New York Music Daily

Global Music With a New York Edge

A Hypnotic, Soothing Beehive of Avant Garde Activity at the Mostly Mozart Festival

Last night’s performance of Michael Pisaro’s A Wave and Waves at the Mostly Mozart Festival began with a single, momentary trill from one of the roughly hundred performers seated within the Lincoln Center audience. A woman with her back to one of them turned in her seat indignantly: hadn’t her neighbor heeded the reminder to turn off her phone?

As another, more muffled sound flitted from the other side of the atrium space, the look on the woman’s face was priceless. That little ripple wasn’t a phone. It was a percussion instrument: bells on a string.

There were other comedic moments during the roughly 75-minute diptych, but those were limited to pregnant pauses – the ready-to-pop kind – along with dropped instruments and scores. For the most part, the piece was calm, a minor-league take on John Luther Adams’ vast, enveloping Become Ocean. The effect was like a Soviet Realist poster come to life, a steady bustle of happy worker ants.

The composer introduced the work as a landscape where no perspective is identical. Obviously, no perspective at any concert is exactly the same, sonically speaking, irrespective of one’s proximity to a particular instrument.  Here, these really ran the gamut, from bowed bells and a couple of huge bass drums, to a repurposed coffee can, an upside-down kitchen drawer and what appeared to be a wok with a chain inside, whose player rattled and clinked as she raised and lowered metal against metal.

In general, the sold-out audience’s reaction was rapt attention. More than one person assumed a yoga position (one of them ended up falling asleep, or so it seemed). One of the very few people to leave during the performance did that at the break between pieces – but only after videoing the entire first half.

Where the first part was a calm beehive of rustling. swooshing activity juxtaposed with a series of high, keening textures from the bowed bells, the second half was more animated. Ostensibly a series of shorter waves, those bursts of activity began suddenly and ended cold – and were considerably louder than the hypnotic ambience of the first half of the show. It was here that the musicians – percussionist Greg Stuart and members of International Contemporary Ensemble, along with a motley assortment of performers who ranged from gradeschool age to maybe six times that – were able to cut loose, at least to the extent that they could. Frenzies were hinted at, but never quite emerged, although the maze of stereo effects grew much more lively, with hints of call-and-response.

The remainder of the Mostly Mozart Festival at Lincoln Center is sold out. However, there is a free concluding event, a spatially arranged world premiere by four choirs singing John Luther Adams‘ ecological parable In the Name of the Earth at the Cathedral of St.  John the Divine on Aug 11. The concert is at 3 PM; doors open at 2. Get there early if you want to get in.

And the next performance at the Lincoln Center atrium space on Broadway north of 62nd St. – where almost all of the most ambitious programming on campus takes place – is on Aug 16 at 7:30 PM with the Jimi Hendrix of the cuatro, Jorge Glem. The show is free: get there early if you’re going.

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The Blue Dahlia Bring Their Catchy, Quirky, Wildly Multistylstic Mashups to Barbes

Dahlia Dumont sings fluently in both French and English. As you might expect from a ukulele player, she has a quirky sense of humor. She also writes very eclectically, from South American and Caribbean styles to Americana, with frequent detours into Balkan and Romany sounds. Her gently melismatic vocals have tinges of both Americana as well as reggae and corporate urban pop. She honed her chops as a bandleader playing over crowds of drunks in dives all over Brooklyn…and she has a completely separate band in France playing her repertoire.

Fast forward to 2018: she’s plugged into the New York parks summer concert circuit, and she has a new album, La Tradition Americane, streaming at her music page. And she’s sticking with elite venues now: she and her band the Blue Dahlia will be at Barbes this Saturday night, Aug 11 at 8 PM. Similarly eclectic jazz pianist Joel Forrester opens the night solo at 6; psychedelic cumbia band Cumbiagra (with whom she shares accordion wizard George Saenz) play after at 10.

The album opens with the title track, a coyly modulating mashup of tango and ska, spiced with Zoe Aqua’s stark Romany violin, as well as horns and a brief, soulful Giovanni Hector trombone solo. Is the closing mantra “la belle de Louisianna” or “la bête de Louisianne?”

The band does two radically different arrangements of I See Trees Differently, first as oldtime country ballad and then as straight-up roots reggae. They follow that with the sardonic reggae tune Mai Tai, Diego Cebollero’s bluesy electric guitar paired against rustic fiddle and accordion.

Uneasy washes of accordion open Wake Me Up, then Yoshiki Yamada’s chugging reggae bassline kicks in along with the rest of the band’s moody, klezmer-inflected lushness. Canal Saint Martin is an elegant Cajun waltz; Dumont stays in that tempo for Reasonable and its bluesy, piano-fueled Tom Waits-ish milieu.

Karina Colis’ caffeinated drumming propels Blah Blah, which shifts in a split-second back and forth between new wave and ska. Then the band hit a balmy reggae groove, awash in the strings of Aqua and cellist Nelly Rocha before Jackie Coleman’s muted trumpet solos over Dumont’s exasperated chronicle of social media-era overkill.

