From songs such as Charles Mingus' "Fables of Faubus" to full albums such as Max Roach's We Insist! Max Roach's Freedom Now Suite, jazz has been a voice for social issues and protest. Ann Arbor saxophonist Tim Haldeman makes a strong statement on his new album, Open Water As a Child, a brilliant suite that rages against the Flint water disaster.

He originally presented the suite at the 2017 A2 Jazz Fest with no intention of ever playing it again; Haldeman simply wanted to blast out a singular, focused, powerful intention into the universe. But the reception to Open Water As a Child was so positive that Haldeman reconsidered and decided to document his protest piece. 

Haldeman (tenor sax) gathered poet John Goode (words/vocals), Dan Bennett (alto sax), Justin Walter (trumpet), Jordan Schug (cello), Jonathan Taylor (drums), and Ben Willis (bass) at Big Sky Studios in Ann Arbor and they cut a powerful record that inspires even as the topic it tackles infuriates.

The album features five songs with loose structures that allow the players to improvise freely in a way that builds upon his framework and gives them room to add their own voices of discontent to the suite. The album is bookended by Goode's poems, which trace Flint's interactions with water and tragedies, tying the trials of Native Americans with the present-day residents poisoned because of goverment negligence. 

Open Water As a Child is an important record. Its release will be celebrated at Ziggy's in Ypsilanti on Thursday, October 11 at 8 pm. I talked to Haldeman about the creation of the album.

Ever wanted to get in your car and take off across the country? Who among us has not sat behind the wheel of the car and contemplated going instead of east into the sunrise instead of west into the office, going on a grand adventure? But what if you had to go on a road trip -- to save your brothers, save your family?

That’s the dilemma facing the Avila family in Patrick Flores-Scott’s latest book, American Road Trip. While life looks good for Teodoro “T," things aren’t so promising for older brother Manny, a soldier just home from Iraq with overwhelming PTSD. To save them all, their sister Xochitl takes the brothers on an epic road trip where the siblings deal with everything from socioeconomic pressures to first love to mental health issues plaguing our veterans.

Flores-Scott, an Ann Arbor native, was inspired to create a character who was a veteran with PTSD after hearing a story on National Public Radio.

Though the title Night and Day initially calls to mind a famous Cole Porter tune, U-M’s new production of the same name -- consisting of a pair of playwright Charles Mee’s myth-inspired “dance/theatre works” -- bears absolutely no relation to the song.

Well, unless director Malcolm Tulip and his artistic collaborators decide it does, that is.

How could a theatrical presentation be so malleable? That’s both the allure and challenge of Mee’s work. Dubbed the “public domain playwright,” Mee draws on old stories, re-tells them with new text, and offers them up freely online by way of his (re)making project. Built on the idea that “there is no such thing as an original play,” (re)making invites artists to use Mee’s plays as the creative starting point more than a blueprint.

“It’s this incredible mixture of working with text, but then devising a whole new piece, too, because of the liberty he gives you to alter it and to remake his work,” said Tulip. “For me, the approach was discovering what all the parts meant, and what the skeleton of what he amassed looks like. Because even he’s bringing together elements from other sources, making a kind of collage. So you end up talking about and determining what you keep, what the thrust of each section is, and how you remake or rewrite them.”

There are as many stories of how to make it to the Big House as there are players: a 1968 recruitment by a memorable assistant coach, the near misses of some of the biggest names, and all those stories about Bo.

ESPN journalist and Michigan native Tom VanHaaren tells all these tales and more in his new book, The Road to Ann Arbor. VanHaaren has reported on college football and recruitment since 2011, starting his career covering Michigan football. 

The catalyst for this book came from an interview with Bobby Morrison, a former recruiting coordinator. VanHaaren says, “[Morrison] still follows recruiting pretty closely and after we finished talking about the story I was working on, he told me that he had some great recruiting stories from his time at Michigan.” 

The first story Morrison told VanHaaren was how Tom Brady came very close to ending up in another program.

When the phrase "guitar shredder" is deployed, the general picture that comes to mind is a poodle-haired metal guitarist finger-tapping his way through impossible scales on an electric ax.

Marcus Tardelli will change your mental image of what it means to be a guitar shredder.

