered My Mind” or “Flamenco Sketches,” there’s mystery, romance, restraint and tension in every note. Nothing feels overdone, yet somehow it says everything. As a songwriter, that’s deeply inspiring because the best music doesn’t just sound good … it creates an entire world you can step into. I think that’s why his influence has lasted a century. His music still feels fearless, elegant and emotionally alive — all of which never go out of style.
Jorma Kaukonen, guitarist: I had always thought of jazz as somewhat of a haughty art form. Probably because at the time many of the time signatures and chordal progressions that Miles used were over the head of a young guitar player still functioning in the blues and folk idioms. … The growing rock and art movement in the Bay Area in that era taught us to eschew boundaries and labels, and it became possible to see similarities and possibilities with jazz music that would have gone previously unnoticed. Our harmonic tendencies were nowhere near as complex, but they were rapidly becoming more sophisticated thanks to our exposure to such great improvisers as Miles! Miles knew no boundaries.
Jean: One thing that I learned from Miles is someone can have the best technique. They could be moving around. But if you can dig and play from your soul, this instrument just becomes a vessel of sound and orbit, bro, it’s over. There’s a connection with the soul. And I wouldn’t be able to do that, bro, if I didn’t have people like Miles to really teach me how to hear.
Theo Croker plays trumpet the Kennedy Center in 2018.
(Paul Morigi / Getty Images for Thelonious Monk)
Theo Croker, trumpeter: He was definitely a larger-than-life figure. And it encourages me to be a larger-than-life figure. Growing up as a kid, we sit in a room all day and play trumpet for hours. You see somebody like Miles Davis and you’re like, “Wow, I can be a rock star.” Because I couldn’t sing, otherwise, you end up being a pop star, Prince, Michael Jackson and Stevie and all that. But Miles was that for the trumpet, of course. So, it’s so much bigger than music.
Musician Mia Doi Todd performing in 2012.
(Paul Redmond)
Mia Doi Todd, musician and singer: Miles Davis was such an outstanding band leader, bringing together a group of musicians and seeking to break the boundaries. That is what I look to him most for as a celestial mentor, being a band leader and creating those sonic landscapes. The records that I love most of his are from that electronic jazz fusion era, which weren’t his most popular at the time. I love “On the Corner.” I’m a person of mixed race, so the records that he was bringing together, all these different musical elements, those are the ones that I really admire … “I wish I could play in that band.”
Maalouf: There’s this idea that music is not about providing something. It’s about searching. It’s about staying alive artistically. I think that strength goes far beyond music, it’s really a message for all the musicians that we are. Never stay where people expect you to stay. Every time the audience thought they understood him, he changed direction. And I think that’s definitely one of the most inspiring parts of his musical life.
Was: I never met him. But he was a heroic figure to me as a teenager, very much in the same way that simultaneously, like Bob Dylan and the Rolling Stones were, or John Lennon was, or Allen Ginsberg was.
Bilal performs in New York City in 2023.
(Roy Rochlin / Getty Images)
Bilal: That [artistic vision] is a major influence that I take from Miles. … I always approach the music in that way where you got to do your own thing. You’ve got to have something to say, and you’ve got to want to evolve and always look for ways to grow and change and with the music. Miles was quintessential at that.
Trombone Shorty: To me, Miles Davis was a real rock star. It just wasn’t the sound. When he walked on stage … he looked the way that the music sounded to him. … And as he grew, he just really embraced everything that was coming to him, and he didn’t run away from it. He wanted to have his influence and also be tremendously influenced by things that were happening. He was just the coolest; when they say cool, Miles Davis has to be next to that word.
‘Playing within the language that he created’
Nas performs in New York City in 2018.
(Bennett Raglin / Getty Images for Jenn-Air)
Nas: I think Miles’ impact on every inch of music after him is the most impressive part. Musicians from every genre speak on his influence. It has no language or cultural barriers.
Jean: I would literally tell everybody to do a deep dive and start with early Miles, start from the bebop and the blues, don’t just go in. I started my daughter with “Birth of the Cool.” Now she’s vibing and slowly working her way up.
Musician Vince Wilburn Jr. in 2011.
