New York Music Daily

Global Music With a New York Edge

All About Me

Two or three of you have been waiting for this for years. OK, there may be a few more of you than that, but not a lot. Let’s face it: not many people have the slightest interest in who I am. And that’s a problem.

Like all aging GenX-ers, there’s one thing I crave more than anything. And that thing is fame. And I look at celebrities from my generation who are a lot less interesting than me – and believe me, I’m not that interesting – and I get jealous. And I thought I’d figured out a way to get famous, that nobody else had ever thought of, that would make me a celebrity. A star. A household word. Top of everybody’s google page, not just my own.

See, I’ve been watching people jump through hoops, devoting their every waking moment to a futile search for fame: epic fail, over and over again. So I figured, why don’t I come up with a strategy that doesn’t require any significant effort at all? Why not use reverse psychology…create this mysterious character who seems to have an incredibly glamorous life, going to all these shows all over New York, and then writing about them?

And then I completely write myself out of the picture. All I talk about is the music, never myself. I don’t even write in the first person. Good Cop and Bad Cop? Pure fiction. Characters I invented so I could keep my chops sharp for writing dialogue.

Seriously – if you’ve followed this blog for any time at all, you’ve asked yourself, just who is this guy who’s writing this, right? Admit it – the question has occurred to you once or twice.

Obviously, you know that I’m a guy. Much as I usually try to write in a gender-neutral voice, there’ve been plenty of times I’ve said things here that only a guy would say. But beyond that, how much do you really know about me?

I may have written disdainfully about the pastimes of the children of the idle classes, but that doesn’t mean I’m not one of them. I may have carried on about the perils of gentrification, but that doesn’t mean I’m not cashing in on the real estate bubble. I’ve referenced the terror of the Bush/Cheney years, and the sheer idiocy of the Bloomberg nanny state, but that doesn’t mean I’m not a Republican. And I could have been a lot more political, I could have spoken out more than I have on behalf of the Palestinians, or the people of Afghanistan or Ukraine, or young black and latino men in New York. But for the most part I held my fire – I didn’t want to alienate everybody, because everybody knows that if you do that, you’ll never be famous.

Looking back to when I started this blog, I had assumed that by now, the world would be asking themselves, just who is this mystery man? What hot neighborhood does he live in? What kind of hot car does he drive? What does his hot girlfriend look like, and what’s her name?

By now, whether or not you’ve followed this blog for awhile, you already know the answers to those questions. If I lived in a hot neighborhood, I could afford to go to any show I wanted to see instead of having to grovel for press tickets. If I had a hot car, I would have been home hours ago and would have wrapped up writing this by now. As for the hot girlfriend, you know there’s no woman alive who’d put up with a guy who’s always out late, by himself, at places where hot single girls hang out, who then comes home and stays up into the wee hours hunched over his laptop with his headphones on.

And I’m sick of it, all of it. Sick of women in the neighborhood chatting me up by asking, “Do you rent or do you own?” Hell, I guess I should be grateful that they don’t automatically assume I’m a renter.

I’m sick of taking the train everywhere. Do you know how disgusting and unreliable the New York City subway is? I’ve had enough of dodging homeless psychos smeared from head to toe in their own feces…being surrounded by crowds of screaming kids from the Bronx and Flushing…suffering through three-hour rides between Manhattan and Brooklyn where I have to take four different trains and I get home just as the sun is coming up. I want to be able to go to the lot, get in my car like a normal person and drive to wherever I’m going.

And I’m especially sick of sitting here with just this keyboard and a bottle of bordeaux – ok, the bordeaux I like, very much, it can stay, but I’m sick of having nobody to share it with. I’m not bad looking, I surprise myself with how much college muscle I still have left, I can still run a mean thirty-meter dash and as you know, if you’ve read this far, I live for conversation. I can talk your ear off.

And I see a guy like, say, Louis C.K., and I say to myself, that guy isn’t all that good looking, all he talks about is banal and mundane and kind of crude, and me, I’m better looking than that and more urbane and I have all this big education and high-profile experience…but that guy has women lined up around the block, and I’m here by myself with a bottle. Again. What’s wrong with me?

And the answer is obvious. He’s famous, I’m not.

That’s going to change.

Since reverse psychology didn’t work, I’m going to plan B. What’s coolest is that if you get in on the ground floor with me, you get to share the fame – and nobody ever said that I’m not generous. What’s more, I’m going to be an overnight sensation – and you can be one too.

How are we going to pull this off?

See, one of the few fringe benefits of being a blogger is that you sometimes get to mingle with people in the entertainment industry. Through one of my few remaining friends – if you go to as many concerts as I do, you don’t get to see your friends all that much, and they sort of drift away – I made a connection at a content provider. No, not one of the big three tv networks, and obviously not Fox because my politics aren’t that far out. Beyond the fact that you’ll be able to see it worldwide, I can’t be any more specific, on the advice of my entertainment lawyer.

What we’re going to do is the world’s most popular reality tv show. It’s called All About Me. It’s like nothing that’s ever been done before, which is why it’s going to be epic. And it’s more meta than any show that ever aired. Forget about The Truman Show, or Larry Sanders, or Larry David. That’s kid stuff.

This will star me, an absolute nobody, and will follow me around as I get more and more famous and it won’t be long before I’m the most recognized face on earth. Think about how huge the potential audience is: I’m Everyman. Not everybody who sees the show will think the concept all the way through, but they’ll know it intuitively. My struggle to achieve unprecedented worldwide fame perfectly mirrors the deepest yearnings of every man, woman and child alive today! This show’s going to pre-empt the Super Bowl and the Oscars!

And there’ll be residuals like nothing that’s ever happened before: syndication, merch and licensing like you’ve never imagined, worldwide theme parks, and most importantly, an online community that in time will render the internet itself obsolete! A global network of household and workplace minicams, all streaming in real time, available by subscription at competitive rates depending on the nation – maybe $100 or more per month in the U.S., down to maybe a few cents in Haiti, installation and maintenance not included. Can you imagine, say, three billion people around the world all auditioning to be in their region’s next season of All About Me, in real time, 24/7/365, and each of them paying on average about $30 a month? That’s three hundred sixty BILLION dollars PER YEAR. Our earnings will go up even more when we start charging for VOD, premium access and various VIP levels for auditions.

And we can always kick back a few pennies on the dollar to everybody who’s willing, you know, to get his wife or girlfriend to strip for the camera or whatever in order to make a few extra bucks. That’ll be the main pitch for premium access.

And that’s just the entertainment side. All this universal video has all kinds of applications for national intelligence, corporate security and law enforcement. Just for starters, can you imagine the government contracts? Obviously, the police unions won’t like it, but you know how technology makes various jobs obsolete. The way this plays out, we basically become law enforcement. But that’s something we can get into down the road when we’re trillionaires.

And since I can only stretch myself so thin, I need people to be rich and famous along with me. We’ll be the RICHEST AND MOST FAMOUS PEOPLE ALIVE! Think about it: what would you rather do, go to a dumb dayjob where you’re underpaid and unappreciated, hang out with a bunch of broke-ass losers, live in a cruddy apartment in a creepy neighborhood and spend what little free time you have trolling OKCupid…or banging to a celebrity dj in Ibiza, with unlimited bottles of whatever you feel like drinking, surrounded by more supermodels than you could possibly hook up with in a single night?

All this starts on my Kickstarter page. Like everybody else, I’m doling out plenty of free goodies for various levels of sponsorship. $10 gets you an autographed picture, $30 a personalized playlist, $100 a cd compilation of obscure bands I’ve played in over the years. Moving toward the top end, $10,000 gets you a night out in Bushwick with yours truly, complete with an artisanal chocolate on your pillow at the end of the evening. But all that’s just to sweeten the pot. Foundation sponsors who contribute at least $50,000 GET TO CO-STAR IN THE FIRST SEASON OF THE SHOW WITH ME. I have basic scripts for three pilot episodes. I just need co-stars. And money.

And you know that if there’s one thing I do really well, it’s write. Once I get to know you, I’ll script you a part that will not only be perfect for your character, but will make YOU an OVERNIGHT REALITY TV SENSATION along with me. Do you have what it takes to want fame, to CRAVE it as badly as I do? Now’s your moment: you snooze, you lose. Hit my Kickstarter page to get in on the ground floor and don’t forget to friend me on Facebook.

Oh yeah, I almost forgot, there’s this obscure blog called New York Music Daily that needs somebody to write for it now.

New York City Live Music Calendar for April and May 2015

This calendar’s never completely finished – there are daily updates. So you might want to bookmark this page and check back regularly to see what’s new. There’s a comprehensive, recently updated list of places where these shows are happening at New York Music Daily’s sister blog Lucid Culture.

This is not a list of every show in town – it’s a carefully handpicked selection. This calendar tends to be long on listings and short on praise for bands and artists because every act here is recommended if you like their particular style of music. Many different styles, something for everyone here.

Showtimes listed here are set times, not the time doors open – if a listing says something like “9ish,” that means it’ll probably start later than advertised. If you see a show listed without the start time, that’s because either the artist, their publicist or the venue in question sent incomplete info – those acts are usually listed last on a particular date.  Always best to check with the venue for the latest information on set times and door charges, since that information is often posted here weeks in advance. Weekly events first followed by the daily calendar.

On select Thursdays and Saturdays, an intimate, growing piano music salon on the Upper West Side featuring iconoclastically insightful, lyrical pianist Nancy Garniez – a cult favorite with an extraordinarily fluid, singing, legato style – exploring the delicious minutiae of works from across the centuries. Upcoming concerts feature music of Beethoven, Stravinsky, Handel  and Bartok, sugg don $30 (pay what you can), delicious gluten-free refreshments, beverages and lively conversation included! email for info/location.

