New York Music Daily

Global Music With a New York Edge

Live Music Calendar for New York City and Brooklyn for September and October 2019

Daily updates – if you go out a lot, you might want to bookmark this page and check back regularly. 

If you’re leaving your hood, don’t get stuck waiting for a train that never comes, make sure you check the MTA delays and out-of-service page for service cancellations and malfunctions, considering how unreliable the subway is at night and on the weekend.

If you don’t recognize a venue where a particular act is playing, check the comprehensive, recently updated list of over 200 New York City music venues 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. If this calendar seems short on praise for bands and artists, it’s because every act here is recommended if you like their particular kind of music. Many different styles to choose from.

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 published here weeks in advance.

If you see a typo or an extra comma or something like that, remember that while you were out seeing that great free concert that you discovered here, somebody was up late after a long day of work editing and adding listings to this calendar ;)

Weekly events first followed by the daily calendar:

On select Wednesdays and Sundays, 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, beverages and lively conversation included! sug don, email for details/address

Mondays at 7 PM multi-instrumentalist Dennis Lichtman’s popular western swing band Brain Cloud at Barbes followed at 9:30 PM by a variety of tropical bands playing cumbias, boogaloo, salsa, maybe all of the above.

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.

Mondays at the Vanguard the Vanguard Jazz Orchestra – composer Jim McNeely’s reliably good big band vehicle – plays 9/11 PM, $35 per set plus drink minimum.

Mondays at 10 PM noir guitar legend Jim Campilongo leads his trio at the big room at the Rockwood, $10

Mondays starting at around 10:45 PM Rev. Vince Anderson and his band play two sets at Union Pool. 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 woke, sexy original songs and is one of the most charismatic, intense live performers of our time. It’s a crazy dance party. Paula Henderson from Burnt Sugar is the usual lead soloist on baritone sax, with frequent special guests. Sizzling guitarist Binky Griptite – Sharon Jones’ lead player – is also often there.

Tuesdays at 7:30 PM the chamelonic, playful, sometimes irresistibly cartoonish Daniel Bennett Group play jazz outside the box at the third floor bar at the Residence Inn, 1033 6th Ave at 39th St, free

Tuesdays at 9 PM, clever, fiery, eclectic ten-piece Balkan/hip-hop/funk brass maniacs Slavic Soul Party at Barbes (check the club calendar), $10 cover.

Wednesdays at 9ish the Binky Griptite Orchestra (formerly Sharon Jones’ brilliant oldschool soul backing band) at Threes Brewing Outpost, 113 Franklin St (Greenpoint/Kent Aves) in Greenpoint, free

Most Thursdays at 8:30, the Brooklyn Raga Massive – a rotating cast of A-list Indian, jazz and rock musicians who love to jam out classic Indian themes from over the centuries to the present day – play the Jalopy, $15 adv tix at the bar at the main space. Tons of special guests followed by a wild raga jam!

Fridays and Saturdays at 5 PM adventurous indie classical string quartet Ethel plus frequent special guests playing a mix of classical and more contemporary material at the balcony bar at the Metropolitan Museum of Art, free w/museum adm

Fridays at 7:30 PM tenor saxophonist Ken Fowser leads his band at the Django. Jukebox jazz in a JD Allen vein but not as dark and more straight-ahead/groove-oriented: as postbop party music goes, nobody’s writing better than this guy right now.

Three Saturdays in September: 9/7, 9/14 and 9/28 at 4 PM free concerts at Bargemusic;  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.

Three Sundays in September: 9/1, 9/15 and 9/29 Greg Lewis’ brilliant, fearlessly political Organ Monk Trio at Bar Lunatico at 1 PM for brunch. He’s also at Columbus Park – Cadman Plaza East and Johnson St in downtown Brooklyn – at noon on 9/27

Sundays at 5 PM in September at Barbes,  multistylistic, lyrical, improvisational cellist Rufus Cappodocia leads a series of ensembles

Most Sundays at 5:15 PM starting in late September, a free recital on the amazing, powerful, dynamic new organ at St. Thomas Church at 5th Ave and 53rd St. featuring some of the world’s greatest organists. The space is magnificent and the music usually is too. Right now the church fathers are programming pretty much everybody who used to work here and play the mighty old Aeolian-Skinner organ that finally had to be replaced. Check the concert calendar for details.

Sundays at 8 PM purist guitarist Peter Mazza – who gets the thumbs up from bop-era legend Gene Bertoncini – leads a series of groups at the Bar Next Door

Sundays at 9:30 PM paradigm-shifting Romany jazz/psychedelic rock guitar mastermind Stephane Wrembel leads his band at Barbes – check the club calendar just to make sure.

9/1,  3 PM ish the largescale improvisational ensemble who started it all, the Sun Ra Arkestra outdoors at Union Pool, free. 9/14 at 2 PM they’re at the James Cohan Gallery, 48 Walker St in Chinatown, free

9/1, 6 PM darkly torchy southwestern gothic/Europolitan songwriter/guitarist Miwa Gemini at LIC Bar

9/1,  7 PM brilliant steel guitarist Mike Neer’s Steelonious – who do Monk covers in the same vein as Buddy Emmons –   followed at 9:30 by Romany jazz/psychedelic rock guitar mastermind Stephane Wrembel at Barbes

9/1, 8 PM perennially tuneful, pensively lyrical Americana janglerocker Mike Ferrio of Tandy and Good Luck Mountain at 11th St. Bar

9/1, 9 PM fiery, deviously fun oldtimey swing guitarist/crooner Seth Kessel & the Two Cent Band at Sunny’s

9/2, 7 PM raucous oldtimey swing street band Tuba Skinny at the Cutting Room, $15 adv tix rec

9/2, 8 PM sly hokum blues/jugband Ellis Dyson & the Shambles at the Mercury, $12 adv tix rec 

9/2, 9 PM  rapturousy subtle tropicalia drummer/singer (and former Chicha Libre timbalera) Karina Colis leads a piano jazz quartet at Bar Lunatico. They’re also at the Fat Cat at 7 on 9/21

9/2, 9:30ish Gato Loco bass saxophone monster Stefan Zeniuk’s new slightly less crazy band Green Mambo – a Perez Prado tribute – at Barbes

9/3, 7 PM Trio Kirovski: Ljubisa Kirovski- violin and viola; Maja Sutevska Kirovska-piano; Aleksandra Kirovska -guitar play works by Fazil Say, Viilla-Lobos and Piazzolla at Klavierhaus, 790 11th Ave (corner of 54th St)

9/3, 7 PM sweeping, swinging vibraphonist Behn Gillece and group at the Fat Cat

9/3, 7 PM bass-baritone John Taylor Ward “ventures into rare worlds of medieval and folk music with Cantata Profana‘s artistic director Jacob Ashworth on violins and vielles, and special guests Nina Stern on every kind of recorder and wind instrument you can imagine, and Paul Morton on lutes, guitars, and banjo” at Joe’s Pub, $15

9/3, 7:30 PM an interesting duo: Geoffrey Keezer on piano and Joe Locke on vibes at Mezzrow, $20. 9/4 Keezer is here with Ben Williams on bass

9/3, 7:30/9:30 PM iconic bass vet Rufus Reid leads a trio bolstered by the stark microtonal  Sirius Quartet at the Jazz Standard, $30

 9/3, 7:30 PM an avant garde vocal summit: Charmaine Lee with powerhouse pianist Conrad Tao, countertenor Anthony Roth Costanzo, and Australian soprano Jane Sheldon at Roulette, $20 adv tix rec

9/3, 8 PM the lavish, wickedly catchy Petey & the True Mongrel Hearts with their darkly defiant vintage Springsteenian rock and soaring four-part harmonies at the Bitter End

9/3, 8 PM a tribute to influential trumpeter Laurie Frink with Chloe Rowlands and Zen Demon Snaps with fellow trumpeters Jesse Neuman ,Nadje Noordhuis , Dave Ballou , Rich Johnson , Jeff Davis on drums, $10 followed by Rowlands leading her quartet with Roberto Giaquinto on drums, Myles Sloniker on bass, Michael Mayo on vocals at Threes Brewing, 333 Douglass St, Gowanus 

9/3, 8 PM tuneful latin-inspired pianist/organist Bennett Paster at Halyards

9/3-8, 8:30/10 PM wildly popular classic jazz pianist Bill Charlap leads his trio at the Vanguard, $35. Then they’re back again 9/10-15. He’s also doing a very rare free show with veteran singer Sandy Stewart at St. Peter’s Church, 54th/Lex on 9/4 at 1 PM

9/3, 9ish wild, hilarious klezmer punks Golem at Union Pool, free!

9/3, 9:30 PM atmospheric, cinematic drummer/composer Tim Kuhl and his group at Pete’s

9/4, 7 PM the Hot Club of Cowtown – who are just as wildly fun with western swing as they are at Django-style Romany guitar jazz – at the big room at the Rockwood, $25

9/4, 7:30 PM the Mannes Wind Orchestra play works by Mozart, Richard Srauss, Prokofiev, Frank Zappa and others at the auditorium at 66 W 12th St., free

9/4, 7:30/9:30 PM a Booker Little tribute with trumpeters Charles Tolliver, Dave Douglas , Riley Mulherkar, Greg Tardy on tenor, Natalie Cressman on trombone Frank Kimbrough on piano, James Genus on bass, Clarence Penn on drums, $30

9/4, 7:30 PM avant garde vocal summit, night two: terse, enigmatic singer/percussionist Anais Maviel, indie classical star Kate Soper, politically woke composer/vocalist Ted Hearne at Roulette, $20 adv tix rec

9/4, 8 PM the Three Thirds, i.e. two thirds of the Andy Statman Trio with one third of western swing band Brain Cloud. With Larry Eagle – drums; Jim Whitney – bass; Raphael McGregor – lap steel and Grant Gordy – guitar at Barbes

9/4, 8:30 Dervisi feat. guitar god Steve Antonakos play “exotic Greek gangsta blues” and Middle Eastern flavored hash smoking anthems at Troost

9/4, 9 PM wickedly jangly surf/twang/country instrumentalists the Bakersfield Breakers at 11th St Bar

9/4, 9 PM first-rate purist honkytonk crooner/bandleader Cliff Westfall and his killer group at Skinny Dennis

9/4, 9 PM ferocious, politically smart punk en Espanol band Miedo at Brooklyn Bazaar, $10 

9/4, 10 PM haunting folk noir/Americana songwriter Emily Frembgen at LIC Bar. 9/14 at 9 PM she’s at Pete’s 

 9/5, 6 PM epic drone-psych/postrock band Cosmic Monster at Holo, free 

9/5, 7 PM fearlessly political, scruffy punk band Jack and the Me Offs at Arlene’s, $10 

 9/5, 7:30/9:30 PM lyrical, erudite, blues-infused tenor saxophonist Noah Preminger plays the album release show for his new one Preminger Plays Preminger, inspired by the films of his uncle Otto, with a killer quartet including Jason Moran on piano at the Jazz Standard, $30

9/5, 7:30 PM deviously fun, mind-warpingly multistylistic keyboardist Aaron Whitby‘s Cousin From Another Planet psychedelic funk project at the Lincoln Center Atrium, free, early arrival advised

9/5, 7:30/9:30 PM powerhouse reedwoman Anna Webber  leads a septet featuring Matt Mitchell on piano at the Jazz Gallery, $15