(Theo Wargo / Getty Images)
Wilburn Jr.: Style, creativity, forever evolving, ever looking back, unapologetic. Lenny White used to say everybody wanted to live and be like Miles, all the musicians. You have Miles, and then you have everyone else.
Santana: Miles is what I call a sacred rascal, a divine rascal, a genius. When I’ve been in the room with Herbie [Hancock], Wayne [Shorter] and Tony [Williams], and the name Miles comes up, they all stop. It has such an impact on all of them to this day it shows that Miles is Da Vinci, Stravinsky, Picasso. Collect all the geniuses of this planet, and that’s what Miles is in one note. In one note, he reveals more because in one note, he teaches an individual how to hug infinity with emotions.
Kaye: I think of him as a lodestar for someone who wants to continually move music forward into the future because that’s what music is about. When you play music, you’re moving from one note to the next and creating the future of that piece. I just find Miles a fascinating creature of transformation. Miles, for all his artistic innovation, was a pop star.
Maalouf: Miles Davis’ legacy is not only a sound, it’s a mindset. He gave all of us the permission to be many people in one lifetime. It feels to me it’s the secret and he was generous enough to do it himself and show the world and especially the jazz world that is not always easy to please that someone can be many people in one lifetime. It’s not only true for music. It’s true for everything in life.
Cohen: He’s always on the cutting edge of the next thing and the next group of musicians that he finds. The story in that is that there’s constant change, constant evolution, and to find the thread throughout is kind of the meaning of life. And to play his music is the same thing. He created a language. So, when we play his music, we’re playing within the language that he created.
Was: “That’s why he’s that cat. He’s the most rebellious musician of all time, I think. He was the complete package man, no one more innovative or influential.
The global pop star’s company, TAS Rights Management, filed three new trademark applications last week, per the U.S. Patent & Trademark Office. Two of the applications relate to soundbites of her voice, saying the phrases “Hey, it’s Taylor Swift” and “Hey, it’s Taylor.” The other is a well-known image of Swift, often representative of her recent Eras tour, featuring the 36-year-old onstage, holding her pink guitar and dressed in a shimmering bodysuit.
In January, the “Interstellar” actor secured eight trademarks for his likeness, including images of him smiling and the iconic recording of him saying, “Alright, alright, alright,” from the 1993 movie “Dazed and Confused.”
“My team and I want to know that when my voice or likeness is ever used, it’s because I approved and signed off on it,” the actor told the Wall Street Journal in January. “We want to create a clear perimeter around ownership with consent and attribution the norm in an AI world.”
Registering a trademark for a celebrity’s speaking voice to defend against the prospect of AI-voice generation is a novel legal approach that has not yet been tested in court. Representatives for Swift did not respond to a request for comment on the intent of the recently filed trademarks. But Josh Gerben, one of the first attorneys to report Swift’s latest legal moves, said this is one of the growing gaps in intellectual property protection that AI can exploit.
Before AI infiltrated the internet, musicians, like Swift, would typically rely on copyright law to help prevent the unauthorized use and distribution of their music, while right to publicity laws would protect them from unlawful commercial use of their likeness. But with AI, users can manipulate people’s voices and images to sing or say practically anything.
So if McConaughey has a trademark on his voice saying a phrase, then theoretically any AI-generated voice that sounds similar to it could be considered a violation of that trademark, according to Gerben.
“If they have this trademark protection in place, then the [AI] platforms can’t use that same voice to create new content,” Gerben said. “Every celebrity would essentially have to go and do the same thing, but it’s trying to cut this off at the source as much as possible.”
Variety first reported news of Swift’s trademark filing.
As one of the most popular musicians, Swift has dealt with her share of unauthorized AI-generated content. She was previously one of the many female celebrities whose likeness was among several of Meta’s AI chatbot virtual celebrities. The illicit chatbots allegedly produced pornographic images. Before the 2024 presidential election, Donald Trump also shared AI-generated images of Swift falsely suggesting that she had endorsed him, including one of her dressed as Uncle Sam with the words, “Taylor wants you to vote for Donald Trump.”