The Brazilian plays an acoustic with the same sort of jaw-dropping heroics as his plugged-in brethren, but the music he creates evokes that of a full band, not a solo showcase -- even though he usually plays unaccompanied, as he will at Kerrytown Concert House on Thursday, October 4.

Jurassic Park. The Super Bowl. The Grand Canyon. The sitcom Friends. All seemingly unrelated, but they coexist in Love Dream With Television (Noemi Press), a new book by Hannah Ensor. Poems in this collection are breathy and fast, while grounded in art and pop culture. 

Ensor is the Hopwood program manager at the University of Michigan, where she completed her Bachelor’s degree. She then earned her MFA at the University of Arizona. Having returned to Ann Arbor and published her new book this month, Ensor will read at Literati Bookstore on Wednesday, October 3, at 7 pm and speaks with Pulp here. 

While I get déjà vu from my dreams, I do not usually experience premonitions. Sometimes I might have them about people I meet, but the premonitions are usually wrong and maybe excess cautiousness instead. So when I started reading Elizabeth Schmuhl’s new collection of poetry called Premonitions (Wayne State University Press), I was intrigued by what they might be. 

Schmuhl, who describes herself as having lived all over the place (Chicago, New York City, Washington D.C., Atlanta, and Michigan), covers a range of topics beyond premonitions in her new book. Elements of the natural world, seasons, and change also figure strongly in the poems. As an artist with many talents, including dance, Schmuhl also includes bodies and movement in the collection.

Poems in Premonitions are not titled but rather numbered, and the number is encircled by a colored dot. Dark topics, from death to loneliness, contrast bright colors and hopeful moments. 

The first poem drops us into a world without internet, which perhaps makes premonitions more possible in the absence of the constant fact-checking and forecasting that are rampant online. Reading Premonitions can feel like a fascinating flux of trying to get one’s bearings, finding a line that centers oneself, and then finding that the next line changes it all. 

Schmuhl will read at Literati Bookstore on Tuesday, October 2, at 7 pm. Ann Arbor poet Keith Taylor will introduce her and conduct a discussion with her. She shares about premonitions, her collection, and more about her life in the following interview. 

Ori Kam, violist for the Jerusalem Quartet, grew up in two countries, studied music in three, and now teaches in Switzerland while performing all over the globe, often with the Jerusalem Quartet.

Kam joined the Quartet in 2010, but “Israel is a small place," he says. "I knew the quartet and its members since its very early days and had some opportunities to hear and even play with them together before joining. When the opportunity came about for me to join, I was very happy and eager to step into the role.” 

In Israel and America, Kam grew up surrounded by music. “My mother is a violinist,” he says. “There was always music in our household, especially chamber music.” He can’t remember a life without music, but two experiences convinced him he might want a life as a musician. 

The A2 Jazz Fest (A2JF) began in 2016 as a single day, featuring 14 acts over 10 hours.

Even if your name is Jazzbo von Chromatic Chord Progression, 600 straight minutes of jazz is a grueling marathon.

A2JF added a second in 2017, spreading out the shows, and it's a three-day event in 2018, running Friday, Sept. 28, and Saturday, Sept. 29, at LIVE Nightclub and Sunday, Sept. 30, at Kerrytown Concert House. Bassist and fest organizer Dave Sharp said it was a "natural progression and a way to make it easier to attend more events."

And the whole event is still free of charge.

But there was an additional reason for stretching the fest to three days: "From musicians, there was intense interest," Sharp says, "and the committee worked hard to include as many groups as possible." (See the full lineup below.)

It’s not unusual for well-known performers to speak to students at the University of Michigan’s School of Music, Theatre & Dance. Just last year, Glenn Close and Jeremy Irons both stopped at the school.

Alec Baldwin’s visit this week is a little extra special, however: He’ll take part in a full reading of Death of a Salesman that involves students, faculty, and members of the community, presented by the University Musical Society along with the SMTD.

UMS President Matthew VanBesien came to town from the New York Philharmonic, which has worked with Baldwin in the past. Word got around that Baldwin was interested in working with students, he heard that Salesman author Arthur Miller was a U-M graduate, and everything fell into place. 

“We wanted to use a combination of faculty, students, and guest artists,” said Daniel Cantor, an associate professor of theater and drama who is directing the play. “All those things came together in this reading.”