9/5, 7:30 PM avant garde vocal summit, night three: opera star Stephanie Blythe, atmospheric Hindustani singer/multi-instrumentalist Arooj Aftab with Vijay Iyer on piano & Shahzad Ismaily on bass, and vocalese composer/improviser Erin Gee at Roulette, $20 adv tix rec

9/5, 8 PM New York’s most charismatic, darkly compelling lyrical songwriter/storyteller/keyboard genius Rachelle Garniez. followed at 10 by  purposefully atmospheric  indie classical guitarist Gyan Riley at Barbes. She’s also at Pangea on 9/22 at 7 for $25

9/5, 8 PM bass goddess/soul singer Felice Rosser’s ageless reggae-rock-groove band Faith  acoustic at the small room at the Rockwood

9/5, 8:30 PM Indrajit Roy-Chowdhury (sitar), Harsh Shah (tanpura) and Mir Naqibul Islam (tabla) play Indian classical ragas at the Jalopy, $15

9/5-7, 8:30 PM Pulitzer-winning avant garde vocal icon Du Yun plays with a series of ensembles at the Stone, $20. Choice pick: closing night with Du Yun + Ok Miss: Aakash Mittal (winds) Nich Olas Farrell (guitar, bass) Grey McMurray (guitar) Shayna Dunkleman (drums)

9/5, 9 PM sharply literary, ten-piece country/carnivalesque/acoustic rock powerhouse M Shanghai String Band at Pete’s

9/5, 9 PM Soul Gnawa – the new psychedelic/downtempo project from Innov Gnawa‘s Samir Langus and guitarist Daniel Freedman – at Bar Lunatico

 9/5, 9 PM Certain General guitarslinger Phil Gammage and band play the album release show for their new one at 11th St. Bar. 9/7 he’s at Shrine at 9 andat Cowgirl Seahorse in the South St. Seaport at 7 on 9/30

9/5, 9 PM enigmatic indie classical composer/performer Paula Matthusen at Spectrum, $15

9/6, 7 PM a mass improvisation workshop/concert with the Hugh Ragin Creative Orchestra at the New School, Stiefel Hall, 4th Floor, 55 West 13th St, $15, free for students

9/6, 7:30 PM Ensemble Ipse perform a workshop version of Max Giteck Duykers’ new opera Both Eyes Open, about the aftereffects of WWII imprisonment on Japanese-Americans. “Seen through the eyes of a Japanese-American farmer’s wife’s ghost, and his resurrected, once buried, zen Buddhist daruma doll, the farmer returns alone after the war to his darkened fields having lost his family and livelihood, struggling to find his path again. Singers Kelvin Chan, Kalean Ung, and John Duykers star in this piece that revisits and illuminates this pivotal period of U.S. history and its divergent perspectives, and sheds light on the current state of xenophobia and polarizing socio-political beliefs,” at Shapeshifter Lab, $20/$10 stud/srs

 9/6-7, 7:30 PM intense, lyrical, politically fearless tenor saxophonist Roxy Coss leads her quintet followed by trumpeter Alex Sipiagin leading his with Chris Potter on tenor at Smalls

9/6-7, 8 PM irrepressibly lyrical multi-reedman Ned Rothenberg with Sylvie Courvoisier on piano, Mark Feldman on violin and Mat Manieri on viola at Happy Lucky No. 1 Gallery ,$20

9/6-7, 8:30 PM ($15), repeating 9/8, 4 PM, 9/11-14 and 9/17-21 at 8:30 PM ($25) Kamala Sankaram’s new experimental opera Looking at You, “driven by a score for three saxophones, piano, and electronics, a story of high-tech espionage and romance fusing Edward Snowden and Casablanca. Reflecting the audience’s online identity in real time, Looking at You raises urgent questions surrounding online communication, privacy, and the reinvention of capitalism in the age of public data,” at HERE, 145 Sixth Ave. south of Spring, past the park on the west side of the street

9/6, 8 PM dark cabaret legend Sanda Weigl and her trio followed at 10 by Pangari & the Socialites playing classic ska and rocksteady – most of it from the 60s Skatalites catalog – at Barbes 

9/6, 9ish haunting, dynamic, charismatic Romany/Balkan chanteuse Eva Salina with pyrotechnic accordionist Peter Stan at the Owl

9/6, 9 PM  jangly Laurel Canyon psych-folk songwriter Rebecca Turner followed by folk noir/outlaw country band Maynard & the Musties at Pete’s

9/6, 9 PM boisterously funny oldschool 60s C&W and brooding southwestern gothic with the Jack Grace Band at Bar Chord. 9/9 they’re at the Ear Inn at midnight

9/6, 9 PM honkytonk guitarslinger Danny Weiss and charming singer Mary Olive Smith’s oldschool C&W band Stillhouse Serenade at Sunny’s. 9/28 at 9 PM they’re at the Jalopy Tavern

9/6, 10 PM real Jamaican roots reggae with Royal Khaoz at Shrine

9/6, 10:30 PM tuneful oldschool soul/jazz trombonist Dave Gibson leads his quintet at the Fat Cat

9/7, 1/3 PM intense, microtonal string ensemble the Sirius Quartet play works by Jeremy Harman, Fung Chern Hwei, Gregor Huebner, plus original arrangements of Radiohead & the Beatles in the park on Governors Island

9/7, 1:30 PM Lisa Sokolov – voice, piano; 2:30 Sheila Maldonado – poetry // Danny Shot – poetry; 3:30 Patrick Holmes – clarinet / Adam Lane – bass / Ryan Sawyer – drums at 6BC Garden, 630 E 6th St between Ave B and C

9/7, 2 PM avant vocalist Jessika Kenney at the James Cohan Gallery 48 Walker St in Chinatown,free 

9/7, 4 PM cinematic, psychedelic quirk-pop keyboardist Michael Hearst presents “Curious, Unusual and Extraordinary” songs from his many bands followed at 8 by poignant, eclectic, lyrical jazz bassist/composer Pedro Giraudo’s tango quartet and at 10 by epic ranchera/bolero brass crew Banda de los Muertos at Barbes

9/7, 7 PM pianist Alexis Marcelo solo, clarinetist Francois Houle solo and drummer Andrew Drury solo with percussion, photography, video at Soup & Sound, 292 Lefferts Ave, Crown Heights, 2 to Sterling St., sug don

9/7, 7 PM political noisepunks Junta, ambient noisemakers PrieSTusSSY and Kelsey Pyro, noisy new wave/punk soul band Turqiouz Noiz, and others on a multi-band immigrant music bill at Abrons Arts Center, $5 

9/7, 7 PM music for brass and electronics by Sarah Belle Reid, with special guests Nate Wooley & the Mannes brass studio at the New School, Stiefel Hall, 4th Floor, 55 West 13th St, $15, free for students

9/7, 7:30 PM rapturous Indian carnatic singer Mitali Banerjee Bhawmik with harmonium and tabla at the Chhandayan Center For Indian Music, $20

9/7, 7:30 PM new sounds from a modern string band, featuring Alexi Kenney, violin, Ayane Kozasa, viola, Gabriel Cabezas, cello, and Paul Wiancko, cello with styles ranging from the French baroque, traditional Swedish folk tunes, and new works and arrangements by Paul Wiancko and Gabriella Smith at 1 Rivington St., 2nd floor, $20/$10 stud, reception to follow

9/7, 8 PM quietly enveloping, ecologically-focused Malagasy singer Razia Said at Club Bonafide, $20

9/7, 9 PM ubiquitous, moodily lyrical, politically savvy Irish folk-rocker Niall Connolly at the small room at the Rockwood. 9/8 at 8 PM he’s at 11th St Bar 

9/7, 9ish psychedelic Afrobeat band Super Yamba play the album release show for their new one at the Knitting Factory, $12

9/7. 10 PM smartly lyrical, eclectically tuneful 70s British style pub/punk rockers Binky Phillips & the Planets at Arlene’s, $10

9/7, 10 PM second wave heavy psych/doom legends Nebula at St. Vitus, $15

9/7, 11 PM Indian raga pianist Utsav Lal at the Owl

9/8, 1 PM low-key deep-Brooklyn sounds with Naomi Shelton & the Gospel Queens playing a gospel brunch show at Bar Lunatico. They’re also here on 9/22

9/8, 1:30 PM Steve Swell – trombone / Frode Gjerstad – clarinet, alto sax / William Parker – bass; 3:30 Sarah Bernstein Veer Quartet: Sarah Bernstein – violin, composition / Sana Nagano – violin; Leonor Falcon – viola / Nick Jozwiak – cello; 4:30 Aquiles Navarro – trumpet / Tcheser Holmes – drums at 6BC Garden, 630 E 6th St between Ave B and C

9/8. 2 PM cinematic indie classical group Ashcan Orchestra, sound art duo Skakkun & Spadine and Gamelan Gender Wayang on Governors Island

9/8. 3 PM ish eclectic pan-latin and Middle Eastern-inflected acoustic songwriter Miriam Elhajli and fiery oldtimey string band the Four O’Clock Flowers at Washington Square Park. 9/9 at 9 she’s at Troost

9/8, 3:30 PM a rare NYC performance by Japanese trio Jaquwa – koto, shakuhachi and bass – at the Tenri Institute, $tba

9/8, 4 PM the Sometime Boys’ riveting, powerful, theatrical frontwoman Sarah Mucho sings dark cabaret and rock tunes at Freddy’s

9/8, 5 PM exotic vibraphone-driven surf band the Vibro-jets at LIC Bar

9/8, 5 PM, repeating 9/11 at 7 irrepressible classical pianist and impresario Yelena Grinberg  plays an all-Clara Schumann program at her Upper West Side salon, $35 includes reception and lively banter afterward

9/8, 6 PM noir guitar legend Jim Campilongo leads his trio at 55 Bar

9/8, 7 PM Dilemastronauta Y Los Sabrosos Cosmicos with members of M.A.K.U and Combo Chimbita play space cumbia and other trippy tropicalia and eerily twinkly psychedelic band La Chamba at Baby’s All Right, $12 

9/8, 7 PM catchy, anthemic newgrass/blue-eyed soul band the Levins at the basement room at the Rockwood, $12

9/8, 7:30 PM Big Lazy noir guitar mastermind Steve Ulrich in a rare duo show with bassist /Michael Bates at the McKittrick Hotel, 530 W 27 St, free, look for the littel red light

9/9, 7 PM tuneful postbop pianist Jim Ridl leads his group from behind the Rhodesl at55 Bar

9/9, 7:30/9:30 PM trumpeter Samantha Boshnack’s awesome string-driven Seismic Belt septet followed by fellow brass guy John Raymond‘s quintet with Julian Shore on keys at the Jazz Gallery, $20

9/9, 9 PM adventurous bassist Eivind Opsvik leads a killer quintet with Jacob Sacks on piano at Bar Lunatico

9/9, 9:30 PM “the Slippery Fish pay tribute to the Mexican pedal steel master Tõno Quirazco, who in the 1960’s combined the new sound of ska music out of Jamaica with country twang to invent a twist on the Caribbean sound.,” at Barbes

9/10. 6 PM Renee Neufville & ipanist Sullivan Fortner play a Roy Hargrove tribute in conjunction with the new photo exhibit at the Jazz Gallery, free, get there on time

9/10, 6 PM pianist Stephen Gosling plays an all John Zorn program at the Miller Theatre, free

9/10, 6 PM wryly funny Colorado newgrass band the Stillhouse Junkies at the small room at the Rockwood 

9/10, 7 PM crazy Slavic Soul Party spinoff Free Range Rat – trumpeter John Carlson, saxist Eric Hipp, bassist Shawn McGloin, and drummer Mike Sarin – followed by SSP themselves at Barbes, $10