The most straight-up French chanson number here is La Fontaine, a moody, swaying tune with soulful, lowlit clarinet. Dumont shifts to soca for Your Love, which grows much more brooding as the strings swell and spiral. It makes a good setup for the album’s best cut, the hauntingly Balkan-inflected, string-driven Influence. Then the band go back to breezy reggae for Plantation and close with Le Rêve, a jaunty reggae bounce. There’s literally something for everyone here.

A Lusciously Guitar-Fueled Retrospective and a Manhattan Show From Rugged Individualist Eric “Roscoe” Ambel

Eric Ambel is iconic in Americana rock circles. He has a high-end guitar line named after him. Since his days fronting the pioneering (and recently resusciated) Del-Lords and later playing lead in Steve Earle’s band, he’s slowly but methodically built a formidable catalog of original material. He’s less influential than simply respected because nobody sounds like him. He’s easy to imitate but impossible to copy.

That’s because he can be so unpredictable. On one hand, he’s a virtuoso four-on-the-floor rock and classic C&W guy. On the other, he has a feral, noisy edge, a surreal sense of humor, and also a raw anger that gives his music a ferocity that good-time bar bands so rarely evoke. He’s playing Hill Country this Friday night on a killer twinbill with fellow Americana individualist and guitarist Kasey Anderson. The show starts at 10; it’s not clear who’s playing first, but they’re both worth seeing (and worth braving the crowd of yahoo tourists at the Flower District bbq spot).

Ambel’s latest album – streaming at Bandcamp – is titled The Roscoe Sampler. It’s less a career retrospective than a collection of deep tracks from throughout his solo career. On one hand, most of the obvious picks are here. The choogling The Girl That I Ain’t Got, and Lou Whitney’s grim Jim Crow-era scenario 30 Days in the Workhouse. There’s the classic, tight-as-a-drum, Stonesy cover of Swamp Dogg’s oddball Total Destruction to Your Mind and the acidic, bitter, Rubber Soul Beatlesque Song for the Walls. The Del-Lords’ catchy, cynical Judas Kiss, and the witheringly sarcastic You Must Have Me Confused.

On the more or less straight-up tip, there’s Lonely Town, which could be the Stones circa Tattoo You with a twangier singer out front and a tantalizingly savage guitar solo. Loose Talk, a duet with Syd Straw, is a rollicking, saloon piano-fueled Tex-Mex romp. If Walls Could Talk, a big crowd-pleaser from Ambel’s days running iconic East Village venue Lakeside Lounge, features the Bottle Rockets (a band Ambel produced back in the day)

But it’s the lesser known cuts that make this record a great introduction to Ambel’s purist sonics, production savvy and guitarslinging prowess. Built around a riff Angus Young would be happy with, Way Outside paints a shadowy, desperate tableau, echoed later in I’m Not Alone. Does It Look That Bad is a wry, summery, Memphis soul-infused ballad, awash in shimmery tremolo guitar and organ.

“The minute you stopped dreaming is the minute you got old,” Ambel sneers in Long Gone Dream, the closest thing here to early zeros, peak-era Earle. Red Apple Juice is a rare, spare, delta blues-flavored solo acoustic gem.  I Waited For You comes across as amped-up Everlys, and sounds like the oldest number here.

The brisk, gloomy narrative A Charmer’s Tale could pass for late 90s Steve Wynn – it’s that good, complete with evil, sidewinding guitar solos. The collection’s final track – a collaboration with folk-rockers Martin’s Folly – is an aptly watery, wistful take of Willie Nelson’s Always on My Mind. Although Ambel can go way, way out on a limb onstage, here he keeps the solos short, maybe eight bars at the most. The rhythm sections here include a diverse cast of familiar and unfamiliar names but are all first-rate: from his days rounding up the Lower East Side’s best street musicians for his iconic Roscoe’s Gang album, he’s never had to look far for talent.

Is is fair to count a semi-greatest hits collection as one of the year’s best? Is it fair to the newbies to put them up against a veteran as formidable as Ambel? Why not? We need the guy to keep schooling those kids.

Welcome Sonic Improvements For Another Reliably Good Slate of Shows at Prospect Park Bandshell

The best news about this year’s free concert series at the bandshell in Prospect Park is that the sound is vastly improved. Last year’s booking was as good as the sound mix was awful: bass and drums, mostly. An admittedly small sample – two shows last month – revealed that somebody actually seems to care about giving the bands onstage at least baseline-level (pun intended) respect this summer.

The first of those shows opened with Combo Chimbita playing a typically ferocious scamperingly psychedelic set, followed by a lavishly augmented 22-piece version of second-wave Afrobeat pioneers Antibalas. Of all the bands here this year who could have really suffered from a bad mix, Combo Chimbita top the list because of how much of a swirling vortex of sound they can create. This time, when they finally got to that point – more than a half hour into their set – the dubwise effect was obviously intentional.

