Adam Shatz

By killing Soleimani, Trump has not only supplied the Islamic Republic with a powerful casus belli, he has also reinforced its longstanding narrative of martyrdom at the hands of the Great Satan, and may well help to strengthen the supreme leader’s hand at the very moment that the regime is facing popular anti-Iranian protests in Iraq and Lebanon, and reeling from a series of revolts at home in which hundreds of Iranians were killed by security forces. Not for the first time, the American government has proved an objective ally of Iran’s hardliners.

In December, Okwui Enwezor wrote to me from Munich. He had leukemia. ‘What I miss most,’ he said, ‘is the noise of life humming out there. It’s much too quiet here.’ He died last Friday, aged 55. Since then it’s felt very quiet, both for those who knew him personally, and for the many people who admired his work as a curator and writer. Okwui had a deep, booming voice, and a purposeful one. When he spoke, you listened. It’s hard to imagine not hearing it.

In an interview with a French journalist, Joseph Jarman compared the Art Ensemble of Chicago, the avant-garde jazz quintet to which he belonged, to ‘a cake made from five ingredients: remove one of the ingredients and the cake no longer exists.’ Jarman, who died earlier this month, at 81, after a long illness, was the ingredient that made the band one of the most aesthetically adventurous groups of its era: he put the 'art' in Art Ensemble.

The last set is over, and the club is almost empty. The bassist has already gone home, the drummer is walking out the door. That leaves the saxophonist and the pianist, but they decide they're not done yet. They have more ideas to exchange, more confidences to share. They begin to play again, only this time just for themselves. Do most saxophone and piano duets start out this way? Surely not, and yet the best of them could fool you, with their intimate, nocturnal ambience, their exploration of 'songs of love and regret', as the saxophonist Marion Brown and the pianist Mal Waldron called their 1986 album. On Random Dances and (A)Tonalities, the new album by the pianist Aruán Ortiz and the reedman Don Byron, the music is unapologetically cerebral, like the title.

Five years ago, the alto saxophonist Miguel Zenón was performing with his quartet at a club in Chicago when he was contacted by Julien Labro, a French accordionist based in Canada. Labro was in town making a record with Spektral, a Chicago-based string quartet that specialises in contemporary music. He had arranged a piece by Zenón, a racing tune called 'El Club de la Serpiente', for the session, and wanted to know if he would have any interest in recording it with them. Zenón went to the studio, and instantly clicked with the quartet. 'The guys from Spektral were really on top of the music, which made the session very fun and easy,' he told me. ('El Club de la Serpiente' appeared on Labro's 2014 album From This Point Forward.) When the Hyde Park Jazz Festival commissioned Zenón to write a work for local musicians, 'naturally I thought of Spektral.'