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For legendary jazz musician, Wynton Marsalis, upholding democracy is a lot like playing music in a group. The key ingredient to both, he says, is the act of listening. Music is a unique art form in that it can allow any number of people to participate—another voice for the harmony, another violin for the string section—and it is available to people of all ages, backgrounds and skill levels, too. Of course, music is often called the universal language, but it is also a form of communication that requires attention and practice to keep it alive. Like democracy, Marsalis says, the preservation of music is a precarious act. It can feel fragile or even futile at times. But with vigilance and persistence, progress is made and made again. The shape that progress takes as it unfolds, however, is sometimes hard to predict in a given moment. Today, though, for Marsalis, it’s taken the form of his latest release, The Democracy Suite. The album, which is available now to stream free or purchase, is further evidence of Marsalis’ long career and fight for equitable dialogue.

For Jonathan Russell, front man for the oft-jangly rock band, The Head and the Heart, the conclusion of the band’s 2019 performance atop Seattle’s history Pike Place Market, in many ways, represented the beginning of a new era. In that moment, as he and the group, which formed in Seattle in 2009, looked out at the tens of thousands of audience members from atop the market in the setting summer sun, Russell knew that he and the band had done at least a few things right. But he also wondered about their next chapter. To receive a homecoming like that after significant past internal tumult meant that the music had held true throughout. Looking to his right, Russell saw longtime band member, Charity Thielen, weeping tears of appreciation and joy. But Russell, in some ways, felt confused emotionally. Since then, though, Russell’s perspective as it relates to both the music and the group, have only felt more secure, locked-in.

Even from the beginning, says the classic rapper, Pharoahe Monch, he was inundated with music. For the emcee, who has worked with Eminem, Mos Def, Nate Dogg and many other world-renowned artists, songs of all kinds were everywhere in his house. His older brother listened to Led Zeppelin and Black Sabbath. His other brother listened to funk. His sister listened to the Jacksons. His mom listened to gospel and his father listened to Tony Bennett and Frank Sinatra. Sonic diversity, therefore, is nothing new to the accomplished musician. And that same eclectic sense is displayed artfully on the forthcoming LP, A Magnificent Day For An Exorcism, from Pharoahe Monch’s new all-star group, th1rt3en, which is set for release January 22nd.

When prolific composer and broadcaster, John Tesh, put the camera on the audience, instead of himself, his whole perspective changed. Tesh, while working as a correspondent and host for the popular television show, Entertainment Tonight, would go on assignment to interview artists like Sting, Phil Collins and Elton John. Given access to their private sound checks, Tesh noticed that the musicians would often have handheld cameras pointed at them to record their performances to later critique themselves. But Tesh switched it up. He put the lenses on the crowds and he quickly saw what worked about his live shows and what needed improvement. Today, Tesh says, playing live and engaging with the crowd is what he both loves and misses most about being a professional musician. It’s his relationship with his fans that brings him the brightest light as an artist.

Atlanta rapper and performer, Big Homie Ty.Ni, says she grew up in a family that celebrated both music and the game of basketball. The two endeavors, which have a long relationship going back to hip-hop music in the 90s and before, also often share a general requirement for rhythm and pizzazz in the participant. One glance at Ty.Ni’s knack for both and it’s clear why she’s been so successful of late in garnering a fan following and building a burgeoning musical career.

In December, Ty.Ni released her debut single, “Jelly.” The song and video for which put her shapely body front and center. But, if you examine the track closer, past the jiggling posterior, Ty.Ni’s natural artistry obviously pops out, too. Her voice is a laser; sharp and focused, piercing and bright. Her cadence is both clear and provocative. She’s got game, so to speak, even though she hasn’t always felt confident in displaying those talents in public over the years.

Before he wrote the chilling entrance song for Ebenezer Scrooge in the beloved 1992 movie, The Muppet Christmas Carol, acclaimed songwriter, Paul Williams, quit drinking. Like many before and after, Williams struggled with alcohol and drug abuse. During his career, Williams had earned any number of accolades and praise for his songwriting, but in time, it all stagnated.“I’d spent the 80s slowly disappearing into a career-ending addiction,” he tells American Songwriter. Grateful to be alive, Williams began his recovery. It was a time of healing. And music, for the moment, was in the past. Later, though, with a love for songwriting still in his heart, Williams sought an opportunity and the first place that opened its door was Jim Henson’s Muppets, now at Disney. Williams had worked closely with the Muppets over the years, but there was a new project: the Muppet version of the classic Charles Dickens story. Williams took the job and it helped to reinvigorate his career.

In the early days, when the famed English punk rock band, Buzzcocks, wrote new music, they wanted to be finished by 5:30 PM that afternoon. Because, says early member, Steve Diggle, that’s when the local pubs opened. For the band, which helped usher in the speedy, electrified rock ‘n’ roll movement, which would soon take over the late 70s and early 80s, the daily deadline proved important, almost like a pressure cooker with its timer set to ding. The band members got in the studio, ran through the emotions of the day, and got out to line up at the bar and get their clutches on a pint of Porter or Pilsner. It was their routine and it contributed considerably to the hits the group wrote from 1977-80, including “What Do I Get” and “Why Can’t I Touch It.” These songs and others from that era will be rereleased Jan. 15th via a new boxset on Domino.