Otherwise, the clarity of Niño Lento’s vineyard lattice of guitar, Prince of Queens’ hypnotically pulsing bass and Carolina Oliveros’ powerful, emphatic vocals over Dilemastronauta’s flurry of drumbeats was as sparkling as anyone could have wanted. Toward the end of the set, Oliveros finally unleashed her inner metal animal, a truly fearsome moment. Although it wasn’t as feral to witness as the band’s most recent Barbes show, it was pretty close. The bookers here have never hesitated to draw on the vast talent base who make Brooklyn’s best fulltime music venue their home, so it was inspiring to see a whole park full of people beyond the band’s usual Colombian fanbase entranced by the show.

With all the extra firepower, Antibalas hardly limited themselves to two-chord, Fela-inspired minor-key jams. There were a handful of those, perfectly executed, bass and guitars running the same catchy riffs over and over again without a split second’s deviation while the brass punched in and out. Special guests on vocals and horns, plus a trio of women dancers, took turns taking the spotlight with solos that were sometimes resonant and floaty, or ablaze with jazz phrasing. Dynamics rose and fell with lavish abandon, often down from the full orchestra to just the rhythm section and a single soloist, then suddenly up again with a mighty sweep.

A second show last month was just as entertaining and stylistically diverse. The Kronos Quartet opened with a defiantly political set, beginning with a new arrangement of Jimi Hendrix’ take of the Star Spangled Banner that had the group keening, and leaping, and shrieking, a remarkable acoustic facsimile of guitar feedback and sonic protest iconography. From a stark, plaintive version of Strange Fruit, through mutedly bluesy takes of Summertime and House of the Rising Sun, to the spare anguish of John Coltrane’s elegaic Alabama, they kept the intensity simmering. The world premiere of Dan Becker’s No More followed an eerily circling path; then children’s artist Dan Zanes brought up his acoustic guitar and led the crew through a singalong of We Shall Overcome.

The second half of the program featured the string quartet – violinists David Harrington and John Sherba, violist Hank Dutt and cellist Sunny Yang – joined by Trio Da Kali, playing songs from their new collaboration, Ladilikan. It was fascinating to hear the strings playing loping, sometimes undulating Saharan riffs while Fode Lassan Diabate’s balafon rippled and pinged and Mamadou Kouyate played incisive, tricky syncopation on his bass ngoni, often adding an otherworldly, gnawa-like groove. Meanwhile, singer Hawa Kasse Mady Diabate delivered insistent, sometimes anguished lyrics addressing struggle against oppression and the omnipresent need for human rights for all people, regardless of gender, in her part of the world. The language, considering the venue, may have seemed exotic to most of the crowd, but the message was as resonant here as it would have been on her home turf in Mali.

The next free show at Prospect Park Bandshell is this Thursday, Aug 9 with noirish blue-eyed soul singer Fiona Silver and popular blues guitarslinger Gary Clark Jr. And Combo Chimbita are playing another free show, in the courtyard at Union Pool on Aug 11 at around 4 PM.

Deep in the Catacombs, Harp and Strings Never Sounded More Menacing

You probably wouldn’t expect a concert in a graveyard to be particularly lively. But this past evening’s program deep in Green-Wood Cemetery was as intimately ferocious as it was macabre. With only candles and a couple of low-watt ceiling lamps illuminating the private catacombs there, impresario Andrew Ousley introduced Bridget Kibbey as “The dark gothic goddess of the harp.” That description no doubt reflected her decision to hang out by herself down there before the show and practice for a couple of hours, in the company of about 120 fulltime residents contained in thirty family crypts.

Obviously, not everything Kibbey plays is morbid, nor were there any dirges on this particular bill. But the performance had enough grimness and sheer terror for any respectable Halloween event. Joining forces with an allstar string quartet – violinists Chad Hoopes and Grace Park, violist Matthew Lipman and cellist Mihai Marica – Kibbey opened with Debussy’s Dances Sacred and Profane. Beyond the piece’s kaleidoscopic dynamics, what was most viscerally striking is how loud it was down there. For anyone who might assume that chamber music is necessarily sedate, this was a wild wake-up call.

The space’s resonance is just as remarkable: no matter how intricate Kibbey’s lattice of notes became, they all lingered, an effect that powerfully benefited the string section as well. And the sheer volume afforded a listener a rare chance to revel in Debussy’s echoing exchanges of riffs, not to mention his clever shifts in and out of Asian pentatonic mode, his jaunty allusions to French ragtime and occasional gargoylish motives.

As omnipresent and fiery as Kibbey’s volleys of notes were, the most adrenalizing point of the concert was Hoopes’ solo midway through Saint-Saens’ Fantaisie, robustly arranged by Kibbey for violin and harp. Careening like he was about to leave the rails for good, his notes lept and flailed with a feral abandon, grounded by Kibbey’s alterlnately sparkling and looming attack.

Likewise, her use of the harp’s low register was one of the most stunning aspects of her solo arrangement of Bach’s Toccata in D. In that context, it was fascinating to hear how much of that organ work’s pedal line she retained. As perfomance, it was pure punk rock. Kibbey confided that she’d come up with it on a dare – and that the dude who dared her remains a friend. At the very end, she abandoned Bach’s seesaw drive toward an end that’s been coming a mile away for a long time, then blasted through every red light and tossed off that otherwise immortal five-chord coda in what seemed like a split second. The effect was as funny as it was iconoclastic.