Mondays in April, 7 and 9 PM, erudite pianist Orrin Evans‘ richly tuneful, purist, stampeding Captain Black Big Band at Smoke

Mondays at the Jazz Standard it’s all Mingus, whether with the Mingus Orchestra, Big Band or Mingus Dynasty: as jazz goes, it’s arguably the most exhilarating show of the week, every week. The first-rate players always rise to the level of the material. Sets 7:30/9:30 PM, $25 and worth it.

Also Monday and Tuesday nights Vince Giordano’s Nighthawks, a boisterous horn-driven 11-piece 1920s/early 30’s band play Iguana, 240 W. 54th St ( Broadway/8th Ave) , 3 sets from 8 to 11, surprisingly cheap $15 cover plus $15 minimum considering what you’re getting. Even before the Flying Neutrinos or the Moonlighters, multi-instrumentalist Giordano was pioneering the oldtimey sound in New York; his long-running residency at the old Cajun on lower 8th Ave. is legendary. He also gets a ton of film work (Giordano wrote the satirical number that Willie Nelson famously sang in Wag the Dog).

Mondays nights at 9 PM charismatic Romany singer Eva Salina and her amazing, psychedelic band play high-voltage dub-tinged jams on classic themes from across the Balkans at Sisters Brooklyn, 900 Fulton St. (Washington/Waverly), Ft Greene, C to Clinton-Washington, free

Mondays at the Vanguard the Vanguard Jazz Orchestra – composer Jim McNeely’s reliably good big band vehicle – plays 9/11 PM, $30 per set plus drink minimum.

Mondays in April, 10 PM noir guitar legend Jim Campilongo leads his trio at the small room at the Rockwood.

Mondays at 10 PM there’s been quite a buzz about acoustic songbird Angela McCluskey and saxophonist Paul Cantelon’s weekly residency at the third stage at the Rockwood, with a rotating cast of high-quality special guests. It’s expensive: $15 plus a $10 drink minimum very strictly enforced.

Also Mondays in April Rev. Vince Anderson and his band play Union Pool in Williamsburg, two sets starting around 11:30 PM. The Rev. is one of the great keyboardists around, equally thrilling on organ or electric piano, an expert at Billy Preston style funk, honkytonk, gospel and blues. He writes very funny, very politically astute, sexy original songs and is one of the most charismatic, intense live performers of our time. It’s a crazy dance party til past three in the morning. Paula Henderson from Burnt Sugar is the lead soloist on baritone sax, with Dave Smith from Smoota on trombone, with frequent special guests.

Tuesdays in April, 7 PM Ninth House‘s hotshot lead guitarist Keith Otten plays his own tuneful, Britrock-influenced sounds at Isle of Skye, 488 Driggs Ave (btwn N9th/N10th St.) in Williamsburg

Tuesdays in April, 8:30 PM the George Gee Swing Orchestra play surprising new arrangements of old big band standards at Swing 46, 349 W 46th St,  $15

Tuesdays in April clever, fiery, eclectic ten-piece Balkan/hip-hop/funk brass maniacs Slavic Soul Party  at 9 PM at Barbes. Get there as soon as you can as they’re very popular. $10 cover.

Tuesdays at around 10 Julia Haltigan and her band play 11th St. Bar. A torchy, charismatic force of nature, equally at home with fiery southwestern gothic rock, oldschool soul and steamy retro jazz ballads, and her band is just as good as she is.

Wednesdays in April, 8:30 PM guitarist Jonathan Kreisberg (of Dr. Lonnie Smith’s band) leads a trio at the Bar Next Door, $12.

Wednesdays at 9 PM Feral Foster’s Roots & Ruckus takes over the Jalopy, a reliably excellent weekly mix of oldtimey acts: blues, bluegrass, country and swing.

Fridays at 5 PM, adventurous indie classical string quartet Ethel (Ralph Farris, viola; Dorothy Lawson, cello; Kip Jones, violin; and Tema Watstein, violin) play the balcony bar with a rotating cast of interesting special guests at the Metropolitan Museum of Art, free w/museum adm.

The first Friday of the month, anytime between midnight and midnight you can download four songs from Kiam Records artists – like Jennifer O’Connor, Mascott and Tim Foljahn – for free.  Each month’s theme is different (previously they have tackled covers, colors and money)  December’s the fourth edition and a holiday theme.  Available to download only on Friday and then archived and streaming at Soundcloud.

Fridays in April at 9 Naomi Shelton and the Gospel Queens play oldschool 1960s style gospel at the Fat Cat.

Saturdays in April at 4 PM at Bargemusic there are impromptu free classical concerts, usually solo piano or small chamber ensembles: if you get lucky, you’ll catch pyrotechnic violinist/music director Mark Peskanov and/or the many members of his circle. Early arrival advised.

Every Saturday in April, 8 PM wild clarinet and alto sax powerhouse Greg Squared – probably best known as co-leader of the volcanic Balkan jamband Raya Brass Band – leads one of his many projects at Barbes. His webpage says “soulful expression, hard-driving chops.” OMFG – you have no idea.

Saturdays eclectic compelling Brazilian jazz chanteuse Marianni and her excellent band at Zinc Bar, three sets starting at 10 PM.

Sundays there’s a klezmer brunch at City Winery, show starts around 11:30 AM – 2 PM, $10 cover, no minimum, lots of good bands.

Every Sunday the Ear-Regulars, led by trumpeter Jon Kellso and (frequently) guitarist Matt Munisteri play NYC’s only weekly hot jazz session starting around 8 PM at the Ear Inn on Spring St. Hard to believe, in the city that springboarded the careers of thousands of jazz legends, but true. This is by far the best value in town for marquee-caliber jazz: for the price of a drink and a tip for the band, you can see world-famous players (and brilliant obscure ones) you’d usually have to drop $100 for at some big-ticket room. The material is mostly old-time stuff from the 30s and 40s, but the players (especially Kellso and Munisteri, who have a chemistry that goes back several years) push it into some deliciously unexpected places.

Sundays in April, 8:30 PM purist guitarist Peter Mazza – who gets the thumbs up from bop-era legend Gene Bertoncini – leads a series of trios at the Bar Next Door.

Sundays in April at 9 – check the Barbes calendar to make sure -Romany guitar genius Stephane Wrembel plays Barbes. He’s holding on to the edgy, danceable spirit of Django Reinhardt while taking the style to new and unexpected places like art-rock and post-Velvets noiserock. He’s also very popular: get there early.

4/1, 7 PM balmy, sardonically individualistic vocal jazz stylist Dorian Devins and her trio at Flute Gramercy, 40 E 20th St. 4/13, 8:30 PM she’s at the Bar Next Door at 8:30 PM with Behn Gillece – vibraphone and Hans Glawischnig – bass. They’re also at Flute on 4/29

4/1, 7:30 PM Music for sextet by Long Island composers Jay Gach, Dana Richardson, Leonard Lehrman, Julie Mandel, Margaret Stoop and Jane Leslie performed by new music sextet Innovox at Lefrak Concert Hall at Queens College, Kissena Blvd. and the LIE, 65-30 Kissena Blvd. Flushing, 7 train to the end of the line and then take the Main St. bus, free

4/1 multi-reedman Michael Blake leads a killer quartet with  Frank Kimbrough – piano; Ben Allison – bass; Rudy Royston – drums, 7:30/9:30 PM at the Jazz Standard, $25

4/1, 8 PM El Imperio – intense, edgy, funky band who mash up Ethiopiques and latin styles- followed by psychedelic Ethiopiques purists Nikhil Yerawadekar & Low Mentality amd then brilliant psychedelic desert rock/cantorial art-rock band Sway Machinery at the Hive, 20 Cook St., Bushwick (Graham/Manhattan, just off Broadway, J/M to Flushing Ave) $10 sugg don

4/1, 8 PM psychedelic klezmer/bluegrass mandolin and clarinet legend Andy Statman at Barbes, $10

4/1, 9 PM surreal, Waits-influeuced, noirish, apocalyptic Americana guitar bandFellaheen at the Way Station

4/2, 7:30 PM percussive postpunk band Xiu Xiu and Mantra Percussion premiere “Extinction Meditation,” their 4-movement piece about the impending environmental apocalypse due to begin around the year 2050 at Merkin Concert Hall, $25

4/2-5 Randy Weston‘s African Rhythms Quintet, featuring alto saxophonist TK Blue and veteran drummer Lewis Nash celebrate the iconic pianist/Africanist/composer’s 89th birthday, 7:30/9:30 PM at the Jazz Standard, $30 ($35 on the weekend)

4/2, 7:30 PM up-and-coming chamber ensemble Face the Music play new works by Yonatan Rozin, Paris Lavidis and Michael Daugherty at the Lincoln Center Atrium, free, early arrival advised.