Because Swift is such a recognizable public figure, Luke Arrigoni, the chief executive of Loti AI, a tech company that focuses on likeness protection, said trademark filings like these aren’t merely defensive but rather a setup for a long-term protective infrastructure.
“By locking down these trademarks now, she’s ensuring that if a brand wants to use a ‘Swift-like’ AI voice in 2027, they’ll have to go through her authorized gates or face federal trademark infringement,” Arrigoni said in a statement. “She’s essentially putting a price tag on her digital self, and that’s exactly where the entire talent industry needs to go to survive.”
Dave Mason, a founding member of the British psychedelic rock band Traffic who wrote some of their best-known songs including “Feelin’ Alright?” and “Hole in My Shoe,” has died. He was 79.
The singer and guitarist died Sunday at his home in Gardnerville, Nev., his publicist confirmed to the Associated Press. No cause of death was given.
“On Sunday, April 19, after cooking an amazing dinner with his beloved wife Winifred, [Mason] sat down to take a nap with sweet Star (the maltese) at his feet,” said a post shared Tuesday on the musician’s Instagram page. “He passed away peacefully, in his favorite chair, surrounded by the beautiful Carson Valley that he loved so much. A storybook ending. On his own terms. Which is how he lived his life right up until the end.”
“He leaves a lasting imprint on the soundtrack of our lives and the hearts he has lifted. His legacy will be cherished forever,” the tribute concluded.
Mason canceled his 2024 tour dates after doctors “detected a serious heart condition” during a routine check-up that required “immediate medical attention.” He was expected to make “a full and successful recovery” after treatments. He later announced his retirement from touring in 2025, citing “ongoing health challenges.”
Born May 10, 1946, in Worcester, England, Mason was a teenager when he joined singer and keyboardist-guitarist Steve Winwood, drummer Jim Capaldi and woodwind player Chris Wood to form Traffic in 1967. The band was known for its psychedelic sound that blended elements (and instruments) of rock, blues, R&B and jazz.
Mason was inducted into the Rock & Roll Hall of Fame in 2004 for his work with Traffic, but the musician had a fraught history with the group.
“We did some good stuff,” Mason told The Times in 1995. “We were young kids. The first song I wrote was their first big hit in England (‘Hole in My Shoe’). But I was only 19 years old and couldn’t handle all the fame, really. It was just too much.”
He explained that after he left the band the first time, he was asked to come back because “they didn’t have enough songs for a second album,” while he had written “five or six” including “Feelin’ Alright?” The song, now considered a classic rock staple, has been covered by multiple artists including Joe Cocker, Huey Lewis, the Jackson 5, Gladys Knight & the Pips and Grand Funk Railroad.
“Then I found out that Steve [Winwood] didn’t really care for my stuff,” Mason said. “From my point of view, I think [our] differences made something better. … But it just pulled too much I suppose, and they couldn’t work it. I was more or less forced into having to leave.”
Mason’s subsequent solo career included three gold albums: his 1970 debut “Alone Together” — which featured hits like “Only You Know and I Know,” “Shouldn’t Have Took More Than You Gave” and “World in Changes;” 1974’s “Dave Mason” and 1978’s “Mariposa de Oro.” His 1977 album “Let It Flow” was certified platinum.
He also collaborated with other notable acts such as Eric Clapton, George Harrison, Jimi Hendrix, the Rolling Stones, Delaney & Bonnie and Friends, Joe Cocker’s Mad Dogs & Englishmen, and Fleetwood Mac.
Winwood shared a tribute to his bandmate on Wednesday on Instagram.
“Dave was part of Traffic during its earliest chapter, and played an important role in shaping the band’s sound and identity during that time,” said the caption accompanying a photo of a young Mason. “His songwriting, musicianship and distinctive spirit helped create music that has lasted far beyond its era, and continues to mean so much to listeners around the world.”
“Those years remain a special part of the band’s story, and Dave’s contribution to them is not forgotten,” Winwood continued. “His place in that history will always be remembered, and through the music, his presence endures.”
Mason is survived by his wife, Winifred Wilson, daughter Danielle, nephew John Leonard, niece Michelle Leonard and his brothers-in-law, Sloan Wilson and Walton Wilson.