Lipman took centerstage with his alternately balletesque and plaintive lines in Kibbey’s cinematic duo version of Britten’s Lachrymae. As she explained it, the piece is far from morose – describing it as a tour of a mansion was spot-on. The group closed with a piece that Kibbey and Marica have had creepy fun with in the past, Andre Caplet’s Conte Fantastique. As it followed the grand guignol detail of Edgar Allen Poe’s The Mask of the Red Death, the ensemble spun an uneasily rising and then suspensefully falling tapestry. They maxed out the trick ending, the 11 PM hour where the entitled types at Poe’s masked ball get a hint of a reality check. When death himself showed his face, the carnivalesque payoff was a mighty one. Despite temperatures in the pleasantly loamy-smelling catacombs being at least twenty degrees lower than they were topside, everybody was out of breath by the end.

Afterward, a refreshingly airconditioned shuttle bus returned to pick up anyone who had to rush for the train down the hill. Those not pressed for time had the option of taking a leisurely fifteen-minute walk back through the graves, lit only by the night sky and the occasional tiki torch.

This concert series began in a smaller crypt space in Harlem and has made a welcome migration to Brooklyn. Along with the music, there are always noshes and drinks beforehand as part of the package. This time it was small-batch whiskey: upstate distillery Five & 20, whose overproof rye glistens with the bite of five New York varietals, stole that part of the show.

If these mostly-monthly events intrigue you, be aware that the best way to find out when they’re happening is via the organizers’ email list. You can sign up at deathofclassical.com, unsurprisingly, tickets go very fast.

Dustlights Build a Catchy, Ethereal Sonic Cocoon

Dustlights’ enveloping debut album In a Stillness – streaming at Bandcamp – has a vastness you’d never expect from just a trio of sax, bass and drums. Part trip-hop, part stoner soundscape and part postrock, like Tortoise at their most concise, it’s music to get lost in. Yet bandleader/saxophonist Joe MF Wilson’s riffs have a purpose and directness that matches the material’s deep-space proportions, beefed up with layers of echo, reverb and other effects. The trio are playing the album release show tomorrow night, Aug 6 at around 10 PM at Wonders of Nature. Gritty, guitar-fueled postrockers Star Rover play beforehand at 9; cover is $10.

The album’s opening cut, Stolen Treasures and the Sea sets the stage for the rest of the album, bassist Ran Livneh (of amazing Ethio-jazz jamband Anbessa Orchestra) and drummer David Christian maintaining a litheness under Wilson’s catchy, subtly wafting hooks. Livneh’s hypnotic looping melody underpins the plaintive rainy-day melody, lingering ambience and hints of Ethiopiques in the second cut, Lifeworld

Throught Awoke, ghe rhythm section build a subtly echoing trip-hop groove beneath Wilson’s washes overhead. Blades That Bend has tastily astringent hints of Afrobeat contrasting with its balmy, low-key, minimalist pulse, while Tea Wars, with its flickering drum hardware and contrasting bass multitracks, is hardly bellicose.

The aptly titled, spare yet spacious Empty Porch Chairs floats along slowly; it’s arguably the album’s most nocturnal piece. Then the group pick up the pace – at least as much as they do here – with Night Tide, an echoey, rather wistful theme grounded by the rhythm section’s tight persistence, rising to a very unexpected peak.

Heart Counts begins as a ballad in disguise, featuring Wilson’s warmest phrasing here, then becomes a battle in disguise – more or less. With its dub reggae echoes, the album’s most animated, catchiest track is Shaken. The group wind it up with the epic Inner Stillness, practically ten minutes of spare, misty tectonic shifts over mystical, spacious djembe and bass pulses. Put this on and drift off to a better place.

Individualistic New Metal in Bushwick This Weekend

Metal trio Earnest Gallows may call their debut release a “three song demo,” but it has an understated, chrome-plated polish. What most distinguishes them from the legions of headless axemen on an endless gallop toward Mordor is frontman/guitarist Richie Pace’s vocals. “We brought this upon itself…conveniently bought, at the cost of critical thought,” he belts in the second track, Man Made Hell, a purposeful, tightly crystallized anthem that clocks in at less than four minutes. But that delivery is unexpectedly down to earth – no cartoon characters or phony opera here. The ep is up at Bandcamp as a free download, and they’re playing the Cobra Club in Bushwick on Aug 5 at around 9. The venue doesn’t list whether there’s a cover charge or not, but if there is it’s usually pretty cheap here, no more than ten bucks.

The ep’s first track, The Nearby is a contrast of crunch punctuated by the occasional guitar flare; Pace puts the bite on for extra cynicism in places. The final track, Secular Peace, is the band’s most ambitious number and a mishmash of rhythms, bassist Philip Tavadze climbing and then finally joining the sprint down the battlefield in tandem with drummer John Naeder. You can hear echoes of Iron Maiden but also artsier 70s rock and even 80s goth in the group’s music: if catchy, heavy sounds are your thing, keep an eye out for them.