4/2, 8 PM dark, charismatic, mischieviously witty literate keyboardist/chanteuseRachelle Garniez at Barbes

4/2, 11 PM wild, psychedelic Bay Area Romany/Middle Eastern/Balkan band Taraf de Locos – sort of the left coast version of Tribecastan – at Silvana

4/3, 8 PM sharp, satirical, catchy, sardonically funny Beatlesque/Costelloesque powerpop songwriter Walter Ego at Sidewalk

4/3, 9 PM a good Spanish-tinged twinbill: Mar Salá plays her acoustic flamenco rock followed by  edgy lefty guitarist Damian Quinones and his psychedelic latin soul band at Silvana

4/3, 9 PM powerhouse bassist Dawn Drake & Zapote play hot Afrobeat-tinged funk grooves at BAM Cafe

4/3, 10 PM Cumbiagra – whose take on psychedelic cumbias is more rustically Colombian and purist than most bands who play that stuff – at Barbes

4/3, 11:30 PM hypnotic, psychedelic dulcimer/bass/drums instrumentalists House of Waters at Unit J, 338 Moffat St, Bushwick, L to Wilson Ave, venue is just 2 blocks from the train.

4/4, 4 PM quirkily cinematic, psychedelic, family-friendly instrumentalists Songs for Unusual Creatures, followed at 8 by intense, eclectic original Balkan clarinet/violin/oud/percussion quartet Sherita and then at 10 by upbeat Sinaloa-style Mexican mariachi/ranchera brass group Banda de los Muertos for $10 at Barbes

4/4, 5 PM Argentine pianist Agustin Anievas plays Schubert and Chopin at the DiMenna Center, 450 W 37th St., $5

4/4, 7:30 PM bewitchingly assaultive art-rock duo Naked Roots Conducive – violinist Natalia Steinbach and cellist Valerie Kuehne – play the record release show for their “performance opera” Sacred521, “which “explores the beauty and terror of personal disclosure and visceral catharsis in individual experience” at Dixon Place, $12 adv tix rec

4/4, 7:30 PM banjo virtuoso Jayme Stone’s historically rich, individualistic folk ensemble the Lomax Project at the Lincoln Center Atrium

4/4, 8ish bewitchingly assaultive art-rock duo Naked Roots Conducive – violinist Natalia Steinbach and cellist Valerie Kuehne – at Dixon Place

4/4, 8 PM raga pianist Utsav Lal and carnatic singer Anurag Harsh at Zankel Hall at Carnegie Hall, $15 tix avail.

4/4 Unsteady Freddie‘s monthly four-band surf rock show at Otto’s begins at 9 with theAquatudes, cinematic soundtrack instrumentalists/surf rockers the Tarantinos NYCplaying the album release release show for their new one at 10, kick-ass original third-wavers Tsunami of Sound at 11 and the Jersey Shore’s explosive, deviously original, Dick Dale-influenced Black Flamingos sometime after midnight

4/4, 9:30 PM acclaimed Turkish classical guitarist Sinan Ersahin at Bar Thalia adjacent to Symphony Space, free

4/5, 8 PM the Brighton Beat bring their deliriously fun Afrobeat jams to Brooklyn Bowl, $8; free entry before 7 PM

4/6 7:30 PM – 100 years ago Claude Debussy began a project of six large-scale sonatas for “diverse instruments” but completed only three before his death in 1918. Three contemporary composers – Thomas Adès, Marc-Andre Dalbavie and Libby Larsen – completed those six final large-scale works; a stellar eleven-piece chamber ensemble plays them along with the three that Debussy himself finished, in a world premiere atAdvent/ Broadway Church, 2504 Broadway at 93rd St., free

4/6, 7:30 PM James Austin Smith, oboe; Tessa Lark, violin; Max Mandel, viola; Edward Arron, cello; and Pedja Muzijevic, piano, play Mozart’s Piano Quartet in G minor, K. 478, plus Luciano Berio’s Sequenza VII for oboe and John Cage pieces at the Baryshnikov Arts Center, 450 W 37th St., $20

4/7, 7 PM the Tarras Band – who play the repertoire of legendary hotshot klezmer clarinetist Dave Tarras – featuring Tarras’ ageless, charismatic former pianist Pete Sokolow plus an allstar band including Michael Winograd (clarinet,) Ben Holmes (trumpet), Jim Guttmann (bass) and Dave Licht (drums) at Barbes followed by ten-piece funky Balkan brass/Ellington jazz monsters Slavic Soul Party at Barbes

4/7, 7 PM dubious segue, good edgy jazz twinbill: Jon Irabagon, Matt Bauder and Tomas Fujiwara rip paint off the walls followed by soprano saxophonist Jasmine Lovell-Smith‘s colorful, deftly cinematic chamber/pastoral jazz project Towering Poppies with Cat Toren – piano, Adam Hopkins – bass, Kate Gentile – drums at Shapeshifter Lab, $10

4/7, 7:30 PM Raphaël Sévère, clarinet; Paul Montag, piano; Paul Huang, violin play works by Brahms, Boulez, Picart, Stravinsky and Poulenc at Merkin Concert Hall, $10

4/7, 8:30 PM ferociously tuneful brass-and-guitar-fueled southwestern gothic rockers the Downward Dogs at the Mercury, $10

4/7, 11ish catchy, sunny, kinetic janglepop band Kuroma at Baby’s All Right

4/8, 7:30 PM jazz pianist Steven Prutsman plays his third-stream album Passengers all the way through at the Baryshnikov Arts Center, 450 W 37th St., $20

4/8, 8 PM oudist Brandon Terzic and his group Xalam – Pyeng Threadgill on vocals, Matt Kilmer on percussion, Tim Keiper on calabash, Matt Darriau on saxophone and kaval, Rufus Cappadocia on cello – play their Africanized take on Robert Johnson at Barbes

4/9, 7′:30 PM fun, lo-fi punk blues resonator guitarist/singer Breanna Barbara Arnesonfollowed by edgy female-fronted funk band Eliza & the Organix – feat. swirly alto sax player Kristen Tivey – playing the ep release show for their new one at Rock Shop, $10

4/9, 8 PM the NY Scandia Symphony celebrates the 150th anniversary of the births of  Carl Nielsen and Jean Sibelius at Symphony Space, $15 adv tix rec.

4/9, 8 PM two of the greatest singers in town on a killer twinbill: luminous, intense, enigmatic art-rock chanteuse/cellist/multi-instrumentalist Serena Jost followed at 10 by Daria Grace’s torchy, delightful oldtime uke swing band the Pre-War Ponies at Barbes

4/9, 9:30 PM coolly enigmatic original jazz/torch singer Dorian Devins and her first-rate combo at Bar Thalia adjacent to Symphony Space, free

4/10, 7 PM Ali Akbar Moradi – Iranian-Kurdish tambour lute virtuoso, Bahar Movahedcollaborator and master of the Yarsan (Iranian Kurdish Sufi) repertoire – at Elebash Hall, 365 5th Ave. north of 34th St., $25

4/10, 8 PM intense, celebrated Armenian-American oudist Ara Dinkjian plays from his new album of Armenian songs 1915-2015 Truth & Hope in commenoration of the 1915 holocaust there, backed by a string quartet plus the briliant Tamer Pinarbasi on qanun.at Alwan for the Arts, $20

4/10, 8 PM cult favorite Romany chanteuse (and Berthold Brecht descendant) Sanda Weigl and her amazing band followed at 10 by funky, psychedelic Ethiopiques bandNikhil P. Yerawadekar and Low Mentality at Barbes

4/10, 8 PM anthemic, eclectic often haunting female-fronted Americana/acoustic funk/art-rock jamband the Sometime Boys and hard funk band Afroskull at Rock Shop, $10

4/10-11, 8:30 PM intense, Bartok and Can-influenced drummer/composer Sean Noonan leads a series of groups in two marathon nights at I-Beam. Night one opens with solo drums and storytelling followed by the  Brewed by Noon Afro-Celtic Trio with Alex Marcelo – piano; Peter Bitenc – bass and then the”avees Dance Trio featuring Brandon Seabrook – guitar and Jonathan Moritz – sax. The Saturday show also opens with solo drums followed by a trio set with Kirk Knuffke – cornet; Christof Knoche – bass clarinet and then the Afro-Celtic Trio

4/10, 9ish psychedelic funk jamband the Pimps of Joytime at Brooklyn Bowl, $15, followed by (separate $12 admission) Moon Hooch – two tenor saxes and drums playing the craziest funky grooves you could imagine with the intensity of a brass band and the catchiness and edge of punk rock – at around half past midnight

4/10 Drina Seay – torchy Americana/soul/jazz siren who is to NYC now what Neko Case was to Portland in 1999 –  at the Parkside

4/11, 2:30 PM Canta Libre Chamber Ensemble play Marcel Grandjany’s O Bien Aimee and Aria in Classic Style, Handel’s Harp Concerto with Grandjany’s cadenzas, Joseph Jongen’s Concerto a Cinque and Debussy’s Sonata for Viola, Flute and Harp.Library for the Performing Arts at Lincoln Center’s Bruno Walter Auditorium, 111 Amsterdam Ave, free, early arrival a must

4/11, 5 PM Luiz de Moura Castro plays piano works by Villa-Lobos, Liszt, Chopin and Mendelssohn at the DiMenna Center, 450 W 37th St., $5

4/11, 6 PM an amazing night at Barbes: Long Shadow, the new duo from Sherita‘s Greg Squared and Rima Fand, joined by intense Greek rembetiko band Astoriani – Rima Fand-violin, vocals; Matthew Fass-accordion; Matt Moran-percussion; Greg Squared-clarinets, vocals; Demetri Tashie-laouto- followed at 8 by the Toomai String Quartet with pyrotechnic accordionist Peter Stan & vibraphonist Matt Moran playing Romanian music .