 9/10 and 9/17, 7 PM the great unsung NYC hero of darkly purposeful, noir-tinged jazz guitar, Saul Rubin at the Fat Cat

9/10, 7 PM Slovenian saxophonist Jan Kus’ Slavo Rican Assembly at Gantry Plaza State Park in Long Island City

9/10, 7 PM eclectic, hard-hitting, lyrical composer/tenor saxophonist Stan Killian at 55 Bar

9/10. 8 PM Lebanese oudist George Abud and band at Sisters Brooklyn, 900 Fulton St. at Washington, C to Clinton-Washington, sug don

9/10, 8 PM satirical Russian Romany folk-punk band Paperny Tam at Drom, $30

9/10-14, 8:30 PM dynamic avant-garde harp luminary Zeena Parkins plays with a series of ensembles at the Stone at the New School, $20. Choice pick: Friday the 13th with the MZM Trio: Myra Melford (piano); Miya Masaoka (koto)

9/10, 10 PM slashing guitarist Steve Antonakos plays slide guitar blues with his band at Bar Chord

 9/10, 11 PM Spanish punk band La Urss at Brooklyn Bazaar, $10

9/11, 8:45 AM (in the morning)choreographer Jacqulyn Buglisi’s Table of Silence tribute to 9/11, led by Buglisi Dance Theatre joined by 150+ dancers and chamber ensemble, ending precisely at 8:46 AM to commemorate when American Airlines Flight 11 crashed into the North Tower. Audiences are invited to join the dancers at that time in lifting their arms upward for one minute, on the plaza at Lincoln Center 

9/11, 6:30 PM haunting classical Iraqi crooner Hamid Al-Saadi with iconic trumpeter/santoorist Amir Elsaffar at the James Cohan Gallery, 48 Walker St in Chinatown, free

9/11, 6:30 PM an eclectic lineup including Asako Tamura, soprano; Yurika Mihara, piano; the HaraHara vocal quartet; Japan Choral Harmony and Circle Wind Chamber Orchestra, playing a Fukushima memorial concert featuring works by Mozart, Faure, Tomas Luis de Victoria and others at Merkin Concert Hall, $10

 9/11, 7 PM purposeful postbop jazz guitarist Amanda Monaco plays the album release show for her new klezmer jazz album at Drom, $10 adv tix rec

9/11, 7 and 8:30 PM a 9/11 memorial concert with works by Bach, Barber, Bottoms, Chopin, and others played by Mark Peskanov, violin, Rita Sloan, piano; David Bottoms, piano and others at Bargemusic, free, early arrival a must

 9/11, 7/10 PM lyrical latin jazz pianist Manuel Valera and his quartet play an Ernesto Lecuuona tribute at Birdland, $20 at the bar

9/11, 7:30/9:30 PM whirlwind jazz drummer Allison Miller’s Boom Tic Boom at the Jazz Standard, $30

9/11, 8 PM otherworldly French-Algerian singer Ourida with her combo at Barbes

9/11, 8 PM smartly tuneful oldschool soul/psych-pop songwriter Mimi Oz followed eventually at 11 by guitarslinger Mallory Feuer’s fiery band the Grasping Straws – sort of a mashup of Patti Smith and Hole’s first album – at Muchmore’s

9/12, 6 PM not a music event but very cool: “Over a period of 6 years beginning in 2011, Jon Crispin photographed over 400 suitcases that were brought to the Willard Psychiatric Center in Willard, NY by patients who were being admitted to the facility. Many of the owners of the cases lived at Willard most of their adult lives, and are buried in the cemetery across the road from the institution. The collection is housed at The New York State Museum and dates from between 1910 and 1965, is completely unique and is an amazing reflection of the lives of the patients. Jon’s presentation will cover his previous documentation of abandoned 19th Century New York State Asylums as well as his work with the suitcases,” at the New School 12th floor skyroom at w W 13th St.

9/12, 7 PM anthemic, evocative, allusive parlor-soul songwriter Treya Lam at the Museum of Chinese in America, $15 includes a drink and museum adm 

9/12, 7 PM  soaringly explosive jazz composer/torch singer Nicole Zuraitis at 55 Bar

9/12, 7 PM fearless, insurgent, amazingly spot-on comedienne/vocal impersonator Tammy Faye Starlite plays Marianne Faithfull’s Broken English at Pangea, $20. She’s also there on 9/19 and 9/25

9/12, 7:30 PM Texas-Colombian bandleader Kiko Villamizar plays oldschool 60s Colombian gangsta cumbia plus psychedelic cumbia grooves at the Lincoln Center Atrium, free, early arrival advised

 9/12-15, 7:30/9:30 PM soaring, politically relevant, brilliantly purposeful alto saxophonist Miguel Zenon  plays material from his fantastic new album with a killer quartet including Luis Perdomo on piano at the Jazz Standard, $30

9/12, 8 PM intense, charismatic oldschool soul belter Sami Stevens at the small room at the Rockwood

9/12, 8 PM two intriguing trumpet-led bands: Gileno Santana and trio followed by Linda Briceño with Jorge Glem (cuatro), David Alastre (keys), Endea Owens (basss), Daniel Prim (drums), at the Brooklyn Conservatory of Music, $15

9/12, 8 PM magical Indian percussionist Rajna Swaminathan leads her jazz quartet with Maria Grand on sax and Miles Okazaki on guitar at Roulette, $18 adv tix rc

 9/12, 8:30 PM the New Thread Saxophone Quartet play the album release for their debut record featuring works by James Ilgenfritz, Len Tetta, Jude Thomas, and Amy Beth Kirsten at the Tenri Institute, $10 for the show, $20 for show and cd 

 9/12, 8:30 PM transgressively funny postbop saxophonist Jon Irabagon  with Peter Brendler on bass and Mark Ferber on drums at the Bar Next Door, $12

9/13, 6 PM crystalline-voiced, noir-tinged third-stream jazz chanteuse Tessa Souter at 55 Bar

 9/13, 7 PM pianist Lara Downes plays the album release show for her new new one featuring women composers Clara Schumann, Florence Price, Meredith Monk, Nina Simone, Paola Prestini, Joni Mitchell, and more with a stellar cast – Bridget Kibbey, harp; Magos Herrera, vocals; Simone Dinnerstein, piano – at National Sawdust, $35 in advance includes a cd, or $25 without one

9/13. 7 PM Indian classical singers Sanjoy Banerjee and Namami Karmakar sing night ragas with Dibyarka Chatterjee on tabla and Anirban Chakrabarty on harmonium at the Rubin Museum of Art, $30

9/13, 8 PM perennially entertaning Irish party band Shilelagh Law at Connolly’s, $tba

9/13, 8 PM hilarious, satirical faux cabaret chanteuse Cat Cohen followed by scampering, irrepressibly fun girlpunk/psychedelic band Sharkmuffin at Trans-Pecos, $12 

9/13 at 8 PM, repeating 9/14 at 7:30 pianist Melody Fader and violinist Doori Na play Wolfgang Rihm’s ethereal score to Miro Magloire‘s new dance piece at City Center Studio 5, 130 W 56 St, $33/$20 stud/srs

9/13, 8:30 PM surf rock night, in reverse order at the Gutter: the Vivisectors – who make macabre surf rock out of old Soviet prison songs –  60s mod Britrock band the Skates, the eclectically cinematic Cameramen, and the similarly cinematic, more dramatic TarantinosNYC. $7

9/13, 9 PM lively oldtimey swing road warriors the Bumper Jacksons play the album release show for their new live one at the Jalopy, $15

9/13, 10 PM unpredictably fun, funny, occasionally Lubowski-esque psychedelic art-rock band the Academy Blues Project at Silvana

9/13, 11 PM one of the year’s best twinbills: savage, theatrical Romany punk band Bad Buka – like a louder, more Balkan Gogol Bordelllo – and slinky metal cumbia/skaragga band Escarioka at Drom, $10

9/14, 1:30 Rob Brown – alto sax / Juan Pablo Carletti – drums; 3:30 Val Jeanty – percussion / Patricia Nicholson – dance; 4:30 Michael Wimberly – drums / Waldron Ricks – trumpet / Larry Roland – bass at Children’s Magical Garden, 129 Stanton St, just east of Essex

9/!4. 4 PM sharply amusing, wickedly lyrical, politically woke lit-rock singer/pianist Dawn Oberg at the small room at the Rockwood

9/14, 4:30 PM elegantly angst-fueled, individualistic torchsong/parlor pop piano chanteuse Jeanne Marie Boes followed at 5:30 by Melissa Gordon of Melissa & the Mannequins, one of the best purist janglerock songwriters in NYC, at LIC ,Bar. Gordon is also leading a Dead cover band there on 9/25 at 9; might be worth taking a chance on that too.

9/14, 7 PM piano/cello/violin trio Ensemble in Process play works by Messiaen, Satie, Missy Mazzoli, Michael Gordon, Meredith Monk and others at Spectrum, $15

 9/14, 7:30 PM guitarist Nick Millevoi’s Desertion Trio play their twisted spaghetti western jazz at Greenwich House Music School, $15

9/14, 8 PM trumpeter Ben Holmes’ broodingly Middle Eastern/klezmer-tinged Naked Lore trio followed at 10 byfollowed by live dub band Combo Lulo at Barbes

9/14, 8 PM majestic, slinky cumbia accordionist/bandleader Gregorio Uribe at SOB’s, $15

 9/14, 8 PM adventurous cellist Okkyung Lee leads an ensemble tba at Happy Lucky No. 1 Gallery ,$20

9/14, 8 PM sincere, politically aware oldschool-style hippie folk guy/girl duo Jaeger & Reid plus the harmony-fueled Lizzie Hershon & the Living Room Singers at the People’s Voice Cafe, sugg don, $20, “more if you choose; less if you can’t; no one turned away”

9/14. 8:15 PM the Jaded Babies play their theatrical, quirky, comedic mashups of punk and art-rock at Bowery Electric , $tba

9/14, 8:30 PM the Mercantillers sing sea chanteys at Freddy’s

9/14, 9 PM deliciously brass-heavy retro 60 soul band Jeremy Beck & the Heavy Duty Horns at the big room at the Rockwood

 9/14, 10 PM legendary 80s NYC goth band Night Gallery play their final show at the Mercury, $10

9/15, 1:30 Nick Lyons – alto sax / Bill Payne – clarinet / Adam Lane – bass; Michael Wimberly – percussion; 3:30 Karen Borca Trio – Karen Borca – bassoon / Jackson Krall – drums / Hilliard Greene – bass; 4:30 We Feel ­­Quartet: Luke Stewart – bass / Daniel Carter – multi instruments / No Land – poetry Miriam Parker – dance at Children’s Magical Garden, 129 Stanton St, just east of Essex

9/15, 3 PM clarinetist Graeme Johnson leads a wind and horn sextet playing works by Weber, Mozart, Crusell and Beethoven at Concerts on the Slope, St. John’s Episcopal Church, 139 St. John’s Place downhill from 7th Ave, sugg don

9/15, 5 PM new music for the medieval viola d’amore by Reena Esmail, Conor Abbott Brown, Jake Heggie, Garth Knox and a premiere from Eric Sawyer, featuring violist Matthew Dane, cellist Greg Beaver, and flutist Christina Jennings at 1 Rivington St., upstairs, $15/$10 stud

