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Apple's decision to end its online streaming music service will reverberate across music websites, including those of several leading publications. What will the online community do without the songs?

Abrams' quartet can groove and play pretty, but they can also do free jazz. Their new album is about being part of something bigger, where each player is stronger for all the ways they interlock.

Los Angeles rapper Drakeo the Ruler is out of jail after the district attorney's office offered him a plea deal following three years in jail. He was held on charges that his band constituted a gang.

The music video for the Colombian band's song "Soy Yo" has made headlines this week. The group's Simon Mejia tells NPR's Rachel Martin why it's being called an ode to little brown girls everywhere.

Neil Young may be the hardest man in rock 'n' roll to pin down. Biographer Jimmy McDonough tried his best, but as he tells Scott Simon on Weekend Edition Saturday, he couldn't do it, even in 800-plus pages. But it sure was fun trying.

The New York Subway system is designed to move millions of people quickly and efficiently. But on any given Friday afternoon, trombonist Alex Lo Dico and his jazz band can bring commuters to a complete halt. The subways have been Lo Dico's stage for two decades now, and his philosophy is "swing 'til you drop." NPR's Robert Smith has the first in a summer series of street musician profiles.

Broadcast engineer and music fan Jeremy Ruck is one of the million Americans who've died from COVID-19. His sister Holly Ruck talks about him for our series, "Songs of Remembrance."

Garrett T. Capps produced Santiago Jimenez Jr.'s new album, and the release party will be held at the Lonesome Rose.

Music critic Milo Miles reviews two new collections of tunes from the late Latin pioneers Tito Rodriguez and Tito Puente. The two were rivals on the bandstand of the Palladium, the epicenter of the 1950s mambo craze.

Listening to Davis' propulsive funk, it's apparent that her image was just as important to her albums as a guitar or a keyboard or her voice. In 1975, she seemed to represent her era, but she probably pushed boundaries too far for mainstream music. Here, Meredith Ochs reviews a recent reissue of Davis' groundbreaking album Nasty Gal.