4/11, 8 PM the Latvian National Choir sing rarely heard works by Arvo Part, Vytautas Miskinis, Vaclovas Augustinas, Ugis Praulins, Jekabs Janchevskis, Gundega Smite, Raimonds Tiguls, Eriks Esenvalds,  Veljo Tormis and Eric Whitacre’s luminous Lux Aurumque at the Baryshnikov Arts Center, 450 W 37th St., $20

4/11, 9 PM Trapper Schoepp – a Milwaukee minor-leaguer with some promise, in a growling, lyrical Jeffrey Foucault Americana vein – opens for noiserock/paisley underground/noir rock legend Steve Wynn at Bowery Ballroom, $20

4/12, 2 (two) PM multistylistically interesting violinist/composer Concetta Abbate with her collaborator Josh Martin on woodwinds and electronics at Mayflower, 132 Greene Ave (cor Waverly & Greene), Ft. Greene

4/12, 3 PM the Greenwich Village Orchestra play an all-Tchaikovsky program with the Festival Coronation March, the Violin Concerto with soloist Siwoo Kim, and Symphony No. 4 at Washington Irving HS Auditorium, 16th St./Irving Place, $15 sugg don., reception to follow

4/12, 3 PM the Downtown Chamber Players perform a global Spanish-tinged program of composers including Carlos Gardel, Astor Piazzolla, G.H. Rodriguez, Montsalvatge and de Falla at the Clemente Soto Velez Cultural Center, 107 Suffolk St, $15; $12.50 for students/seniors

4/12, 3 PM Sandbox Percussion premieres Robert Sirota’s Spindrift at St. John’s Episcopal Church in Park Slope (139 St. John’s Pl), sugg don.

4/12, 4 PM Ustad Shafaat Khan performs Indian classical music, featuring sitar, surbuhar and tabla at the Dreck Center at the Brooklyn Public Library, free, no under-sixes.

4/12, 7 PM jazz pianist/chanteuse Akiko Pavolka & House of Illusions with : vocals and piano; Guillermo Klein: Wurlitzer electric piano, vocals; Loren Stillman: alto sax; Nate Radley: guitar; Matt Pavolka: bass and Russ Meissner: drums followed at 9 by Romany guitar genius Stephane Wrembel at Barbes

4/12, 7:30 PM Makam NY plays haunting classical and traditional sounds from Turkey, Greece and elsewhere in the Middle East at Merkin Concert Hall, $30/$20 stud/srs

4/12, 9 PM boisterously funny oldschool 60s C&W and brooding southwestern gothic with the Jack Grace Band followed by a rare solo show by charismatic ghoulabilly/retro rock monster Reid Paley upstairs at 2A

4/13, 8 PM legendary 70s art-rock/hippie band Magma keep their own invented Kobaiian language alive at le Poisson Rouge, $30 adv tix req

4/14, drinks at 5:30 PM, show at 6, a quartet version of Ensemble Signal plays childhood-inspired works by Clemens Gadenstätter, Sean Griffin, Elliott Carter and Helmut Lachenmann at the Miller Theatre, free

4/14, 6 PM Roy Jennings and supporting soloists play rarely heard African-American art-songs at St. Paul’s Chapel uptown, 117th St and Amsterdam Ave

4/14, 7 PM nocturnal jazz chanteuse/pianist/uke player Gina Leishman with a killer band : Charlie Burnham – violin; Matt Muisteri – guitar and Greg Cohen – bass followed at 9 by ten-piece funky Balkan brass/Ellington jazz monsters Slavic Soul Partyat Barbes

4/14, 7:30 PM jazz bassist Brian Glassman’s brass-fueled Klezmer/Jazz Alliance at Stephen Wise Free Synagogue, 30 W. 68th St, $15

4/14-15 lyrical jazz guitaist Julian Lage leads his trio with  Scott Colley – bass, Eric Harland – drums, 7:30/9:30 PM at the Jazz Standard, $25

4/14, 7:30 violinist Paul Huang, pianist Louis Schwizgebel and cellist Julian Schwarz play music of Maurice Ravel and César Franck, and Francis Poulenc at Zinc Bar, $25/15 stud/srs

4/14, 8 PM opening night of this year’s MATA Festival: the Curious Chamber Playersperform new avant garde works from Finland, Bolivia, China, Sweden and the US by Tomi Räisänen, Todd Tarantino, Carlos Gutiérrez Quiroga, Wang Lu, Johan Svensson and Malin Bång at the Kitchen, $20/$15 stud

4/15, 7:30 PM up-and-coming cellist Jay Campbell and  pianist Conor Hanick play works by Carter, Stravinsky, Brahms, and a New York premiere by David Fulmer at Subculture, $20 adv tix rec

4/15, 8 PM oudist/mandinka/kora player Kane Mathis plays music from North Africa on south at Barbes

4/15, 8 PM night two of this year’s MATA Festival features singer Abigail Fischer, Melanie Aceto and Music for Lamps performing Nordic, Balkan and American avant garde works by Bjørn Erik Haugen, Jasna Velickovic, Mirela Ivicevic, Megan Grace Beugger and others at the Kitchen, $20/$15 stud

4/15, 8 PM bad segue, good show: psychedelic Afrobeat jamband Ikebe Shakedown followed by purist retro 60s garage rockers the Monophonics at Brooklyn Bowl, $12

4/15, 8:30ish irrepressible, historically informed songwriter Elisa Flynn takes a break from booking nights of murder ballads to play her own erudite, often haunting tunes at Troost

4/16, 7:30 PM haunting Middle Eastern jazz trumpeter Amir El Saffar‘s Two Rivers Large Ensemble at the Lincoln Center Atrium, free, early arrival a must

4/16, 8 PM night three of this year’s MATA Festival features the Momenta Quartet + Christa van Alstine, Carl Christian Bettendorf, Stuart Breczinski, Ian Rosenbaum, Matthew Weber performing avant garde works from Greece, Brazil, Iran and the US by Michalis Paraskakis, Daniel Moreira, Guy Barash, Alex Weiser, Eric Nathan and Idin Samimi Mofakham at the Kitchen, $20/$15 stud

4/16, 8:30 PM Glenn Crytzer’s Savoy Seven – who play deliriously fun oldtime swing tunes that sounds like originals from eighty years ago even though they’re all originals – do the album release show for their period-perfect new one Uptown Jump at Swing 46, $15.

4/17, 7:30 dark chamber duo Soldier Kane, moody noir folk trio Hope For Agoldensummer and intense minor-key klzmer/groove/classical instrumentalists Barbezat Litttlefield, $12

4/17, 7:30 PM accordion wizard Sy Kushner’s Jewish Music Ensemble, w/Jeremy Brown and Marty Confurius at the Stephen Wise Free Synagogue, 30 W 68th St., $15

4/17, 7:30 the Fire Pink Trio play Debussy’s Sonata for Flute, Viola and Harp plus vivid works by Adrienne Albert, Dan Locklair,, Manuel Moreno-Buendia, Sonny Burnette and Hilary Tann at tke DiMenna Center, 450 West 37th St., $25 . Their performance of this program last year in the Lincoln Center neighborhood was dreamy and gorgeous.

4/17, 8 PM new arrangements of haunting old Armenian songs by flamenco guitarist Anna Garano with Armenian chanteuse Anais Alexandra Tekerian, plus clarinetist Kinan Azmeh at Alwan for the Arts, $20/$15 stud/srs

4/17, 8 PM two generations of twisted, asaultively fun noiserock: Blind Idiot God andInsect Ark at St. Vitus Bar  $10

4/17, 8 PM pensive, intense newgrass fiddler April Verch and her trio at Subculture

4/17, 8 PM night four of this year’s MATA Festival features avant garde chamber ensemble Bearthoven, Amanda Schoofs and Du Yun playing works by Schoofs, Yun, David Alan Broome, Jonathan Nangle amd Adam de la Cour at the Kitchen, $20/$15 stud

4/17, 9  PM the Bright Smoke (the French Exit’s Mia Wilson’s haunting, angst-ridden, atmospherically trippy new project) at at the Mercury, $10

4/17, 9 PM edgy Chilean psychedelic cumbia/hip-hop/reggaeton bandleader Ana Tijoux at Bowery Ballroom, $15 adv tix rec. She’s at Rough Trade the following night, 4/18 at 11 for the same price.

4/17-26, 10 PM art-rock/chamber-pop pianist/songwriter Dane Terry performs his one-man theatre piece Bird in the House at LaMama, $10. Brightly neoromantic tunes laced with ragtime, Steven Foster minstrelsy and allusively creepy, childlike lyrics, like a slightly less grim Lee Feldman

4/17-19 the Brooklyn Folk Festival at St. Ann’s Church in Brooklyn Heights, lineup tba

4/18, 2 PM celebrated organist Delbert Disselhorst plays a program TBA at Grace Church, 802 Broadway north of 11th St., $20

4/18, 4 PM Robert McKay and Jennifer Rau star in a multimedia performance of “liberation imagery in the early American consciousness which comes to life through works by William Billings (1746 – 1800), Stephen Jenks (1772 – 1856), early spirituals and Shaker hymns performed with historical texts selected from abolitionist writings and slave and suffragette narratives, including selections from Solomon Northup’s Twelve Years a Slave” at the Fraunces Tavern Museum, 54 Pearl St. in the financial district, $35/$20 stud/srs

4/18, 8 PM intense, charismatic, grimly funny surrealist noir rocker Tom Warnick & World’s Fair at Otto’s

4/18, 8 PM final night of this year’s MATA Festival features Talea Ensemble playing adventurous works by Anna Clyne and otheres at the Kitchen, $20/$15 stud

4/18, 8:30 PM the Israeli Chamber Project play works by Debussy, Carter, Zohar Sharon, Ravel and Schumann, at Merkin Concert Hall, $20

4/18 Australian sensation the Cat Empire – quirky, latin-and-ska-inflected and great fun organic stoner dance grooves – at the at Webster Hall, 9 PM $25

4/18.10 PM brilliantly lyrical, politically fearless, guitarishly excellent Americana songwriter James McMurtry at Bowery Ballroom, $20

4/18 one of the year’s best rock doublebills: scorchingly lyrical, politically-fueled two-guitar anthemic punk/circus rock band the Brooklyn What followed by the similarly lyrically-driven, savagely political, hard-hitting Alabama populist rockers Lee Bains III and the Glory Fires at the Knitting Factory

4/19, 9 PM eclectic chanteuse Mavis Swan Poole’s oldschool psychedelic soul/funk band Soul Understated at BAM Cafe

4/20, 7:30 PM pianist Paul Barnes performs a Lukas Floyd world premiere plus new works by Jason Bahr and Zack Stanton followed by the festival debut of Miho Hazama’s m_unit jazz ensemble joined by saxophonist Steve Wilson playing world premieres by Hazama, Scott Ninmer and Chris Reza at Symphony Space, $20 adv tix req.