Pianist Mara Rosenbloom Leads a Magically Hypnotic Trio at the Jazz Gallery

At the Jazz Gallery Wednesday night, there was a point where singer Anais Maviel unleashed a serrated, descending, diamond-cut glissando straight out of the Coltrane playbook while bassist Adam Lane pedaled a low E and pianist Mara Rosenbloom filled out the space between with a lingering lustre. Coltrane would have been hard-pressed to replicate that kind of precision. Maviel would do that later, and again the result was spine-tingling.

Rosenbloom came up with the night and the concept: to improvise on the theme of Adrienne Rich’s poem “I Know What I Dreamed.” It’s part of a suite loosely exploring the possibilities of love without exploitation. A challenge, musically or otherwise, under ordinary circumstances; more so by far in the post-2016 election era. To what degree did the music reflect that struggle?

Maviel did the heavy lifting and made it seem effortless, even when pushing the limits of her extended technique via meticulously articulated sputters, playful detours toward scatting or building an accusatory mantra with the poem’s title. Meanwhile, without missing a beat – literally  – she played taut polyrhythms on a tom-tom, whether with many shades of boomy grey or a rat-a-tat on the hardware. Was this a cautionary tale to hold onto our dreams lest they be stolen by the trumpies and their dream police? Maybe.

Lane was the center of the storm, whether pulling elegantly against Rosenbloom’s lingering center, bowing stygian washes or pulsing higher up the neck over the piano’s dense but sparkling chordal washes. Rosenbloom didn’t reach for the churning firestorm of her most recent album Prairie Burn, instead orchestrating what seemed to be very Indian-inspired themes. Has she been hanging with the Brooklyn Raga Massive? What a great collaboration that would be.

She opened with a classy, distantly bluesy Gershwinesque resonance and grew much more minimalist early on, with judiciously exploratory righthand against a steady river from the left. Tersely and methodically, she directed a series of wavelike crescendos, Maviel the wild card who’d push one over the edge without a split-second warning. Bass and piano were always there to catch it in a reflecting pool and then bring it to shore: sympatico teamwork as unexploitative love? Rosenbloom finally encored with a solo piece that reverted to echoes of both Gershwin as well as earlier, deeper southern blues, in a Matthew Shipp vein.

There aren’t any upcoming shows by this auspicious trio, but Rosenbloom will be at I-Beam on on Aug 11 at 8:30 PM with Guillermo Gregorio on clarinet and Omar Tamez on guitar; cover is $15. Maviel is at the Freedom Music Fest in Copenhagen, solo, on Aug 31.

Sublime, Impassioned Oldschool Soul from the War and Treaty

What crazy person would walk out during the best song of the War and Treaty’s ecstatic, joyous, redemptive set in front of a packed house at the Rockwood Tuesday night?

Keep going and you’ll find out. It’s ugly. And that’s too bad, because the music was sublime.

Pianist Michael Trotter and his singer wife Tanya front this oldschool soul unit. Imagine Ike & Tina Turner without the abuse (hard to do, but just try). Built like a linebacker, Michael sings with a gritty, impassioned delivery, so forcefully that his voice creates overtones that crackle through the mix…until he goes way, way up with a literally breathtaking falsetto. Tanya is a powerful singer in her own right: you can tell that she’s immersed herself in Aretha Franklin and other icons from the 60s but doesn’t rip them off. Throughout the set, the two traded lines, and verses, and harmonized, and backed each other up with a near-telepathic chemistry. They could have gone on for twice as long as their roughly fifty minutes onstage and the crowd still would have wanted more.

Trotter may have a hurricane for a voice, but he doesn’t overuse it. Likewise, he played with restraint, clearly a good influence on the rest of the band. The guitarist got only two chances to cut loose with solos, and went for jagged grit rather than metal excess. Likewise, the organist stuck to vast, gospel-influenced chords and washes of sound over a tight, purposeful rhythm section who earned comparisons to the Dap-Kings. The War and Treaty are a time warp straight from 1969. It’s like the hippie excesses of the 70s and the cheesiness afterward never happened.

Even the closest thing in the set to a straight-up rock song, The Healing Tide – the title track from the band’s forthcoming album – echoed the Beatles rather than anything more recent. The rest of the material would start slowly and slowly gather momentum, up to big, stomping choruses that would often suddenly recede again, or stop cold. This kept the audience on their toes – and they loved it.

There’s a bittersweet backstory here. As a soldier in Iraq during the Bush/Cheney war, Michael Trotter wrote his first song on Sadaam Hussein’s piano…or one of them. Trotter was clearly scarred by his wartime experience. In a lengthy address to the audience before the night’s final number, he articulated a fierce commitment to working to bring people together regardless of race…and then entreated everybody to turn to the person next to them and give them a big hug.