9/15, 7 PM a trio of intense solo improvisers: pianist Cat Toren, Jessica Pavone (solo viola) , Catherine Sikora (solo saxophone) at El Barrio Art Space, 215 E. 99th St (ground floor), $20

9/15, 7 PM intriguing, Bartokian flute/violin/bass ensemble the Bateira Trio followed by cinematic, lyrical postbop jazz with the Mark Wade Trio at the National Opera Center, 330 7th Ave, 7th Fl, $20. Wade is also at Flushing Town Hall on 9/21 at 2:30 PM for $10 

9/15, 7 PM spine-tingling, darkly mystical art-rock/avant-garde/chamber pop songwriter Carol Lipnik – pretty much everybody’s choice for best singer in all of NYC –  at Pangea

9/15, 7 PM pensively intense microtonal violinist/singer Sarah Bernstein‘s excellent Veer Quartet with Sana Nagano – violin; Leonor Falcón – viola; Nick Jozwiak – cello  at Spectrum $15

9/15, 8 PM psychedelic funksters Here Come the Mummies at the Poisson Rouge, $25 adv tix rec

 9/15, 8:30 PM Treesearch – bassist Kyle Motl and violinist Keir GoGwilt – play new instrumentals from their forthcoming record at Spectrum, $15

9/15, 10:30 PM noir-inspired alto saxophonist/composer Nick Hempton leads his combo at Smalls

9/15, 11 PM acerbic, sharp original jazz pianist Julia Chen with her trio at the small room at the Rockwood 

9/16, 6:30 PM Lisa Hoppe on bass with Gaya Feldheim Schorr on vocals and Keiko Matsuro on guitar at the Bar Next Door, free

9/16, 7:30 PM the Claremont Trio play works by Gabriela Lena Frank, Brahms and Dvořák at Music Mondays, Advent Church, northwest corner of 93rd and Broadway, free

9/16, 7:30 PM the Mannes American Composers Ensemble play works by Jennifer Higdon, Eve Beglarian, Mari Esabel Valverde and others at the auditorium at 66 W 12th St., free

 9/16, 9 PM legendary dual-reedman George Braith – who can play two saxes at once better than most guys can play one – with his quartet at the Fat Cat

9/16, 10 PM ex-Chicha Libre keyboard sorcerer Josh Camp’s wryly psychedelic cumbia/tropicalia/dub band Locobeach at Barbes

9/17, 7 PM ferocious Chicago-style electric blues guitarslinger Ana Popovic at the Cutting Room, $25 gen adm

9/17, 7:30 PM the Manhattan Chamber Players perform works by Ravel, Saint-Saens and Faure at the Baruch College Auditorium, $21/free for students

 9/17, 8 PM Cape Verde morna ballad singer Lucibela and band in a rare NYC performance at Merkin Concert Hall, $25 tix avail

 9/17-21 8:30 PM adventurous pianist Matt Mitchell  plays with a series of ensembles at the Stone at the New School, $20. Choice pick: 9/20 wth Snark Horse 1 with Kate Gentile (drums, compositions) Ava Mendoza (guitar) Kim Cass (bass) Davy Lazar (trumpet) Matt Nelson (tenor sax)

 9/17. 9:30 PM legendary 80s psychedelic Americana pioneers the Long Ryders at Rough Trade, $18 adv tix rec

9/18, 6:30 PM haunting jazz pedal steel virtuoso Susan Alcorn at the James Cohan Gallery, 48 Walker St in Chinatown,free

9/18, 7:30 PM the Mannes Orchestra play works by Eisler, Barber and Brahms’ Piano Quartet No. 1 at the auditorium at 66 W 12th St., free

9/18, 8 PM fearlessly relevant latin rock songwriter and protest song connoisseur Ani Cordero plays the album release show for her new one at Drom, $15 adv tix rec

9/18, 8 PM elegant jazz singer Karen Tennison and band at LIC Bar 

 9/18, 9 PM jangly, psychedelic 90s Hoboken legends Speed the Plough at Bowery Electric, $10

9/18. 9:30 PM fiery, psychedelically bluesy oldschool soul/roadhouse jamband Lizzie & the Makers at 11th St. Bar

 9/18, 9:30 PM composer Audrey Harrer -with processed harp and melodic vocal loops – plus special guest cellistKristen Drymala from the band Quarterly. at Shapeshifter Lab, $12

 9/19,, 7:30.9:30 PM rapturous Indian improvisation with pyrotechnic vocalist Roopa Mahadevan, Arun Ramamurthy –violin; Sriram Raman –mridangam at the Jazz Gallery, $15

 9/19 7:30 PM lyrical, latin-tinged pianist Helen Sung  & the (re)Conception Project with John Ellis on tenor sax and Ingrid Jensen on trumpet at Smalls

9/19, 7:30 PM Korean janggu drummer Kim So Ra leads a thunderous percussion troupe at the Lincoln Center Atrium, free, early arrival advised

9/19,, 7:30 PM this era’s most spellbinding oldschool country singer, Laura Cantrell on the roof of the Old American Can Factory, 232 3rd St., Gowanus, free followed by the documentary film American Factory

9/20. 7:15 ish dark psychedelic acoustic blues/klezmer/reggae/soca jamband Hazmat Modine at Terra Blues. 

9/20, 7:30 PM  latin drum maven and West Side Story soundtrack reinventor Bobby Sanabria and band at the Lincoln Center Atrium, free, early arrival advised

9/20 7:30 PM pastoral guitarist duo Charlie Rauh & Cameron Mizell followed by Middle Eastern-inspired guitarist Harvey Valdes solo at Greenwich House Music School, $15 

9/20-21. 7:30 PM eclectic, paradigm-shifting B3 jazz organist Brian Charette and his quartet at Smalls

 9/20. 8 PM Spain and NYC represent with political hardcore and punk: Irreal, Porvenir Oscuro, Pobreza MentalMiedo, at Brooklyn Bazaar, $10 

 9/20, 8 PM Changing Modes – NYC’s funnest, most unpredictable, sharply lyrical new wave art-rock band –at Arlene’s, $10

9/20, 8 PM rustic Brazilian jungle guitar-and-accordion sounds with Regional de NY followed at 10 by the haphazardly funny Eastern Blokhedz  – who do psychedelic covers of 60s Russian psychedelic pop songs and specialize in the catalog of legendary Polish singer Edita Piaha –at Barbes

9/20, 8 PM drummer Tomas Fujiwara with a typically brilliant edgy lineup: Patricia Brennan on vibraphone, and Tomeka Reid on cello playing the release show for their new suite at Roulette, $18 av tix rec

 9/20, 8 PM no wave laptop percussion legend Ikue Mori remixes Sylvie Courvoisier (piano) and Nate Wooley (trumpet) live at Happy Lucky No. 1 Gallery ,$20

9/20, 8:30 PM bassist/singer Georgia Weber & the Sleeved Hearts play the album release show for her restless, alternately sparkling and acidic blend of jazz and abstract guitar rock at the basement room at the Rockwood, $12 

9/20, 10 PM bossa-tinged sunshine pop band the Letter Yellow at Pete’s

9/20-21 the Allah-Las at Union Pool are sold out. Duh, wtf were they thinking?

9/21, 1:30 Mara Rosenbloom – synth / Sam Newsome – soprano sax / Andrew Drury – drums; 3:30 Jason Kao Hwang – violin / Anders Nilsson – guitar / TA Thompson – drums; 4:30 Amirtha Kidambi – voice / Mazz Swift – violin at Children’s Magical Garden, 129 Stanton St, just east of Essex

 9/21, 2 PM the annual Brooklyn Americana Festival at Pier 6 on the south end of Brooklyn Bridge Park with accordion/guitar duo the Troubadours of Divine Bliss, Irish folk noir innovator Leila Jane, Aussie Kellie Cain, at 5 PM Americana songstress Megan Palmer, at 6 Spirit Family Reunion‘s Maggie Carson, New Orleans blues singer Sabine McCalla and at 7 eclectic newschool Americana harmony trio Underhill Rose 

9/21, 2 PM mysterious Indian-influenced singer Louise Landes Levi at the James Cohan Gallery, 48 Walker St in Chinatown,free 

9/21, 5 PM ish intense, brilliantly relevant oldtime gospel/Africa Africana music maven Vienna Carroll and the irrepresibly theatrical, politically spot-on Ukuladies at the Gowanus Dredgers Society Boathouse, 2nd St. and the canal (past Bond, two blocks south of Smith), free

9/21, 6 PM  amazing, psychedelic instrumentalists Sandcatchers – who blend cinematic, pastoral Americana and Middle Eastern themes – followed at 6 by accordion genius Shoko Nagai ’s haunting, increasingly loud and psychedelic Tokala Silk Road/klezmer mashup project and then at 10  by Frankie Sunswept and the Sunwrays – Rachel Housle on drums, Sean Cronin on bass, Kyle Morgan on vocals and lead guitar, and Frankie Sunswept on vocals, guitar and piano playing psychedelic soul and surf music at Barbes.Sandcatchers are also here on 9/28 at 6 also.

 9/21, 7 PM lustrously eclectic jazz chanteuse Svetlana (of Svetlana & the Delancey 5) sings the album release show for her cinematic new one at Joe’s Pub, $20

9/21, 7:30 PM Sanghamitra Chatterjee – vocal; Dibyarka Chatterjee – tabla; Xander Naylor – guitar at the Chhandayan Center For Indian Music, $20

9/21, 8 PM Music From China with pianist Zhang Fang play works by Bright Sheng, Jian Wantong, Gao Ping, Yao Chen and An-Lun Huang at Weill Hall at Carnegie Hall, $25

9/21, 8 PM improvisations to potentially get lost in: guitarist Ryan Ferreira & cellist Clarice Jensen at the Owl

9/21, 8 PM wry, Mose Allison-inspired folksinger Mike Glick followed by Scott Cook – who shifts from traditional front-porch fare to populist originals – at the People’s Voice Cafe, sugg don, $20, “more if you choose; less if you can’t; no one turned away

9/21, 9ish punchy noiserockers Big Bliss and

9/21, 9ish punchy noiserockers Big Bliss and Monograms – who do as good a mid-80s Cure impression as any band alive – at the Broadway, the old Gateway space at 1272 Broadway in Bushwick, J to Gates Ave, $tba

9/21, 10 PM the haphazardly funny Eastern Blokhedz  – who do psychedelic covers of 60s Russian pop songs and specialize in the catalog of legendary Polish singer Edita Piaha –at Barbes

 9/21, 11 PM bluegrass/newgrass string band phenoms the Kitchen Dwellers at the Mercury, $15 adv tix rec 

9/22, 1:30 Dave Sewelson – baritone sax / William Parker – bass Steve Swell – trombone / Marvin Bugalu Smith – drums; 3:30 Sam Newsome Trio with  Hilliard Greene – bass; Reggie Nicholson – drums; 4:30 Michael Bisio – bass / Kirk Knuffke – cornet / Fred Lonberg-Holm – cello at First St Green, 33 E. 1st St

9/22, 2 PM fiery, female-fronted janglerockers/powerpop band Above the Moon, sunshiney soul band Mojo and the Mayhem, psych soul-funk band Cosmonaut Radio and the gritty catchy, anthemic, female-fronted Grayhunter at Marcus Garvey Park 

9/22, 2 PM the annual Brooklyn Americana Festival at Pier 6 on the south end of Brooklyn Bridge Park with young banjo hotshot Nora Brown & Stephanie Coleman, at 3 soul/gospel belter (and Lenny Molotov collaborator) Queen Esther,at 5 red dirt folk band Carli Ray and the Shaky Legs at 6 our own Samoa Wilson with sizzling blues guitarist Michaela Gomez