4/20, 10 PM this era’s default 4/20 party band, roots reggae vets John Brown’s Body at Brooklyn Bowl, $12

4/21, 7 PM Kotorino cellist Patricia Santos plays her own intriguing, catchy, terse songs at the Dead Poet , 450 Amsterdam Ave (81/82), free

4/21, 7:30 PM the New York Composers Circle chamber ensemble plays the world premieres of Susan J. Fischer’s Intermezzo, for oboe, violin, cello, and piano; Peri Mauer’s Journey, for oboe; Gayther Myers’s The Workday, for flute, oboe, clarinet, horn, and piano; Max Giteck Duykers’s Dark Body, for flute, violin, cello, and piano; David Picton’s Turning Leaves for Sandy, for oboe and guitar; Eugene Marlow’s Trois Chansons pour une Poetesse, for flute and alto flute; and Richard Brooks’s Into the Twilight, for flute, bassoon, violin, viola and piano plus Orlando Legname’s Vortici D’etere, for flute, clarinet, violin, cello, and piano, in its New York premiere at St. Peter’s Church, 54th/Lex, $20 sugg don

4/21-25, 8/10:30 PM elegant, tuneful third-stream pianist Michel Camilo‘s 3+3 (piano trio plus horns) at the Blue Note, $30 standing room avail.

4/22, 7 PM Norway, Sweden and the Shetland Islands’ virtuoso fiddling traditions represented by Olav Luksengård Mjelva, Anders Hall and Kevin Henderson at Symphony Space, $30

4/22-26 the Vijay Iyer Trio play their cutting-edge piano jazz sounds, 7:30/9:30 PM at the Jazz Standard,  $25

4/22, 8 PM good twinbill: jaunty chamber pop band the Spring Standards followed by intense, piano-based, Aimee Mann-style literate chamber pop group Elizabeth & the Catapult at the Mercury, $12

4/22, 8 PM the New Orleans’ eclectic, funky stoner brass band the Dirty Bourbon River Show at Brooklyn Bowl

4/22, 9 PM Plates of Cake, who mash up 70s stadium bombast, early Pixies snarl and bite and a late 80s/early 90s retro glam vibe – followed by groovealicious Philly psychedelic soul band Needle Points at Arlene’s, $8

4/23, 7 PM high-voltage Puerto Rican pre-salsa revivalists Plena Libre at the Hostos Center for the Arts, 450 Grand Concourse at 149th St., $20/$10 stud

4/23, 7:30 PM the JACK Quartet play Missy Mazzoli’s Death Valley Junction and John Zorn’s The Alchemist plus works by Caroline Shaw, Jason Eckardt and Crawford Seeger at the Lincoln Center Atrium, free, early arrival advised.

4/23, 7:30 PM otherworldly all-female choral quartet Anonymous 4 – on their final tour with Americana music maven Bruce Molsky – at the great hall at Cooper Union, $25 gen adm

4/23, 8 PM Ensemble Signal with Lauren Radnofsky, cello and Adrián Sandí, clarinet play an Anna Clyne retrospective at the Miller Theatre, $20 tix avail.

4/23, 8 PM cellist Alisa Weilerstein with the Orchestra of St. Luke’s and Pablo Heras-Casado playing Shostakovich’s riveting Cello Concerto No. 2 at Stern Auditorium at Carnegie Hall

4/23, 11 PM awesome Ethiopiques band Lions at the small room at the Rockwood. 4/30 they’re at Barbes at 10

4/24, 7:30 PM charmingly jaunty French jazz chanteuse Cyrille Aimee and band at the Lynch Theatre at John Jay College, 524 W 59th St. (10/11), free

4/24 intense, fearless Romany/Balkan chaunteuse Eva Salina with pyrotechnic accordionist Peter Stan and cimbalom legend Marius Mihalache at Hungarian House, 213 E 82nd St.

4/24, 8 PM Willie & the Wolves – who play killer oldschool soul, funk and latin grooves that sounds like classics from the 60s but are originals, with the powerhouse Anne DeAcetis on lead vocals – doing the album release show for their excellent new one at Paddy Reilly’s, 519 2nd Ave

4/24, 10 PM soulpunk/psychedelic band Clear Plastic Masks and acoustic populist Alynda Lee Segarra aka Hurray for the Riff Raff at Bowery Ballroom are SOLD OUT – good for them.

4/24 the queen of otherworldly, exhilarating Romany ballads, Esma Redžepova at le Poisson Rouge

4/25, 4-11 PM Wall to Wall Johnny Cash – seven hours of songs by the Man in  Black – at Symphony Space, free, with Alison Brown (banjo), Sierra Hull (mandolin), Mike Barnett (fiddle), and Trey Hensley (guitar), and a whole slew of Jalopy/NYC heavyweight talent including Bruce Molsky, Mamie Minch, Marika Hughes, Janine Nichols, Nation Beat and many others

4/25, 7 PM Hilka – the otherworldly side project from Shelley Thomas and Willa Roberts of Black Sea Hotel – singing rare Ukrainian and Belorussian songs once common to the Chernobyl region – at the Ukrainian Museum, 222 E 6th St

4/25, 7 PM torchy, intense, dramatically soaring pianist/songwriter Elaine Romanelli at the third room at the Rockwood, $10

4/25, 8 PM irrepressible chamber music ensemble the International Street Cannibals hold their second annual boxing-themed concert at Gleason’s Gym, 7 Front St, Dumbo,  $20/$15 stud/srs//$10 for under 17 at door. “10- to 15-minute sets of 3- to 4-minute chamber works alternate with 8-minute bouts of boxing, three rounds each. 60-second thematic musical interludes performed in between the teen pugilists’ rounds. Performances take place in the three main rings of the gym, contributing to a theater-in-the-round effect, with the audience progressing from one ring to another. Music by Bach, Mozart, Dan Barrett, Evin Fein and others.”

4/25, 8:30 PM the NY Virtuoso Singers perform works by Luigi Dallapiccola (a premiere), Elliott Carter, Thea Musgrave, George Perle, Hugo Weisgall, Karol Rathaus, Joel Mandelbaum, Leo Kraft, Allen Brings, Edward Smaldone, Bruce Saylor and David Schober at Merkin Concert Hall, $25

4/26, 3 PM the Australian Chamber Orchestra play works by Haydn, Mozart, Prokofiev and a world premiere by Radiohead’s Jonny Greenwood at Zankel Hall at Carnegie Hall

4/26, 7 PM the Queensboro Symphony Orchestra play Beethoven’s Egmont Overture, Handel’s Royal Fireworks Music, Haydn’s Trumpet Concerto (featuring Chulho Kim) and a world premiere by Paul Joseph at Mary’s Nativity Church, 46-02 Parsons Blvd. (at Holly Ave.), Flushing, 7 train to Main St. (the last stop), transfer to the Q27 bus, sugg. don.

4/26 cellist/composer Erik Friedlander plays haunting, shapeshifting new pieces from his latest solo album, mixing up the baroque and the Middle East at Dixon Place

4/26 garage/powerpop allstar band the Split Squad, ageless garage rock legends the Fleshtones and iconic ex-Dead Boys and Rocket from the Tombs guitarist Cheetah Chrome at Bowery Electric

4/27, 7:30 PM the Miró Quartet perform Schubert’s Quartet in G Major at Advent/ Broadway Church, 2504 Broadway at 93rd St., free

4/27, 8 PM edgy, funky Israeli Ethiopiques/Afrobeat/soul singer Ester Rada and band at SOB’s, $16 adv tix rec

4/28, 5 PM pianist Rosa Torres Pardo plays an all-Iberian program including works by Soler-Scarlatti, Albeniz, de Falla at the DiMenna Center, 450 W 37th St., $5

4/28, 7 PM haunting, otherworldly three-woman Bulgarian choir Black Sea Hotel – who do fascinating original arrangements of ancient Baltic tunes – at Pete’s

4/28 eclectic, lyrical jazz bassist/composer Pedro Giraudo leads his big band, 7:30/9:30 PM at the Jazz Standard, $25

4/28, 7:30 PM Jewish folksong maven Susan Leviton and band at the Stephen Wise Free Synagogue, 30 W 68th St., $15.