Now why would anybody leave during the power, and glory, and passion of the band’s final, majestic anthem? Because the MTA was about to shut down the F train. On one hand, it was great to see such a great turnout for the band, even if the big Rockwood room is only the size of a small club. Let’s just hope everyone got home ok afterward rather than having to go to a plan B or plan C that might not have worked any better than the F that night. Wonder why so many music venues are closing all over town?

The War and Treaty tour continues; lucky Denver residents can see them on August 8 at 9 PM at Globe Hall at 4483 Logan St. Cover is $20.

Live Music Calendar for New York City and Brooklyn for August and September 2018

Daily updates – if you go out a lot, it couldn’t hurt to bookmark this page.

If you’re leaving your hood, make sure you check http://www.mta.info for service changes considering how the trains are 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. Weekly events first followed by the daily calendar.

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 found out about here, somebody was up late after a long day of work editing and adding listings to this calendar ;)

Beginning on 8/15, 5:30 PM and continuing on 8/22, 8/29, 9/5, 9/12 and a grand finale on 9/14 a half an hour earlier, this year’s Bryant Park Accordion Festival is as amazing as it was last year. Scroll down for individual show lineups

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!

Puppeteer Basil Twist’s disorienting, phantasmagorical Symphonie Fantastique, with pianist Christopher O’Riley playing a score by Berlioz, “takes place in the most unlikely of places – a 1,000-gallon water tank, in which five unseen puppeteers swirl countless pieces of fabrics, feathers, fishing lures, flashlights, glitter, dyes, plastic, vinyl and bubbles in all shapes and sizes, creating a dream-like world of imagination and surreal storytelling,” at Here, 145 6th Ave. south of Spring, $35, through July 15, Tuesday–Saturday at 8:30 PM; Saturday and Sunday at 4. Click the link above for dates which continue through 9/2. 

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 south-of-the-border-style 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.

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 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 August, Rev. Vince Anderson and his band play Union Pool in Williamsburg, two sets starting at 10:30 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. Paula Henderson from Burnt Sugar is the lead soloist on baritone sax, with frequent special guests.

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

Wednesdays in August, 8 PM 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

Thursdays at 8 in August 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

Free classical concerts on Saturdays at 4 PM in August 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.

Saturdays in August, 6 PM witty Microscopic Septet pianist Joel Forrester at Barbes. He’s not doing it for the money (he wrote the theme to NPR’s Fresh Air). He’s doing this for fun and you can be part of it. He’s also leading a quartet at Bar Lunatico on 8/26 at 8:30

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

Sundays in August, at sometime past noon at Hank’s, Nashville gothic crooner Sean Kershaw‘s legendary honkytonk brunch is back; special guests from his wide circle of NYC Americana acts keep the afternoon going until about 7. It’s just like 1999 again -at least until the bar closes sometime this year.

Sundays in August, 8 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.

8/1, noon hauntingly kinetic Peruvian psychedelic folk band Inti & the Moon at the triangle at 66th St. and Broadway

8/1, 5:30 PM trippy tropicalia jamband Locos Por Juana at Bryant Park

8/1, 6 PM an Afro-Cuban dance party with Los Habaneros at Madison Square Park

8/1, 6:30 PM this era’s foremost swing jazz guitarist, Matt Munisteri on the plaza at the Brooklyn Public Library

8/1, 7 PM fiery electric bluegrass and C&W with Demolition String Band  at Church Square Park, Park Ave & 4th St., Hoboken

8/1, 7:30/9:30 PM feral, brilliantly improvisational pianist Mara Rosenbloom‘s FLYWAYS with bassist Adam Lane and singer/percussionist Anais Maviel play work inspired by Adrienne Rich’s vision of love without exploitation at the Jazz Gallery

8/1-2, 7:30/9:30 PM lyrical Cuban pianist Harold Lopez-Nussa leads a trio at the Jazz Standard, $25

8/1, 8 PM a darkly psychedelic twinbill: the witchy Yula & the Extended Family  and the Malian-inspired Sway Machinery at Nublu 151

8/1, 8 PM catchy, restless female-fronted Americana/newgrass anthem band Kaylor Otwell & the Tin Cans at the Bitter End. They’re also at Sidewalk on 8/26 at 8 for free

8/1-5, 8:30/10:30 PM intense pianist Gerald Clayton  leads a quintet with Logan Richardson on sax at the Vanguard, $30

8/1, 9 PM sharply lyrical janglerock/Americana/soul songwriter Matt Keating and guitarist Steve Mayone’s catchy new powerpop project the Bastards of Fine Arts at 11th St. Bar

8/2, 5 PM Bahian percussion powerhouse Dende and band followed by iconic second-wave Afrobeat band Antibalas at Chambers Plaza in Newark

8/2, 7 PM the NYChillharmonic – arguably NYC’s most individualistic large ensemble, with art-rock grandeur, jazz instrumentation and a powerful frontwoman on the mic – at National Sawdust, $20 adv tix rec. They SLAYED at Littlefield back in May.