9/22, 5 PM boisterously funny oldschool 60s C&W and brooding southwestern gothic with the Jack Grace Band followed by brilliant drummer/percussionist Willie Martinez & La Familia Sextet playing classic salsa grooves  at LIC Bar

9/22, 7:30 PM Elmira Darvarova, violin; Howard Wall, horn; Thomas Weaver, piano play an all-Piazzolla program at Weill Hall at Carnegie Hall, free tix avail at the box ofc

9/22, 7:30 PM  erudite baritone saxophonist Claire Daly leads her quartet followed by tuneful oldschool soul/jazz trombonist Dave Gibson leading his quintet at Smalls

9/22, 8 PM sitarist Purbayan Chatterjee & tabla player Ojas Adhiya at Merkin Concert Hall, $25 tix avail

9/22. 9 PM 90s indie luminaries: Metal Mountains’ Samara Lubelski, abstract rock guitar pioneer Bill Nace and ex-Come and Steve Wynn guitar monster Chris Brokaw at Union Pool, $12

9/22, 9 PM two generations of scruffy, jangly Asian women-fronted bands: Straw Pipes and Shonen Knife at the Knitting Factory, $17 

9/22, 10 PM powerhouse soul belter/bassist Tina & the Balance at the small room at the Rockwood 

 9/22, midnight, haunting, atmospheric noir rock chanteuse Laura Carbone at Baby’s All Right, $15

 9/23, 7:30/9:30 PM playful improviser and ambitous composer/tenor saxophonist Ingrid Laubrock leads a septet with Mazz Swift on violin and Brandon Seabrook on guitar at the Jazz Gallery, $20

9/23, 8 PM dub-inspired psychedelic cumbia/tropicalia band Combo Lula open for Peruvian Amazon psychedelic cumbia legends Los Wembler’s de Iquitos playing the album release show for their new one at the Poisson Rouge, $20 adv tix rec 

9/23, 10 PM energetic delta blues/Romany swing guitarist Felix Slim at LIC Bar

9/24, 7 PM brilliant acoustic guitarist and sardonic alt-country songwriting pioneer Robbie Fulks – of Fuck This Town infamy – at the Mercury, $15

9/24, 7 PM ex-Chicha Libre keyboard sorcerer Josh Camp’s new psychedelic tropicalia project CAMPOS followed by clever, fiery, eclectic ten-piece Balkan/hip-hop/funk brass maniacs Slavic Soul Party at Barbes, $10

9/24, 7 PM improvised performances by clarinetist Waclaw Zimpel, bassist Ksawery Wójciński, pianist Aga Derlak, along with keyboardist Cat Toren and other special guests at Soup & Sound, 292 Lefferts Ave in Brooklyn

9/24, 7:15 PM Aranyakkord – a funny Romany rock/janglerock spinoff of popular Hungarian band Quimby – at Drom, free

9/24 8 PM haunting flamenco/Sicilian folk chanteus Julia Patinella with mesmerizing oudist  Brian Prunka at Sisters Brooklyn, 900 Fulton St. at Washington, C to Clinton-Washington

9/24, 8 PM whirlwind, cleverly picturesque alto saxophonist Elijah Shiffer & the Robber Crabs at Scholes St. Studios, $10

 9/24, 8ish Mongolian metal band the Hu at Warsaw, $25 gen adm 

 9/24 9 PM Mongolian psychedelic rockers Hanggai at Littlefield, $20

9/24, 9 PM classic 70s style doom band (some would say Sabbath ripoff) High Reeper at St. Vitus, $10 

9/24, 11:30 PM hilarious, cartoonish London instrumentalists the Proletarians at the big room at the Rockwood 

9/25, 6:30 PM intense alto sax improviser Makoto Kawashima at the James Cohan Gallery, 48 Walker St in Chinatown, free 

9/25, 7:30 PM pianist Gaspard Dehaen plays works by Schubert, Chopin and Liszt at Weill Hall at Carnegie Hall, $30

9/25, 8 PM charismatic oldtime hokum blues crooner/guitarist C.W. Stoneking at the Bell House, $15

9/25, 8 PM the Jack Quartet and indie classical chamber group Either/Or perform Anthony Braxton works at the Miller Theatre, $20 tix avail

9/25, 9:30 PM catchy post-Velvets psychedelic band Quicksilver Daydream at Our Wicked Lady, $!0

 9/26, 5 PM the mighty, Middle Eastern-tinged Eyal Vilner Big Band with soul/gospel belter (and Lenny Molotov collaborator) Queen Esther at Metrotech Park in downtown Brooklyn

9/26, 7:30 PM, repeating 9/27-28 at 8 the NY Philharmonic play concert versions of Bartok’s Bluebeard’s Castle and Schoenberg’s Erwartung, $35 tix avail

9/26, 7:30 PM paradigm-shifting Middle Eastern/jazz/classical trumpeter Amir ElSaffar joined by an all-Polish band: Ksawery Wójcinski, Waclaw Zimpel, and the Lutoslawski Quartet at the Lincoln Center Atrium, free, early arrival advised

9/26, 8 PM deviously theatrical oldschool C&W/rockabilly parodists Susquehanna Industrial Tool & Die Co. at Otto’s

9/26, 8 PM fascinatingly lyrical, individualistic pianist Sylvie Courvoisier with Mary Halvorson on guitar at at the Owl

9/26, 8 PM Sly Horizon – Rick Parker (trombone, electronics, synths), Álvaro Domene (7 string electric guitar and electronics), and Jeremy Carlstedt (drums/electronics) – play the album release show for their new one at Arete Gallery, $15

 9/26, 7:30 PM the Israeli Chamber Projectt play music of Central Europe: Dvořák, Martinů, Kurtág, Bruch and Bartók at Merkin Concert Hall, $25 tix avail

 9/26, 8 PM  deviously theatrical oldschool C&W/rockabilly parodists Susquehanna Industrial Tool & Die Co at Otto’s

 9/26, 8:30 PM riveting, intense singer Hannah Fairchild’s explosive, lyrically brilliant noir punk power trio Hannah vs. the Many at Sunnyvale, $10

9/26, 8:30 PM Aravind- vocals; Raghul- violin; Vijay Ganesh- mridangam; Chandrasekara Sharma- ghatam play lustrous Indian carnatic themes at the Jalopy, $15

 9/26, 8:30 PM klezmer ripples and pings: flutist Adrianne Greenbaum with nimble tsimblist Pete Rushefsky at Town & Village Social Hall, 334 E 14th St.(between 1st & 2nd Ave.), $15

9/26, 9 PM cleverly eclectic New Orleans-flavored pianist/crooner Nat Osborn at the big room at the Rockwood , $12

 9/26, 11:30 PM sardonically catchy powerpop/janglerockers the Hell Yeah Babies at the Gutter, $7

9/27 2:30 PM the Mannes Orchestra play excerpts from Mendelssohn’s ‘A Midsummer Night’s Dream’ and then Beethoven’s Symphony No. 8 at the auditorium at 66 W 12th St., free

 9/27, 6:30ish surprisingly eclectic, pensive parlor pop/acoustic pop songwriter Yaniza Dore at the American Folk Art Museum 

9/27, 7 PM the North American debut of the Gurdjieff Ensemble, an eleven-piece ensemble who play authentic arrangements of music by Gurdjieff and Komitas on Armenian traditional instruments, joined by pianist Lusine Grigoryan at Symphony Space, $35

9/27, 7 PM ambient guitarist and Bowie collaborator Gerry Leonard a.k.a. Spooky Ghost at the basement room at the Rockwood $15

 9/27-28 7:30/9:30 PM the wildly shapeshifting  Brooklyn Raga Massive – with Marcus Strickland -reeds; Abhik Mukherjee -sitar play Coltrane classics at the Jazz Gallery, $25

9/27, 8 PM the New York Classical Players perform works by Beethoven & Bartok at Flushing Town Hall, free w/rsvp

 9/27, 8 PM veteran bluegrass hotshots James Reams & the Barnstormers at the Old Stone House in Park Slope, $15

9/27 8 PM indie classical chamber goup Talea Ensemble play Alvin Lucier’s Music for Cello and Amplified Glass Vases plus works by Catherine Lamb at the Tenri Institute, $tba

9/27, 9ish ferocious, creepily enveloping, kinetic psychedelic tropicalia band Yotoco at the Owl

9/27, 10 PM the world’s creepiest, slinkiest, most psychedelic crime jazz/film noir band, Big Lazy at Barbes

 9/27, 10 PM tight doom metal band Eternal Black and the even slower, slightly more psychedelic Vessel of Light at Lucky 13 Saloon 

9/27. 10:15 PM ferociously dynamic, tuneful, female-fronted power trio Castle Black on the roof at Our Wicked Lady, 153 Morgan Ave, close to the Morgan Ave L stop

9/28, 11 AM the annual chile pepper festival at the Brooklyn Botanic Garden, most likely with bands throughout the day and  New Orleans artists including Walter Wolfman Washington and Irma Thomas starting at 5 PM, $30/$25 stud/srs

9/28, 1:30 Matt Lavelle – trumpet   Daniel Carter – woodwinds / Tom Cabrera – drums;; 3:30 Michael TA Thompson Quartet: TA Thompson – drums / Christopher Dean Sullivan – bassBill Pernice – piano / Lee Odom – clarinet, alto sax, soprano sax; 4:30 Whit Dickey – drums / Brandon Lopez – bass / Rob Brown – alto sax at First St Green, 33 E. 1st St

9/28, 2 PM jazz flutist Nicole Mitchell and band at the James Cohan Gallery, 48 Walker St in Chinatown,free

9/28, 2 PM woodwind ensemble Quintet of the Americas play jazz standards at Langston Hughes Library, 100-01 Northern Blvd., Corona, Queens

9/28, 6 PM a bluegrass extravaganza with the Fabulous Fienberg Brothers * The Wretched Remnants (from the Wretched Refuse) * Tribute to Citizen Kafka * Bob Jones Celebration * Alan Kaufman * Kenny Kosek * Andy Statman * Lonely Street * The Legendary Billy Parker & Bruno Bruzzese * David Howard * Powerhouse Ron Fienberg * Terry McGill * Peter Elegant * The Amazing Harry Bolick & The Mississippi Travelers * Brian Slattery *Charlie Shaw * Jacques DeCroce * Bill Christophersen * Stephanie Coleman * Marty Cutler * ALan Podbar * at Middle School 51 Auditorium, 4th St & 5th Ave – just across the street from the Old Stone House in Park Slope, $15

 9/28, 7 PM Middle Eastern oudist Tom Chess and percussionist Dan Kurfirst back a sufi dance performance led by Lâle Sayoko at the Center for Remembering and Sharing, $25 adv tix rec 

 9/28, 8 PM Syrian crooner Wajde Ayub & Ensemble play soulful Syrian wasla ballads at Roulette, $30 adv tix rec

9/28, 9 PM Andrew Vladeck – whose lyrically-driven songs careen from stark oldtimey tunes to epic, cinematic anthems – at Pete’s

9/29, starting at around noon the Atlantic Antic street fair on Atlantic Ave from Hicks St. all the way to 4th Ave. with many bands playing various spots. At noon the NY Arabic Orchestra plays close to Sahadi’s;