4/28, 8 PM S.E.M. Ensemble with Ostravská Banda and Roscoe Mitchell, Thomas Buckner and George Lewis celebrate fifty years of the AACM with music by Lewis, Mitchell, Henry Threadgill, Christian Wolff and others at Bohemian National Hall, 321 E 73rd St, between 1st an 2nd Ave, sugg. don. The following night 4/29 at 8 features a jam between Muhal Richard Abrams, Mitchell and Lewis plus the SEM Orchestra playing Mitchell and Abrams pieces.

4/28, 9:30ish sprawling gospel-rock orchestra Jesus on the Mainline – featuring spectacular frontwoman Mel Flannery – at the at Brooklyn Bowl, $10

4/29 tuneful latin jazz pianist Manuel Valera leads his trio with Hans Glawischnig – bass and EJ Strickland – drums playing the album release show for his new one, 7:30/9:30 PM at the Jazz Standard, $25

4/30, 8 PM Guinean Fula flute sounds with Bailo Bah & Sylvain Leroux followed by fiery Mauritanian pschedelic/desert rock bandleader/chanteuse Noura Mint Seymali at Roulette

4/30 8ish edgy gutter blues band Jane Lee Hooker followed at around 10 by the Bluebonnets with the Go Go’s Kathy Valentine (not only a superior bassist but a ferociously sizzling lead guitarist), $10 gen adm

5/1, 8 PM Pakistan’s Farid Ayaz, Abu Muhammad & Brothers Qawwali at Roulette

5/1, 8:30 PM female-fronted postpunk icons the Bush Tetras – of Too Many Creeps fame – at le Poisson Rouge

5/1, 10 PM this era’s version of Steve Earle, Joe Pug at Bowery Ballroom, $15

5/2, 8 PM intense 30–member all-male choir A Conspiracy of Beards sing from their vast repertoire of imaginatively orchestrated Leonard Cohen songs at Littlefield, $10

5/2, 8 PM entrancing Moroccan sintir virftuoso Hassan Hakmoun – the James Brown of gnawa – with his band at Roulette

5/2, 9  PM the Baseball Project – jangly, wickedly literate, historically informed baseball-themed supergroup fronted by Steve Wynn with Peter Buck and Mike Mills from REM and others – at Rough Trade, $20 gen adm

5/2, 10 PM a benefit concert for SaveNYC - the small business advocacy organization fighting to keep independently owned and operated businesses from being forced out by astronomical rent hikes and replaced by bland corporate chain stores – at Arlene’s, performers TBA, a good cause and reputedly some first class acts involved

5/3, 8 PM avant jazz grooves with Ned Rothenberg & Glen Velez followed by a rare global throat-singing twinbilll with Alash and Huun-Huur-Tu, the Throat-Singers of Tuva at Roulette

5/5, 7:30 PM powerful violinist and klezmer bandleader Yale Strom & Hot Pstromi at the Stephen Wise Free Synagogue, 30 W 68th St., $15.

5/9, 5 PM pianist Josep Colom plays “a dialogue between Mozart and Chopin” at the DiMenna Center, 450 W 37th St., $5

5/11 drinks at 5:30 PM, show at 6, the Daedalus Quartet with pianist Benjamin Hochman play Mieczyslaw Weinberg’s haunting, Shostakovian 1944 Piano Quintet at the Miller Theatre, free

5/11, 7:30 PM Kate Soper, soprano; Gelsey Bell, soprano; Brett Umlauf, soprano;  Erin Lesser, flutes;  Ian Antonio, percussion;  Joshua Modney, violin perform works by Soper, Guillaume de Machaut and Hildegard von Bingen at Advent/ Broadway Church,2504 Broadway at 93rd St., free

5/14, 7:30 PM edgy Romany/latin/ska rockers Karikatura followed by fiery, hard-rocking Balkan band Tipsy Oxcart playing the album release show for their new one at the big room at the Rockwood, $12

5/14, 7:30 PM James Lovell and his rustic Caribbean Garifuna Drum Band play a cross-pollinated collaboration with Cape Breton singers at Meridian 23 on 23rd St. east of 7th Ave.

5/16, 8 PM the band that put Haitian psychedelic funk on the map in the 90s, Boukman Eksperyans at Roulette, $25

5/16, 9 PM legendary Hoboken proto-dreampop jangleband the Feelies at the Bell House, $25 gen adm, adv tix rec, this might sell out

5/22-23, 8 PM a six-pianist ensemble – Taka Kigawa, Jenny Lin, Laura Barger, Tania Tachova, Joseph Kubera and Ning Yu – play the world premiere of John King‘s expansive Piano Vectors at the equally spacious Knockdown Center, 52-19 Flushing Ave, Maspeth, L to Jefferson St, $10, “Imagine the 6 pianists traveling through space and time, each at their own rate, compressing or stretching time in randomized and improvised ways.”

5/29, 7 PM anthemic, kinetic, mathrock-inclined cello band Break of Reality at Highline Ballroom, $22 adv tix rec

5/30, 5 PM pianist Jeffrey Siegel plays Bach, Beethoven, Paderewski, Gershwin at the DiMenna Center, 450 W 37th St., $5

6/2, drinks at 5:30 PM, show at 6, the American Contemporary Music Ensemble with violinist Caroline Shaw play an all-Timo Andres program at the Miller Theatre, free

6/3, drinks at 5:30 PM, show at 6: Vicky Chow, piano; Jennifer Choi, violin; Michael Nicolas, cello play John Zorn trios at the Miller Theatre, free

6/4-7. 7 PM with a 2 PM matinee on 6/7, drummer Eve Sicular and her exhilaring, multistylistic band Metropolitan Klezmer perform her ever-more-relevant, musically rich musical theatre piece J. Edgar Klezmer: Songs from My Grandmother’s FBI Files at Here, west of 6th Ave. past the park just south of Spring St.,, $25/20 stud/srs

6/4, 9 PM the postpunk band that invented the genre, Wire at Bowery Ballroom, $25 gen adm

6/5, 9;30 PM ageless, corrosively lyrical glamrock icon Ian Hunter at the Bell House, $30 adv tix req

6/7-8, 9 PM southwestern gothic/desert psychedelia cult heroes Calexico at Bowery Ballroom, $25 gen adm

6/20, 5 PM pianist Enrique Graf plays music from Uruguay and Russia at the DiMenna Center, 450 W 37th St., $5

8/4, 10ish Penelope Houston‘s recently revitalized, legendary first-wave punk band the Avengers play their first-ever Brooklyn show at the Bell House, $18 adv tix req., if this doesn’t sell out, something’s seriously wrong with this city

A Tight, Straight-Ahead, Funky New Album and a Rough Trade Show by Dancefloor Groovemeisters Emefe

Emefe distinguish themselves in many ways, one of them being that they are one of the few drummer-led bands around. Miles Arntzen – son of individualistically brilliant trumpeter/composer/singer Leif Arntzen – propels this Afrobeat-inspired dancefloor groove crew from behind the kit. Tenor saxophonist Jas Walton’s site describes the group’s mission as being “to fight the inner authorities that we put on ourselves” – as George Clinton said, free your ass and your mind will follow. Their forthcoming second album – which isn’t out yet, although there are a couple of tracks up at Bandcamp – updates mid-80s, funky Talking Heads for the 21st century. It’s a lot more terse, focused and less jam-oriented than their previous material, although that probably won’t have much to do with how much this group likes to cut loose onstage. They’re playing Rough Trade on April 2 at 11 PM; general admission is $12.

The new album kicks off with a flourish of a flute intro and then Jake Pinto’s surreal blend of watery synth tones joins the guitars as Doug Berns anchors it with his terse, biting, kinetic bass: the mantra is “don’t fall for it.” It’s part funk, part oldschool disco and it’s awfully catchy.

One of the guitarists – Deen Anbar and Michael Harlen – takes over in the tonebending department on Come Back to Me, which adds a little hip-hop touch to Talking Heads funk. Likewise, Same Thing takes a Burning Down the House drive and adds a little anthemic Celtic flavor. Sun Spat takes a circular indie classical horn riff – Walton in tandem with trumpter Michael Fatum, trombonist Raymond Mason and baritone saxophonist Zach Mayer – and then brings the band in to meet them in a blaze of intricately orchestrated harmonies that they very artfully shift in a funkier direction before an unexpected detour into dub.

Summer is as close to oldschool 70s funk as the band gets on the album, Walton’s sax sailing over dirty guitars and a tight dancefloor strut until Fatum blasts in and blows up the spot. And then the band follows with a long, anthemically explosive outro. After that, a jazzily determined vocal-and-percussion interlude leads into more beefed-up Talking Heads funk with Free to Scream: “You could scream any time of day/Be prepared for anything in your way” is its cautionary message. It’s the album’s most angst-driven and best song.

40 Watt, a dynamically shapeshifting instrumental with more pyrotechnic Fatum trumpet, builds to a joyous shout-out to the soul-funk classic The Horse as it winds out. The final cut, Dream Your Life Away brings to mind MTV-era Peter Gabriel. What use is this music? It’s like espresso in a can. It’ll revitalize you on the way home from work or school, and if you have enough space in your place for people to dance, throw this puppy on the next time you have a party and crank it.

Madam West Bring Their Psychedelic Soul to Palisades: Not an April Fool Joke

Isn’t it cool when a band actually know themselves well enough to tell you what they do? You’d think that more artists would be able to do that…but a lot of times they don’t. Madam West call themselves psychedelic soul and that’s what they are. That, and danceable, and fun. On their new four-track ep, Not Pictured – a name-your-price download at Bandcamp – the group comprises singer/uke player Sophie Chernin, keyboardist Todd Martino and dummer Mike McDearmon. They’ve expanded to a five-piece for their 9:15 PM Palisades show in Bushwick on April 1 (no joke) and they sound like they bring the party live.