8/2, 7 PM the amazingly eclectic, groovalicious Delvon Lamarr Organ Trio– like Booker T & the MG’s on steroids – at Wagner Park on the water northwest of Battery Park

8/2, 7:30 PM intense, lyrical, politically fearless tenor saxophonist Roxy Coss leads her s leads her quintet followed at 10:30 PM by bassist Matt Pavolka’s wry, incisively rhythmic, drummerless Horns Band at Smalls

8/2, 7:30/9:30 PM strange and potentially smoldering improvisations and maybe some hip-hop with Kassa Overall – drums; Vijay Iyer – piano ;Ravi Coltrane – saxophone; Evan Flory-Barnes – bass at the Jazz Gallery, $25

8/2, 7:30 PM three bass-led improvisational situations: Brandon Lopez solo, the Jozwiak/Swanson/Zenkoff Trio and the Jack Wright / Evan Lipson / Weasel Walter Trio at Arete Gallery, $10

8/2, 8 PM Balkan chanteuse Jenny Luna‘s haunting, traditional Turkish band Dolunay followed by Quatre Vingt Neuf (French for 89, a revolutionary date in case you weren’t aware) playing New Orleans brass music at Barbes

8/2, 9 PM noirish crooner/guitarslinger Phil Gammage and his four-piece band at 11th St Bar

8/2, 9 PM popular 90s-style alt-country with Rusty Truck at Hill Country

8/2, 9:30 PM sardonic C&W parody band the Great American Country Drifters at Pine Box Rock Shop

8/2, 10 PM charismatic, adventurous postbop/avant garde trombonist/crooner Frank Lacy leads his sextet at the Fat Cat

8/3, 5:30 PM dark, carnivalesque oldtimey songwriter Feral Foster and eclectic, tuneful accordionist/songwriter Ali Dineen at the American Folk Art Museum

8/3, 7 PM metal crew Fear Is Dead followed by fearlessly political antiviolence metalpunks Rebelmatic at the Delancey, $10

8/3, 7:30/9:30 PM a first-class big band plays new large-ensemble work by jazz composers Matt Holman, Brian Krock and Anna Webber at the Jazz Gallery, $25

8/3, 8 PM Dromeno play fiery Greek and Balkan dance music at the Jalopy, $10

8/3, 8 PM all-female vocal chamber group Quince Ensemble sing works by Kate Soper, Amy Beth Kirsten, Kaija Saariaho, Giacinto Scelsi, Gilda Lyons, Pascal Dusapin, and more followed by catchy, slinky, psychedelic tropicalia and cumbia band Yotoco at Barbes

8/3, 8 PM darkly lyrical psychedelic pop songwriter Jennifer Hall at the Parkside

8/3-4, 8/10 PM Mike LeDonne takes a relatively rare turn on piano with Peter Washington on bass at Mezzrow, $20 at the bar

8/3, 8:30 PM Antibalas spinoff Armo play Afrobeat at Bar Lunatico. They’re also here on 8/23,

8/3, 8:30 PM the Asian Cultural Symphony of the U.S.A play classical Chinese repertoire at Bryant Park

8/3, 9 PM boisterously funny oldschool 60s C&W and brooding southwestern gothic with the Jack Grace Band at Bar Chord

8/3, 10:30 PM catchy Booker T-esque soul jazz with the David Gibson/Jared Gold Hammond B3 organ band at the Fat Cat

8/4, 3ish 60s-style bossa-influenced psych-pop band the Jay Vons outdoors at Union Pool, free

8/4, 3 PM Brazilian neosoul singer Xenia Franca, the Hamilton de Holandamandolin Trio and trippy dub band Baiana System at Central Park Summerstage

8/4, 6 PM witty Microscopic Septet pianist Joel Forrester followed 8 by pianist Lucian Ban and violist Mat Maneri playing their creepy Transylvanian jazz and then at 10 by epic ranchera/bolero brass crew Banda de los Muertos at Barbes

8/4, 7ish Bobby Radcliff – the rare blues guitarist who plays a ton of notes but doesn’t waste them, sort of a funkier Stevie Ray Vaughan – with his trio at Terra Blues

8/4, 7:30 PM messy lo-fi psychedelic band Garcia Peoples followed eventually at around 9:30 by darkly intense art-rock duo Christy & Emily at Wonders of Nature

8/4, 8 PM three loud metal-influenced bands open for female-fronted new wavers: instrumental sludgecore band Apollo’s Ghost, serpentine, cinematic art-rock instrumentalists You Bred Raptors, metalpunks the US Americans and the New Tarot at Bowery Ballroom, $12 adv tix avail at the Mercury 

8/4, 8 PM Lone Piñon and Tepeyolotli play New Mexican border folk sounds at the Jalopy, $10

8/4, 8 PM klezmer-jazz piano icon Anthony Coleman with Nick Dunston on bass at Scholes St. Studios

8/4, 8:30 PM popular Jamaican dancehall crooner Tarrus Riley at Prospect Park Bandshell

8/4, 9 PM Unsteady Freddie‘s monthly surf rock extravaganza at Otto’s begins at 9 PM with surfed-up tv themes from Commercial Interruption, at 10 gloomy surfed-up Russian prison songs with the Vivisectors, at 11 majestic, darkly cinematic surf band the TarantinosNYC and at midnight the possibly very well-named, metalish Tiki Torture 

8/4, 9 PM the deliciously jangly, melancholy Pale Lights – like the Church at their poppiest – and eternally popular, similarly catchy psych-pop road warriors the Essex Green at the Knitting Factory, $15 adv tix rec 

8/4, 10 PM rockabilly songstress Suzette Sundae & the Love Lifes with her killer retro band at Skinny Dennis. She’s also there on 8/28.