9/29, 1:30 Charles Downs – drums / Will Greene – tenor sax; Jonah Rosenberg – keyboard / Henry Fraser – bass; 2:30 L.I.P. – K.J. Holmes – dance / Matt Lavelle – trumpet / Jeremy Carlstedt – drums; 3:30 Jaimie Branch Trio with Luke Stewart – bass / Mike Pride – drums; 4:30 For Roy: “Circulation of Celestial Triangles Leaving Imhotep Facing the East Lewis Barnes – trumpet / Jaimie Branch – trumpet / Ryan Fraiser – trumpet Matt Lavelle – trumpet / Kirk Knuffke – trumpet / Dave Hofstra – tuba Dave Sewelson – baritone sax / TA Thompson – drums / Michael Wimberly – percussion William Parker – composition, bass at First St Green, 33 E. 1st St

9/29, 4 PM the irrepressible, cinematic, comedic Broken Reed Saxophone Quartet at Shaeshifter Lab, free

9/29, 4 PM Richard Mazda – the legendary 80s new wave producer and guitarist – & Local Zeroes at LIC Bar

9/29, 7:30 PM 70s obscene British punk legends the Pork Dukes reunite with their original lineup for their final show at Bowery Electric, $15

9/29, 8 PM Armenian duduk master Harutyun Chkolyan makes his NYC solo debut at Drom, $20 adv tix rec

 9/29, 9 PM guitarslinger Mallory Feuer’s fiery band the Grasping Straws  and stately, ominous female-fronted tropically-tinged psychedelic/artrock band Camp St. Helene playing the album release show for their new one at C’Mon Everybody, $10 

9/30, 10ish  feral singer Carolina Oliveros’ mighty 13-piece Afro-Colombian trance/dance choir Bulla en el Barrio at Barbes

9/30, 10 PM hilarious, snack-fixated Quebecois rapper Cheeto Dust at LIC Bar 

10/2,  6:30 PM veteran Japanese free jazz saxophonist Akira Sakata w/ Darin Gray at the James Cohan Gallery, 48 Walker St in Chinatown, free

10/3, 7:30 PM wild Palestinian hip-hop/dancehall reggae/habibi pop band 47soul at the Lincoln Center Atrium, free, early arrival advised

10/5, 1:30 The Rasslers- Mark Ehrhardt – drums / Chet Mazur – vocals / Tim Mullins – guitar; Nick Romanenko – bass; 3:30 Ava Mendoza – guitar / James Brandon Lewis – tenor sax; Shayna Dulberger – bass / Daniel Carter – woodwinds; 4:30 Welf Dorr Unit – Welf Dorr – alto sax / Keisuke Matsuno – guitar / Dmitry Ishenko – bass at Children’s Magical Garden, 129 Stanton St, just east of Essex

10/7. 6 PM not music-related but scary/important: the opening of photographer Alice Miceli’s Projeto Chernobyl at the Americas Society. “The artist developed a method of image making to document the enduring effects of the Soviet nuclear plant explosion of April 26, 1986. Though gamma radiation continues to be present and to cause health problems and deaths in the area, it is invisible to the naked eye and to traditional methods of photography that have been used to document the region’s ruins. Miceli made this contamination visible via direct contact between the radiation and film, which was exposed in the Chernobyl Exclusion Zone for months at a time.”

10/8, 11 AM (in the morning) catchy, eclectic ska-pop/latin/reggae sounds from the Brown Rice Family at the Lincoln Center Atrium, free, early arrival advised

10/9, 6:30 PM adventurous cellist Okkyung Lee at the James Cohan Gallery, 48 Walker St in Chinatown,free

10/10, 7:30 PM Cuban chanteuse Melvis Santa at the Lincoln Center Atrium, free, early arrival advised

10/12, 2 PM free jazz brass and reed legend Joe McPhee at the James Cohan Gallery, 48 Walker St in Chinatown,free 

10/17, 7:30 PM the annual celebration of A People’s History of the United States, performers tba, at the Lincoln Center Atrium, free, early arrival advised

10/29, drinks at 5:30 PM, show at 6, indie classical allstar quintet Counterinduction –  (Miranda Cuckson, violin; Jessica Meyer, viola; Karen Ouzounian, cello; Benjamin Fingland, clarinet; Ning Yu, piano) play music of Jessica Meyer at the Miller Theatre, free

11/6, drinks at 5:30 PM, show at 6, TAK Ensemble play works by Ashkan Behzadi ,Erin Gee, Taylor Brook , Tyshawn Sorey and David Bird at the Miller Theatre, free

11/8, 8 PM the world’s darkest, slinkiest, most blackly funny crime jazz/film noir band, Big Lazy play the album release show for their danceably creepy new one Dear Trouble at the Old American Can Factory, 232 3rd St. in Gowanus with special guests Steven Bernstein on trumpet, Slavic Soul Party’s Peter Hess on saxes and Miramar’s Farfisa sorceress Marlysse Rose Simmons, $20

12/10, drinks at 5:30 PM, show at 6, badass harp virtuoso Bridget Kibbey plays works by Bach, Gershwin, Albeniz and Tschaikovsky at the Miller Theatre, free

An Urbane, Greek-Adjacent New Live Album From the Chamber Music Society of Lincoln Center

The Chamber Music Society of Lincoln Center just got back from tour in Greece…and brought a record back with them. Their new album, Odyssey – streaming at PBS – bolsters the argument that more artists should make live albums, classical ensembles included. It’s also genteel party music. 0riginally broadcast on PBS” Live From Lincoln Center, it features both standard repertoire and more obscure material diversely associated with Hellenic culture.

It begins with Tara Helen O’Connor’s dynamically swaying, often broodingly muted solo take of Debussy’s Syrinx for Flute and concludes with a gregariously cheery, occasionally beery rendition of Mendelssohn’s Octet For Strings in E-flat major. The ensemble – violinists Sean Lee, Danbi Um, Aaron Boyd and Arnaud Sussmann; violists Matthew Lipman and Paul Neubauer; and cellists David Finckel and Dmitri Atapine – have a particularly good time with the teenage composer’s clever echo effects in the second movement.

The two partitas in between have a more distinctly Greek flavor. Emily D’Angelo brings an unexpected arioso intensity to the miniatures of Ravel’s Cinq Melodies Populaires Grecques for Voice and Piano, over Wu Han’s nimble shifts from Middle Eastern-tinged chromatics to misty, muted Mediterranean balladry. Then Neubauer teams with Boyd for a quartet of short pieces from George Tsontakis” Knickknacks for Violin and Viola. The only Greek composer included on the album gets a particularly strong interpretation: with the music’s insistently rhythmic, acerbic call-and-response enhanced by excellent recording quality, the duo evoke a considerably larger ensemble.

Then they team with O’Connor for Beethoven’s Serenade in D major, which the extensive liner notes describe as “a bit of nostalgia marking the end of an era.” Well put: Mozart is cited as an influence, and the Italian baroque also seems to be a strong reference in the livelier, more balletesque movements.

The Chamber Music Society of Lincoln Center – a roughly 180-member, rotating cast of world-class talent – are celebrating fifty years of exploring the vast world of small-ensemble repertoire, in intimate performances that continue year-round from their home base at Alice Tully Hall.

String Jazz Magic at This Year’s Art in Gardens Series

This year’s free outdoor summer concert series are pretty much over at this point, but there’s another going on in three Lower East Side community gardens through the first weekend of October. The organizers call it Art in Gardens. What’s most exciting is that it’s dedicated to jazz improvisation: right now, it’s the only series of its kind anywhere in town. As you’ll see from the schedule, the lineup is a mix of veterans – some of them admittedly on the self-indulgent/Vision Fest side – but there’s plenty of new blood, and new reasons to chill with neighborhood greenery.

The centerpiece of Sunday’s lineup in the garden on 6th Street between Avenues A and B was Sarah Bernstein‘s mesmerizing Veer Quartet with violinist Sana Nagano, violist Leonor Falcón and cellist Nick Jozwiak. While Bernstein never allows herself to be fenced in by the western scale, it seemed that about eighty percent of her compositions on this particular bill were in those familiar tones.

The music was so fresh that it seemed largely improvised, although the group were all reading from scores. The first number featured a series of exchanges of short, punchy, leaping phrases between individual voices. As the show went on, there was considerable contrast between restless, slowly shifting sustained notes and what has become Bernstein’s signature catchy, rhythmic riffage. As evening drew closer, the tonalties drifted further outside: the most recognizable microtonal piece also managed to have the catchiest twelve-tone phrases bouncing around over achingly tense, often rapturously suspenseful washes of harmony.

There wasn’t much soloing until Jozwiak cut loose with a sizzling downward cadenza and then a fleeting rise afterward, an unexpected jolt of very high voltage. Toward the end of the set, there was finally a furious thicket of bowing and a slowly ascending firestorm in its wake. Otherwise, elegance and sheer tunefulness were the order of the day. There were many moments where only one or two individual instruments were playing, and when the whole group were engaged, Jozwiak would often be plucking out a bassline while one or more of the violins offered keening, sepulchral harmonics far overhead.

Pretty much everything seemed through-composed: verses and choruses didn’t come around a second time, except in later numbers: much of the material would have made sense as a suite. Bernstein’s next gig with this crew is Sept 15 at 7 PM at Spectrum; cover is $15. The next Art in Gardens show features poetry and dance in addition to music: the lineup starts at 1:30 this Saturday afternoon, Sept 14 with Rob Brown on alto sax and Juan Pablo Carletti on drums. At 3:30 Val Jeanty plays percussion, backing dancer Patricia Nicholson and at 4:30 drummer Michael Wimberly teams up with trumpeter Waldron Ricks and bassist Larry Roland at the Children’s Magical Garden, 129 Stanton St, just east of Essex. Can’t vouch for the insect factor at this spot, but on an overcast day the bugs were out in full effect on 6th St.; you might want to slather on some Deep Woods Off or the equivalent.

Remembering the Horrors of 9/11 and the Hope Against Hope Afterward at Lincoln Center

Yesterday morning a somber crowd of several hundred people lined the plaza at Lincoln Center to watch choreographer Jaqulyn Buglisi‘s lavish, hauntingly vivid 9/11 commemoration, The Table of Silence Project. The white-clad, roughly 190-member troupe of women and men fluttered brightly out of the grove in back, summoned by the crash of a gong and a simple, emphatic four-note riff signaled by Hazmat Modine trumpeter Pam Fleming and Mulebone flutist John Ragusa. Many of the dancers – assembled from several New York companies – had their faces smudged or made up to reflect some sort of injury. Quickly, hectic anticipation turned to awestruck horror: a few lay on the ground, contorted; others mimed taking photos, fighting off clouds of dust or debris, or searching in vain for loved ones as concentric circles of dancers whirled around them. The choir of women’s wordless voices raised the anguish factor several decibels.

A sudden martial thump shifted the group into lockstep, echoing how the murderous attack on the Twin Towers was used as a pretext for two even more deadly wars of aggression. Yet, even as the ensemble moved in formation, slow and stoic, the dancers’ hands fought against and eventually threw off their invisible shackles. This crew was not going to be force-marched to do anything against their will, in a striking moment of triumph amidst terror.

Each dancer’s costume had cleverly been designed to conceal a white porcelain plate. After a massed series of crouching, thrusting poses, the group moving inward toward the fountain, as if everyone was on an individual axle, then sat crosslegged with their plates in the center of the plaza. What was Buglisi referencing: the bitter harvest of blowback after years of murderous incursions in the Middle East? A hope for some kind of emotional sustenance from above? All that and more, maybe?