The album’s first track, Darlin’ has a funny video that’s sort of a Fatal Attraction spoof. The song is a vampy, bouncy thing where Chernin finally decides to take off and head for the sky about halfway through. The next song, Home starts out as a uke waltz, but then McDearmon adds a funk groove underneath. And why not – there’s such a thing as a jazz waltz, why not a funk waltz? The music-box synth tones are an unexpectedly cool touch too.

In her more stressed moments, Chernin takes on a bluesy, imploring tone that reminds of Jolie Holland. She stays closer to the ground throughout most of The End, a steady, resonant latin soul groove with some playful synth squiggles and blips. The last track is October, which fools you into thinking it’ll be a brooding waltz before Chernin’s vocal leaps and Martino’s judiciously hard-hitting chords take it in a more kinetic direction. Promising debut; hopefully more to come. More bands should be doing stuff like this: it’s fun and catchy without being bland, and you can dance to it.

Anna Winthrop Brings Her Soaring, Classically-Infused Songs to Caffe Vivaldi

Singer/pianist Anna Winthrop defies categorization. Her Soundcloud page has a mix of lush art-rock, terse chamber pop and classical art-song, sometimes with just the hint of cabaret. Her tunes are translucent and catchy; she likes a steady beat and big anthemic crescendos, even if she’s not playing them in straight-up 4/4 much of the time. And she’s a fantastic singer. She’s at Caffe Vivaldi at 9:15 PM on March 31, playing a duo show with cellist Kirin McElwain, who’s also on the Soundcloud tracks.

Winthrop doesn’t waste any time going up into the midday sky with her arrestingly clear, stratospheric soprano on the first track, Look to the Sun over a pointillistic waltz beat that contrasts with the cello’s lush washes. Her lyrics are thoughtful, sometimes opaque and draw you in: this one seems to be about a struggle for clarity.

So High works a jaunty, skipping-down-the-sidewalk ragtime-pop pulse, but at the same time it’s not completely at ease: is it about being so wasted you can’t think straight? That would be very counterintuitive for a song this lively and direct. Words has a catchy, more somberly insistent quality, McElwain building an artfully terse weave behind Winthrop’s chords and pensive vocals.

Walk Away develops an aptly disorienting, jazzy edge, McElwain plucking out a bassline over Winthrop’s anxiously precise chromatics. See Me has a brooding circus rock/noir cabaret ambience, McElwain switching between stark washes and dancing lines. All of Me is an original, not the jazz standard, although it owes more to jazz and blues than the other tracks. The last one is Fantasie in G Minor, a solo piano instrumental that could be a miniature by Schubert or Faure. All this should sound good in Caffe Vivaldi’s intimate confines, especially on an off night when the place isn’t overrun with drunks on their way back to Jersey.

Winthrop also has an unusually eclectic background, having had considerable success as an actress and dancer, with experience in the opera world as well. The reason you’re seeing this here and not at the top of the page is to set her apart from the legions of newly arrived sorority girls who took a couple of tap lessons, appeared in a college production or two, moved to New York on their parents’ tab and then decided on a lark to take up singing.

Ward White Plays an Enticingly Quiet, Lyrically Rich Show at the Rockwood

Ward White is New York’s preeminent literate tunesmith. His songs come across as a sort of catchy, anthemic, current-day update on Hermann Hesse’s Glass Bead Game. They bristle with references to novels, film, theate, art, history…and sometimes silly current events. For all the doomed imagery, savagery and relentless cynicism on his latest album Ward White Is the Matador, those songs can be hilarious. His stage show is the same way. It would have been fun to have been able to catch him playing a relatively rare solo acoustic set – the kind where you can really listen, and get into those lyrics, and try to figure out what the hell all those twisted stories are about – at Pete’s Candy Store a couple of weeks back. But the L wasn’t running. For those who missed that show – or White’s searing electric show with his band at the big room at the Rockwood last month – he’s making another semi-rare acoustic appearance at the small room there at 9 PM on March 31. It’s a good segue, actually, because White’s a criminally good guitarist and he’s followed on the bill at 10 PM by another mean picker, bluegrass maven Michael Daves, who’s playing his weekly Rockwood residency.

That February show there was much like White’s fiery Bowery Electric album release show late last year. Violinist Claudia Chopek fueled the centerpiece of both the show and the album, Bikini – a reference to the radioactive South Pacific bombsite rather than beachwear – with her knifes-edge, shivery crescendos. Bassist Bryan Smith fired off boomy, muscular low-register chords coupled to nimbly catchy hooks further up the fretboard. While it’s not like White – who alternated between punchy glamrock hooks, resonant jangle and soaring leads all night – really needs a lead guitarist, Smith filled that role when the music got quieter. Visually, the star of the show was harmony singer Victoria Liedtke, who balanced a stoic Lynch girl presence with some pricelesss cat-ate-the-canary expressions in response to White’s banter, which were every bit as as funny as the songs’ double entendres and references to things like mylar balloons.

That’s what one of the night’s best songs was centered around, an offhandedly chilling hospital scene set to a allusively balmy ballad backdrop – mylar balloons are those shiny things you can get in any hospital gift shop, White explained. The understatedly creepy, retro 60s pop of Dolores on the Dotted Line was as suspenseful and offhandedly apt a portrait of control-freak sadism as it is on album. The album’s pulsing opening number, Sabbath, was as amusing as it was ineluctably bleak. In between, White cracked up the crowd with the S&M Bacharach bossa nova of Alphabet of Pain as well as plenty of sardonic between-song one-liners, but he didn’t do much explaining when it came to the songs. Although he did allude to references to both an unnamed Kurosawa film and a David Foster Wallace novel in one of the set’s later numbers. Go to the Tuesday night show and find out what else you missed.

A Gorgeously Noir New Album and a Little Italy Gig by Bliss Blood and Al Street

There’s an embarrassment of riches up at Bliss Blood‘s Bandcamp page. With the irrepressibly jaunty, harmony-driven, Hawaiian-tinged Moonlighters, she pioneered the swing jazz revival here in New York in the early zeros. She got her start before that as a teenager in the 80s and early 90s fronting noise-punk cult heroes the Pain Teens. But she’s also a connoiseur of noir. She first explored those sounds thematically with her trio Nightcall, which she stripped down to a duo with guitar sorcerer Al Street. The two have a gorgeously shadowy new album, Unspun, up at Bandcamp and plenty of gigs coming up. Their next one is a trio set with reedman Ian Hendricikson-Smith on March 29 at 8 PM at Epistrophy Cafe, 200 Mott St. (Kenmare/Spring).

Blood has been one of the most intriguing and enigmatic singers in this city for a long time. A master of nuance and innunedo, she can be playful, or swoony, or downright sultry one second, and sinister the next. She’s just as strong and eclectic as a songwriter: she has a thing for foreshadowing, and subtle metaphors, and clever double entendres: Street has a fluency and edge on acoustic guitar that most players only dream of achieving on electric: forget about nailing the kind of sizzling, flamenco and Romany-influenced riffs with the kind of nuance he employs without help from amps or pedals.

The new album’s first track is Alpha, a flamenco-tinged cautionary tale about a guy whose “fingers are always on the snare” – as she explains, you don’t want to be on the banks when this particular levee gives way. Entropy has a distantly injured pulse that’s as dreamy and Lynchian as it is ominously steady: “Now the laws of all transgression have all been broken but a few/So don’t pretend we didn’t bend the universe in two,” Blood broods. Then they pick up the pace with the droll, innuendo-fueled hokum blues shuffle Give Me Lots Of Sugar, a dead ringer for a Bessie Smith classic. And though you might think following that with a song called It’s So Hard would be pretty self-explanatory, it’s not: Blood’s insistent ukulele anchors a pensively torchy, bossa-flavored anthem.

Lucia, a lively flamenco swing instrumental, gives Street a launching pad for all kinds of nimble spirals. No One Gets It All, the album’s most haunting track, has a surreally captivating lyric to match its bittersweetly gorgeous melody. It seems to be a defiantly triumphant if deeply wounded existentialist anthem:

Satiated, sinking in your sweet domain
Waking to a distant and whispered call
Stirring to the echoes of a fractured song
Reflection’s fading, no one gets it all

It’s Comfortably Numb without the stadium bombast.

The two take a richly nuanced detour toward the Middle East with Nuyaim, then hit a steady noir swing strut with Pitfall and its wry chronicle of romantic missteps. Please Do (I Like It So Much) mines a vintage C&W sway, while Rustbelt works a catalog of sly junkyard innuendos over a cheery swing tune. Then they float their way through Snowmelt, a reverb-drenched, hypnotically Lynchian mood piece.

Tying My Tail In Knots sets more of those devious innuendos to a chirpy drive with an unexpected 90s quirk-pop tinge. Street does a mighty impersonation of a balalaika on the angst-fueled but ultimately triumphant title track. The album winds up with Vixen, a femme fatale theme infused with unexpectedly Stonesy blues guitar. Multiple levels of meaning reverberate throughout these songs: it would take a novel to count them all. It goes without saying that this is one of 2015’s best releases (some context: noisy postpunks Eula, lyrical new wave revivalists Lazy Lions, avant art-song siren Carol Lipnik, noir duo Charming Disaster, and Paula Carino’s double entrendre-fueled Regular Einstein all figure into that equation).

Bliss Blood and Al Street work fast. They’ve got a new single, Clash by Night up at Bandcamp, a brisk, strummy, resolute individualist’s anthem. “Solitude, not loneliness,” is the central theme, a cause for any rebel.

Molly Ruth Brings Her Chilling, Twistedly Individualistic Americana to Trash Bar This Saturday

Molly Ruth might be the most genuinely scary presence in the New York music scene right now. When she’s not singing, she seems demure; on the rare occasion she talks to the crowd, she seems friendly. But just wait til the songs kick in. Channeling her bleak, angst-ravaged narratives from a sordid rural America in period-perfect oldtime vernacular via her mighty, wounded wail, she’s impossible to turn away from. Among the current crop of rising New York frontwomen, only the Bright Smoke‘s Mia Wilson and Mesiko‘s Rachael Bell come within miles of Molly Ruth. She’s playing Trash Bar at 8 PM on March 28; cover is $8 and includes open bar on wells and PBRs til 9. You’ll need them.

Her previous show at the Mercury a couple of weeks ago was by far the most haunting performance witnessed by this blog this year (some context: even Carmina Slovenica‘s Toxic Psalms, Carol Lipnik’s unearthly flights and Big Lazy‘s murderous noir film themes had nothing on this). On one hand, Molly Ruth’s music is rooted in the eerie, otherworldly riffs of delta blues and stark fingerpicking of oldtime Appalachian music, with some vintage 50s C&W in there as well. On the other hand, her music is completely in the here and now, especially when she plays electric with her band, a brand-new and fortuitous change of pace. If you thought she was scary solo acoustic, just wait til you see her wailing on her vintage Gibson SG with the dynamic, sometimes explosive rhythm section of bassist Chris Rozik and drummer Alex Ali behind her

The first song of the set was a country waltz, I Fucked Him for Firecrackers, whose narrator’s seemingly carefree delivery foreshadows a twisted punchline. That set the stage for more ominous, somber solo acoustic blues-flavored numbers like I’m Afraid of God, an illustration of how repeated exposure to threats of fire and brimstone affects a child’s mind – it doesn’t exactly inspire faith. She followed with a lively ragtime-fueled stroll titled Hatred Is Holy, then strapped on her Gibson and launched into a stomping take of My Revelation’s Taking a Long Time to Come, with its wry punk mashup of sex and religion.

One swaying, punching tune evoked Humanwine with its brooding stream-of-consciousness flow. Another aphoristic country waltz grimly addressed women struggling beneath male oppression, as did the sardonically savage A Million Fucking Whores. She wound up the set with an open-tuned Piedmont-flavored blues guitar duet, a metaphorically-drenched flood scenario, a return to careening Missisippi hill country-style thrash and then a morose country song titled My Hometown’s Not Where I’m From, channeling sheer terminal depression. Since the band is new, there’s a good chance that you’ll hear most of this stuff at the Trash show.

Headliner Lorraine Leckie had a hard act to follow, but she and her volcanic, psychedelic noir Americana band kept the intensity at redline. Guitarist Hugh Pool might have been nursing a broken leg, but that didn’t stop him from whirling through solar flares of Voodoo Chile Hendrix, long shimmery washes tinged with feedback and searing reverb-iced cascades. Leckie’s jangly Telecaster anchored the songs’ anthemic drive in tandem with nimble, melodic bassist Charles DeChants and drummer Paul Triff. The highlight of their set could have been the gorgeous paisley undergruond anthem Nobody’s Girl, with its unexpectedly crunchy, metal-flavored chorus. Or it could have been the volcanic closer, Ontario, Pool practically falling off his stool as he blasted through a long, raging outro. Molly Ruth gave credit to Leckie, leader of an earlier generation of dark rockers, for putting the night together and giving her a chance to do the one thing in life that she actually enjoys. If we’re lucky, this bill will repeat later this summer somewhere.

And lucky Jersey residents can see Leckie play a rare stripped-down duo show with Pool tomorrow night, March 27 at the Record Collector at 385 Farnsworth Ave. in Bordentown; $12 adv tix are still available as of today.

Tara O’Grady Salutes the Irish Influence in New Orleans Jazz

A lot of people don’t realize how much of an Irish influence there is in New Orleans jazz. But the Crescent City was a major port of call and received plenty of immigrants during the Potato Famine years and subsequently. So it’s hardly a surprise that the rich musical tradition they brought with them would become part of the city’s multicultural fabric. Torchy chanteuse Tara O’Grady pays tribute to that cross-pollination on her fourth album, Irish Bayou. She’s playing the album release show Thursday, March 26 at 7 PM at the Metropolitan Room, 34 W 22nd St. Cover is $20 – if you really want to go whole-hog, it’s $85 for the show plus open bar. Hmmm….

Although the album hasn’t hit the web yet, there are a couple of tracks up at O’Grady’s youtube channel. The opening tune, I Love You with All My Blood is an oldschool soul strut played as ukulele swing. And A Rude Awakening is a tartly slow-burning blues shout-out to early feminist Irish-American novelist Kate Chopin, lit up with some understately slashing Michael Howell guitar.

What’s the rest sound like? Lots of shuffles. As the Rain Fell Upon Bourbon Street is a bittersweet, ragtime-inflected number, pianist Sasha Papernik pairing against Justin Poindexter’s Hawaiian-infused slide guitar resonance. Carry Me Home is a deliciously vicious, accordion-fueled second-line shuffle that builds to a fullscale blaze. Dry Dem Bones, a deep-fried Little Feat-style remake of the old gospel tune, sways along on the groove from drummer Ryan Vaughn and bassist David Shaich. Ghosts of New Orleans follows a similar theme as the band swings it hard.

“You’re the olives in my muffulata from Central Grocery,” O’Grady croons in Heaping Helping of My Love, which builds to a jaunty dixieland dancefloor bounce. “We can order in some beignets and eat them in bed!” she entreats. The best track here is My Fall Romance, an original that sounds like a Billie Holiday swing classic from the 30s, O’Grady’s sassy, imperturbable alto delivery matched by trumpeter Jordan Sandke’s soulful muted lines. The most relevant number, the burning Take Me Home, reminds how much Irish immigrants have struggled  under the radar in this country.

There are also a couple of covers here; Louis Armstrong’s Irish Black Bottom, reinvented as a funk tune with some wry hip-hop flavor, and My Irish Molly-O redone as oldtimey swing with a coy Michael Hashim clarinet solo. And NYC guitar legend Pete Kennedy of the Kennedys – who have a reputedly amazing new album of their own due out soon – figures into the mix somewhere. One assumes that he’s responsible for all that edgy tremolo-picking.

 

The Brussels Jazz Orchestra Sells Out Lincoln Center with Their Edgy, Historically Rich Multimedia Program

The Brussels Jazz Orchestra wound up their stand at Jazz at Lincoln Center Sunday night with their sixth consecutive sold-out show. There’s a reason why European big bands are so popular and highly regarded: because they’re funded with government money, they can rehearse rigorously and as a result tend to be extraordinarily tight. What differentiates this blazing, hard-swinging group from their fellow large ensembles in, say, Copenhagen or Berlin? A sense of humor and outside-the-box creativity, just for starters. Their program  for this stand was titled Graphicology, an enterprising and wildly successful attempt at integrating a graphic novel into a concert, the band playing seamlessly and boisterously along with projections of text and illustrations by Philippe Paquet, bringing some pretty crazy stories from throughout the history of jazz to life with fire and verve and sardonic humor. Paquet, a jazz bassist himself, is well suited to this group, his stark black-and-white images providing context and storylines that the ensemble matched with split-second precision. The group’s fondness for playing live scores to silent films probably has a lot to do with how smoothly the production went: one would assume as well that the projectionists were doing double duty reading from a score. And beyond the visuals, the music was lush, and stormy, and often exhilarating.

The orchestra opened with Italian composer Enrico Pieranunzi’s bustling, uneasy shuffle It Speaks for Itself, from the group’s recent Pieranunzi tribute album. Pianist Vincent Bruyninckx ambled through the outskirts of bop, after which bassist Jos Machtel stalked through a brooding modal solo, dredging the piece’s murky, Monk-inspired undercurrents. They followed with Bert Joris’ brass-fueled clave theme Signs & Signatures, a vamping vehicle for trumpeter Jeroen Van Malderen, who chose his spots judiciously, followed by a smokily animated solo by baritone saxophonist Bo Van der Werf.

The Graphicology numbers were choreographed down to the second, whether that meant a chase scene, several whiz-bang gangland sequences (Harlem in the 1930s through the 50s plays big here) or slowly simmering crescendos rising to either sheer terror, exhilaration or triumph. Alto saxophonist Dieter Lembourg’s cinematic Bird As Told to Miles the Cat traced the doomed trajectory of Charlie Parker’s up-and-down final years dynamically and energetically via Miles Davis autobiographical narrative , with frequent allusions to Bird repertoire. Likewise, trumpeter Pierre Drevet’s Louis mashed up a sequence of Satchmo riffs and themes against a backdrop of Louis Armstrong’s hardscrabble New Orleans upbringing and eventual rise to star status in New York. Trumpeter Nico Schepers made the most of one opportunity after another to voice both the vaudevillian and soulfully plaintive sides of Armstrong’s music. The group concluded with Bert Joris’ sweeping noir suite The Portrait, in tandem with a rollercoast ride of a script illustrating the confluence of mob violence and avant garde art in late Renaissance era Harlem.

Those lucky enough to be in Brussels at the beginning of next month can see the Brussels Jazz Orchestra playing live scores to silent films starring Mary Pickford and Harold Lloyd on April 1 at 8:15 PM at Flagey at 27/5 Belvédèrestraat; cover is €20.

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