At 8:46, the dancers froze in positions, arms to the sky for a minute of silence to commemorate the moment when the first plane hit. As the music -a collaboration between Andrea Ceccomori, Libby Larsen and Paula Jeanine Bennett – returned, harmony was introduced, the forlorn, distant riffs beginning to intertwine along with the dancers. Slowly, soberly, they formed a line and retreated to the grove. Left behind on the plaza, the remaining two women were a contrast. To the north of the fountain, one moved delicately and prayerfully. To the south, the other remained motionless on a riser, a human statue with an upraised bell, announcing the final percussive salvo with a single bright ring. From the perspective of having been three blocks away from Tower Two at the moment it was detonated eighteen years ago, it was impossible not to be moved. The whole video is here.

And beyond the terrrorists who murdered the passengers on the planes and the workers on the towers’ upper floors, we still don’t know for certain who was responsible for the demolitions that killed thousands more. But there’s good news: a lawsuit spearheaded by a group of architects and forensic scientists seeking to reopen the official 9/11 investigation is underway.

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Kiko Villamizar Puts on a Furious, Funny, Politically Woke Dance Party at Lincoln Center

Lincoln Center’s Viviana Benitez introduced firebrand singer Kiko Villamizar as an artist dedicated to the cause of keeping families together. Although his eclectic, psychedelic tropical dance music addresses other pressing issues, he didn’t waste any time confirming that particular one. The burly, bushy-bearded Colombian-American singer and his slinky five-piece band opened their debut show here this past evening with wih Hasta Que Se Fue, its rumbling chalupa beat underpinning an allusivey harrowing lyric about immigrant families being ripped apart in US concentration camps.

Villamizar blends ancient Afro-Colombian coastal gaita flute music with undulating chicha guitar music along with other styles he grew up with after his family moved from Florida to Colombia. “You don’t have to more your hands like “We Are the World,” but c’mon up here!” he told the crowd, who had been pretty sleepy on this rainy night so far. And suddenly everybody was up on their feet for as the guitarist played echoey, ominous spaghetti western licks over an irresistible cumbia groove. But this was a party for the right to fight: Villamizar’s big anthem addressed the lethal consequences of oil pipelines, which lave contaminated large parts of the world south of the equator.

Villmamizar is also an impresario: he books the annual Wepa cumbia festival in Austin, his home base these days. But it isn’t limited to cumbia, as he reminded with the scampering, skanking El Arbolito, a tribute both to his roots and our endangered forests, a long gaita solo floaitng over the rumbing beat from the bass, drums and traditional tambor alegre.

He dedicated the souful, trickily rhythmic minor-key ballad after that to “the most important person in the universe: her name is Natalie – where are you?” he wanted to know, then imperceptibly shifted the beat into cumbia and then reggae. Villamizar’s sardonic sense of humor is relentless: he explained that an as-yet-unreleased, punchy, syncopated cumbia addressing the South American refugee crisis and the xenophobic Trump response was about “family values.”

From there the band hit a punchy, swinging quasi-ska beat it was like witnesing Peruvian chicha legends Juaneco y Su Combo, but with an otherworldly, swirly edge fueled by the gaita. Villamizar returned  to catchy cautionary tales with Aguas Frias, a swaying eco-disaster parable, then blended Santana-esque psychedelic with hard funk.

After blending what sounded like a traditional call-and-response cumbia with a classic 70s American disco shuffle and a spacerock guitar solo, Villaizar got the crowd singing along with a couple of centuries-old Colombian  trance-dance chants. By now, everybody except the old people and bloggers were up their feet.

“The word ‘ceremony’ doesn’t exist in most of those languages down there, it’s just the way you’re supposed to live your life,” Villamizar explained, then invited up members of the NYC Gaita Club to validate that with another ecstatic processional tune. His Austin buddy Victor Cruz joined them for a thunderous invocation of the spirits and then a communal circle dance by Colombian bullerengue legend Emilsen Pacheco .

The next free show at the atrium space at Lincoln Center on Broadway just north of 62nd St. is on Sept 19 at 7:30 PM with Korean janggu drummer Kim So Ra and her thunderous percussion troupe. Get there early if you want a seat.

Lara Downes Takes Aim at the Glass Ceiling With a Lavishly Diverse New Album of Works by Women Composers

The title of pianist Lara Downes‘ lavish, wildly diverse new album Holes in the Sky – streaming at her music page – is not a reference to eco-disaster in the wake of a vanishing ozone layer. It’s a celebration of elite women composers and artists which takes the idea of smashing the glass ceiling to the next level. Some of the album’s grand total of 22 tracks, all by women composers, are complete reinventions. Others among the wide swath of styles here, from classical, to jazz, to Americana and the avant garde, are more genre-specific, Downes shifting effortlessly and intuitively between them.

She’s playing the album release show this Sept 13 at 7 PM at National Sawdust with an all-star cast including but not limited to harpist Bridget Kibbey, eclectic chanteuse Magos Herrera and pianist Simone Dinnerstein. Advance tix are $35 – which includes a copy of the new cd – or $25 without one. Even better, the show is early enough, and the venue is close enough to the Bedford Ave. L train that you’ll be able to make it home afterward without having to deal with the nightly L-pocalypse.

Notwithstanding that classical musicians are typically expected to be able to make stylistic leaps in a single bound, Downes’ project is dauntingly ambitious. But she drives her point home, hard: women composers have always been on equal footing with men, artistically, even while the music world has been a boys club for so long.

Most of the music here tends to be on the slow, pensive side. Downes opens the album solo with the spare, ragtime-inflected gravitas of Florence Price’s Memory Mist. Judy Collins sings the pastoral ballad Albatross with an austere reflection over Downes’ sparkly evocation of guitar fingerpicking. There’s more art-song with Margaret Bonds’ Dream Variation (with an understatedly resonant vocal by Rhiannon Giddens); and Eve Beglarian and Jane Bowles’ Farther from The Heart, sung with similar restraint by Hila Plitmann.

Works by contemporary composers are an important part of this project. The neoromantic is represented vividly by Clarice Assad’s A Tide of Living Water; Paula Kimper‘s Venus Refraction; the late Trinidadian pianist Hazel Scott’s Idyll; Marika Takeuchi’s bittersweet waltz, Bloom; and Libby Larsen‘s Blue Piece, a duet with violinist Rachel Barton Pinel

The American avant garde works here include Meredith Monk’s circling Ellis Island; Paola Prestini‘s spacious, animated Morning on the Limpopo: Matlou Women; Elena Ruehr‘s astringently dynamic Music Pink and Blue; and Jennifer Higdon‘s Notes of Gratitude, with its call-and-response between muted prepared piano and glistening, resonant motives; Arguably the most gorgeous of all of them is the  Armenian-influenced, Satie-esque Aghavni (Doves) by Mary Kouyoumdjian.

Downes proves to be equally at home in the jazz songbook, particularly with a broodingly reflective, instrumental arrangement of Joni Mitchell’s Favorite Color. There’s also the Billie Holiday hit Don’t Explain, with Leyla McCalla on vocals; Ann Ronell’s saturnine Willow Weep for Me; Georgia Stitt’s What Lips My Lips Have Kissed; Abbey Lincoln and Melba Liston’s Rainbow; and Lil Hardin Armstrong’s Just for a Thrill, sung with dusky intensity by Alicia Hall Moran.

Downes also plays a couple of original arrangements of folk lullabies. Herrera sings the Argentine Arrorro Mi Niña,; Downes closes the album with a hauntingly fluttering take of the old Americana song All the Pretty Little Horses, featuring cellist Ifetayo Ali-Landing and all-girl choir Musicality. Even for diehard fans of new music, this is an eye-opening survey of important women composers from across the decades.

Lucibela Brings Cape Verde’s Many Ocean-Borne Flavors to Manhattan on the 17th

Although the death of Cesario Evora left a gaping hole in the global music pantheon, she’s hardly the only good singer to come out of the Cape Verde Islands. New York fans of plaintive morna ballads and bouncy coladera songs have a prime opportunity to be immersed in that stuff when the World Music Institute brings Cape Verde singer Lucibela here to make her debut her at Merkin Concert Hall on Sept 17 at 8 PM. You can get in for $25.

Cape Verde was occupied by Portugal for many years. Just as many Puerto Ricans moved to the US in search of a better life, many islanders, Lucibela included, have relocated to their former colonizer. That explains the title of her 2018 album Laço Umbilical, meaning “umbilical cord,” a reference to longing for home as well as the fact that she ended up moving there to be close to her daughter. The record has since been tweaked and reissued as Ti Jon Poca, streaming at Spotify.

Where Evora was smoky and sometimes boozy, Lucibela is distinct and rather restrained throughout this mix of Portuguese-language standards and a couple of new reinventions. Toy Vieira’s spiky acoustic guitar is the primary instrument, backed by spare bass and percussion. There’s a lot of music on this record, and it’s a lot more eclectic than you might imagine. The opening track, Chica di Nha Maninha distantly reflects Spanish Romany music and has biting soprano sax.

If somebody felt like translating Sodadi Casa to English, it could pass for a Jimmy Webb countrypolitan song from the 60s. Sai Fora, with Algerian crooner Sofiane Saidi, is a mind-warping mashup of chaabi, morna and what could be Tom Waits.

Angolan singer Bonga adds an imploringly gritty cameo in Dona Ana, a slinky, melancholy bolero in disguise. Stapora do Diabo an unselfconsciously gorgeous number with tasty, chromatically spiced guitar and sax. Lucibela and band take a sparkly detour into bossa nova with Porto Novo Vila Crioula, then go dusky with Laço Umbilical, which with a fatter low end could be Jamaican rocksteady.

Profilaxia isn’t just clean (sorry) – it’s one of the album’s most sprightly numbers, as is Mi E Dode Na Bo Cabo Verde. With its brooding cello, Arku da Bedja is the closest thing to Mediterranean balladry here. Then Lucibela picks up the pace again with the carefree Novo Olhar; Violeiro, a delicate bossa rtune, is much the same. She winds up the album with the title cut, which more than hints at flamenco. As is typically the case with music sung by women in her part of the world, themes of distance and longing permeate this diverse collection: coastal civilizations tend to be fertile crucibles for cross-pollination.

An Acerbic, Darkly Allusive New String Quartet Album and an Upper East Side Gig from Viola Titan Jessica Pavone

Jessica Pavone is one of this city’s most formidable violists. Her work as a bandleader spans from moody, allusive art-rock – her 2012 album Hope Dawson Is Missing is a classic of its kind – to the scary reaches of improvisation. Her latest release, Brick and Mortar, with her two-violin, two-viola String Ensemble is streaming at Bandcamp and arguably her most rapturously minimalist release yet. Her next New York gig is a solo set on Sept 15 at 7 PM with two other intense improvisers: pianist Cat Toren,and saxophonist Catherine Sikora at the ground-floor El Barrio Art Space at 215 E. 99th St (between Second and Third Ave.). It’s not clear what the order of the musicians is, but each is worth hearing; cover is $20.

The new album opens wth Hurtle and Hurdle, a catchy, hypnotic, acerbic tableau with long, resonant notes soaring and eventually hitting a series of wary cadenzas over a Philip Glass-like backdrop of echo phrases. The group are seamless to the point where it’s impossible to tell who’s playing what – Pavone and Joanna Mattrey on violas, Erica Dicker and Angela Morris on violins. They take it out with a strolling pizzicato riff.

With simple, acidically harmonic sustained tones over a pulsing, repetitive G note and a keening forest of variations, Lullaby and Goodnight is the album’s most minimalistic track. The players’ slow attack and subtly shaded echo effects are a cool enhancement: Glenn Branca’s symphonic work seems to be an influence. The drone picks up without the rhythm in the title cut, its layered shadings creating an effect like a parking lot full of cars with their horns all more or less stuck, combining to play a seventh chord. The punchline is too good to give away.

Sooner or Later is a diptych: a series of hypnotic, cell-like variations like Caroline Shaw through a funhouse mirror at halfspeed, then a surreal reel. The final number is By and Large, its fleeting echoes and doppler effects growing lusher and more disquieting as the individual voices close harmonies branch out. Play loud to max out the increasingly rich wash of overtones.

Alto Sax Powerhouse Miguel Zenon Salutes a Salsa Icon with an Intense, Dynamic Album and a Stand at the Jazz Standard

The line between good salsa and good jazz has alway been blurry. Although jazz these days tends to be less rhythmically straightforward, the best salsa bands have always been able to jam with as much imagination as any straight-up jazz act. So it’s no surprise that as a kid growing up in Puerto Rico, Miguel Zenon was blown away when first intoduced to the music of Ismael “Maelo” Rivera. Rivera brought a percussionist’s polyrhythmic complexity to his vocals: essentially, he was a jazz guy singing salsa. A couple of decades after that epiphany, Zenon has made an album, Sonero – streaming at Bandcamp – in tribute to the iconic salsero. In a career full of powerful, relevant albums, this is one of the best Zenon’s ever made. The fiery, profoundly innovative alto saxophonist and his quartet on the album – pianist Luis Perdomo, bassist Hans Glawischnig and drummer Henry Cole – will be celebrating the record release at the Jazz Standard with a stand this Sept 12-15. Sets are at 7:30 and 9:30 PM; cover is $30.

The pleasantly low-key bit of an intro – including a Rivera vocal sample – doesn’t offer a hint of how radically Zenon and the band are going to reinvent these old songs, a mix of Rivera’s hits and lesser-known material. After a similarly cheery if much knottier opening, Perdomo’s launch into an ominous, percussive attack on the keys in Quítate de La Vía, Perico sets up a deliciously bracing, modal Zenon solo…and then the sun bursts through the clouds, the band finally bringing the tune full circle.

Las Tumbas – originally a tale about Rivera being behind bars – shifts from Perdomo’s rippling bittersweetness to Zenon’s airy, wistful lines as the bass and drums rise subtly from a muted conga-like pulse to more emphatic syncopation and another gritty Zenon crescendo. He takes Bobby Capo’s El Negro Bembón – a chronicle of the racist murder of a black man – through bustling variations on a quasi-calypso theme over Perdomo’s circling, stabbing chords, to a series of agitated crescendos and finally a riveting, interlocking,  animated yet troubled coda.

La Gata Montesa – a portrait of a real she-devil – is a burner, the bandleader’s relentlessly edgy spirals and leaps over the band’s circling, trickily emphatic syncopation. Anchored by Perdomo’s somber, eerie riffs, Traigo Salsa is the closest thing to straight-up oldschool salsa dura here, although Cole takes plenty of devious metric liberties as Zenon parses dark blues and sharp-fanged modes.

Las Caras Lindas is equal parts sparkling beauty and windswept angst, at least until an ostentatious, rapidfire, Dizzy Gillespie-esque blend of tropicalia and hard bop. Zenon’s mournful melismas and Perdomo’s funeral-bell piano make Hola the album’s arguably most gorgeous number. Colobó has come a long way since Rivera took a poem written for him on a turtle shell by a fisherman fan and made a bomba out of it. Glawischnig propels this joyous romp with a spring-loaded bounce.

The quartet return to brooding balladry with Si Te Contara and close the album with El Nazareno, saluting Rivera’s mystical side with a contrast of uneasy close harmonies from the piano beneath sailing sax lines: Cole’s evocation of a clattering timbale solo is the icing on the cake. Zenon has never played more eclectically, nor Perdomo more tersely, than each does here: what a great band, what a great album. Even the liner notes are very informative.

The Visionary, Sardonically Hilarious, Grimly Dystopic New Opera Looking at You Debuts in the West Village

Kamala Sankaram and Rob Handel’s new opera Looking at You is as funny as it is dystopic – and it’s extremely dystopic, and just as visionary. George Orwell predicted that people would become so enamored of technology that they’d willingly let it enslave them, and so far western society seems to be on the express track. The premise of this outlandish multimedia extravaganza extrapolates from that observation, and although it’s a grimly familiar story, it keeps the audience guessing, adding layer upon layer of meaning until the inevitable, crushing coda. The New York premiere was last night; the show continues at Here, 145 Sixth Ave. south of Spring, and west of the park in the middle of the block, tomorrow night, Sept 8 at 4 PM and then Sept 11-14 and 17-21 at 8:30 PM. Cover is $25

Billed as a mashup of the Edward Snowden affair and Casablanca, this satire of Silicon Valley technosupremacists falling for their own bullshit is ruthlessly spot-on, right from the first few seconds. The first of many levels of meta occurs as the audience becomes the crowd at a breathless product launch for the app to kill all other apps. See, it connects not only your Instagram, Facebook, Twitter, Snapchat, Tinder, ad nauseum, but also your phone camera, Amazon Alexa, the spycams outside your door, inside your apartment and your bathroom…and presumably every other spycam in existence. Access is universal: the miracle of face recognition technology gives you unlimited data on everyone, and vice versa. Full disclosure: as an April Fool joke several years ago, this blog published a spoof which reached the same conclusion that Sankaram and Handel do here.

The Snowden stand-in (Brandon Snook) sees where all this is leading and decides to spill the beans. His ex-girlfriend (Blythe Gaissert) isn’t convinced: her refrain, heard over and over from several voices throughout the show, is “But I’ve got nothing to hide!”A brief media circus ensues – Kristin Marting’s haunting backdrop leaves no doubt what’s behind those cold, flickering screens – followed by a long cat-and-mouse game with Homeland Security.

In a delicious stroke of irony, Gaissert’s get-out-of-jail-free card turns out to be the enterprise’s crown jewel: it erases every electronic footprint you’ve ever left (mirroring the the real-life Silicon Valley cynicism of how it’s considered bad form to give children screen time until they reach school age), This little gizmo is bestowed on Gaissert by her wide-eyed, relentlessly exuberant, boundaryless boss, played with relish by Paul An. His supporting cast – Adrienne Danrich, Eric McKeever and Mikki Sodergren, in multiple roles – are just as cluelessly dedicated to the cult of Big Data, spouting ditzy homilies in perfect techno-speak about how benign it all is.

Snook imbues the Snowden standin with a steely determination: he seems less interested in reigniting the relationship with his careerist girlfriend than simply persuading her to come over from the dark side. Beyond the acting, we get to watch their affair unravel – in reverse, via text message. An aborted clandestine meeting between Snook and a reporter brings Homeland Security in for the first time; the black-jacketed team’s interview technique stops short of torture but is eerily accurate.

Meanwhile, at many intervals throughout the narrative, Instagram photos and Facebook posts made by audience members play on several screens behind the stage. In a brief Q&A after the performance, the directorial crew explained that they promise not to show anything embarrassing they discover about those in attendance. As an incentive to share your “socials,” you get a free drink for signing into the system operating from the tablet at your table. It takes about an hour to datamine everything available on a given individual, legally, the opera company’s head spy explained. If you don’t want your mug and your stupid pix and who knows what else up onscreen for everyone to see, show up on the night of the show and pay cash like a sensible person.

Beyond the suspense involving the characters, we all know how this is going to end. It’s been said that humankind’s ability to reason is what differentiates us from animals, but in this tale it’s denial that makes us unique among the species. Although the dialogue doesn’t address it, the computer-generated alerts flashing across the many screens reinforce, over and over, how the most seemingly innocuous online or social media interaction has sinister consequences. After all, there’s no human reason involved with this dystopia’s magic algorithm. As Gaissert finally screams, contemptuously, “It’s a fucking computer!”

Trouble is, that computer was programmed by people with a very specific agenda. Big Data was not devised to exonerate anyone. It’s a snare. And as Sankaram and Handel remind, again and again, it’s working better than ever. More than anything, Looking at You reaffirms how its creators’ bleak vision is as vast and shattering as Sankaram’s five-octave vocal range.

Her original score, played by a diversely talented ensemble of keyboardist Mila Henry with saxophonists Jeff Hudgins, Ed RosenBerg, and Josh Sinton, is fantastic, from the cartoonish faux-techno of the opening scene, through ominous noir tableaux, snarky pageantry and brooding neoromantic interludes. It isn’t until the end that Sankaram draws on the Indian raga themes that she mashes up with cumbia when leading her slinky, surfy rock band Bombay Rickey. Even Kate Fry’s costumes are priceless: these true believers sport shimmery pseudo-lab outfits with circuitboards embedded in the fabric. And while the quasi-disguise that Snook wears in the next-to-last act is hardly subtle, it might be the opera’s cruellest and best joke.

A Colorful, Dynamic Debut Album and a West Village Show by the New Thread Quartet

Bands with multiple musicians all playing the same instrument can be academic and fussy. Obviously, there are exceptions. Battle Trance live up to their name and then some. The Ukulele Orchestra of Great Britain are ridiculously entertaining. The cuatros of the C4 Trio will give you goosebumps. Likewise, the saxophonists in the New Thread Quartet – soprano player Geoffrey Landman, altoist Kristen McKeon, tenor player Erin Rogers and baritone playe Zach Herchen  – have a sense of fun to match their formidable chops.

They love to commission new works and have impeccable taste in their choice of composers. Their  debut album, Plastic Facts – streaming at Bandcamp – comprises four diverse, dynamic new compositions. They’re playing the release show for their second and as-yet-unreleased second album, Explorations Vol. 4, Attacca on Sept 12 at 8:30 PM at the Tenri Institute. Cover is $10; $20 will get you admission, plus a copy of the new cd., which features works by James Ilgenfritz, Len Tetta, Jude Thomas, and Amy Beth Kirsten.

The debut album’s first track, Michael Djupstrom‘s Test shifts swiftly from moody ambience to increasingly agitated overlays, close harmonies and bagpipe-like flourishes. Bubbly pageantry quickly gives way to ominous resonance, noirish trills, poltergeist leaps and flickers and sharp-fanged close harmonies. Bernard Herrmann would have been proud to have assembled this deliciously sinister tableau.

Ser – Spanish for “being” – by Marcelo Lazcano begins with fragmentary phrases dispersed among the four musicians, then shifts back and forth between steady, intertwining, busily anticipatory riffs and calmer interludes. There’s a lot of whispering and a surprise ending.

With its slow, doppler-like tectonic shifts, the album’s title cut – by Anthony Gatto – draws more heavily on the group’s massed extended technique – harmonics, duotones, and textural grit – than the other pieces here. And yet, its persistent, warm optimism becomes a fanfare of sorts: John Zorn’s work for brass comes strongly to mind.

The epic final cut is Harmonixity, by Richard Carrick. It’s a series of variations on two contrasting tropes. To open the piece, waves roll in across a long expanse, in succession, nimbly handed off between the group’s individual members. Then fluttery intonation mimics a strobe effect: the collective precision is stunning. Then it’s back to the beach, and then the strobe, and so on. Like the rest of the material here, it’s both playful and keeps the listener guessing what’s going to happen next. No spoilers! Count this among the most enjoyable instrumental albums of the year in any style of music, and good reason to look forward to the next release.