8/5, 1 PM chanteuse/uke player Dahlia Dumont’s Blue Dahlia playing edgy, smartly lyrically-fueled, jazz-infused tunes in English and French with classic chanson and Caribbean influences at Jefferson Market Garden out back of the playground behind the BMCC campus on Chambers St. 8/10 at 4 (four) PM they’re at Ruppert Park, Second Ave. bet. E. 90 St. and E. 91 St.

8/5, 1 PM klezmer clarinet/mandolin wizard Andy Statman, Irish group Cherish the Ladies, Grupo Rebolu, and Sidiki Conde and Tokounou on the plaza at Lincoln Center. The program repeats at 5 out back in Damrosch Park.

8/5, 1 PM wild live techno band Bombrasstico at the Riis Park Beach Bazaar in the Rockaways

8/5, 2 PM Pistolette play Afrobeat at Coney Island Baby, free

8/5, 6 PM a brassy New Orleans bill: New Breed Brass BandPreservation Hall Jazz Band, a lame jamband, and then Trombone Shorty & Orleans Ave at Central Park Summerstage

8/5, 7 PM Puerto Rican percussion ensemble Yuba Ire and two popular Miami bands—Philbert Armenteros y Los Herederos and PALO! accompany a dance performance at Damrosch Park out back of Lincoln Center

8/5, 7 PM state-of-the-art postbop guitarist Will Bernard and band reinvent Strayhorn tunes followed at 9:30ish by Romany jazz/psychedelic rock guitar mastermind Stephane Wrembel at Barbes. Bernard is also at the small room at the Rockwood on 8/13 at 11 PM

8/5, 8 PM majestic noir cabaret/tango/Mediterranean band Paris Combo at City Winery, $25 standing room avail

8/5, 9 PM bass goddess Felice Rosser’s ageless reggae-rock-groove band Faith followed by the uneasily cinematic art-rock Pi PowerTrio  – film composer and former Raybeat Pat Irwin (guitar, electronics), Sasha Dobson (drums, vocals) and Daria Grace (bass, vocals) at the Treehouse at 2A

8/5, 9ish sludgy but tuneful metal band Earnest Gallows at the Cobra Club, $tba 

8/6, 7 PM multi-instrumentalist Dennis Lichtman’s popular western swing band Brain Cloud at Barbes followed at 9:30 PM by Dilemastronauta Y Los Sabrosos Cosmicos with members of M.A.K.U and Combo Chimbita playing space cumbia 

8/6, 7 PM lively, relatively rocking indie classical string band Founders at Joe’s Pub, $15

8/6, 8 PM luminous, astonishingly eclectic, wickedly tuneful cello-rock badass Serena Jost followed by similarly fearless, historically-inspired badlands gothic songstress and powerful singer Karen Dahlstrom – possibly the only writer to record an oldtime Idaho-themed album – at Pete’s

8/6, 9 PM gritty, guitar-fueled postrockers Star Rover followed by trippy downtempo/chillout trio Dustlights playing the album release show for their new one at Wonders of Nature

8/7, 7 PM potential trainwreck, potential transcendence: BEACHFACE. Highly spontaneous collective compositions from an adventurous ensemble of Brooklyn improvisers.  John Carlson (trumpet) and Shawn McGloin (bass) from Free Range Rat, Tim Vaughn (trombone) from Gato Loco and Chris Stromquist (drums) from Slavic Soul Party! followed by clever, fiery, eclectic ten-piece Balkan/hip-hop/funk brass maniacs Slavic Soul Party 

8/7, 7 PM sitarist Shafaat Khan with a dance ensemble  at Gantry Plaza State Park in Long Island City

8/7, 7 PM the great unsung hero of darkly purposeful, noir-tinged jazz guitar, Saul Rubin leading his Zebtet at the Fat Cat. They’re also here on 8/14

8/7, 7:0 PM irrepressible, transgressively funny saxophonist Jon Irabagon leads a quintet at Smalls

8/7, 7:30/9:30 PM popular purist postbop saxophonist Eric Alexander leads a rare chordless trio with Johnathan Blake on drums recording a live album at the Jazz Gallery $15

8/7, 8 PM  Moppa Elliott‘s Unspeakable Garbage – a potentially LMFAO Mostly Other People Do the Killing facsimile with Bryan Murray – sax, Nick Millevoi – guitar, Ron Stabinsky – piano, Moppa Elliott – bass, Dan Monaghan – drums at Shapeshifter Lab, $10

8/7, 8 PM edgy, historically-inspired newgrass band Cricket Tell the Weather at the small room at the Rockwood

8/7, 8:30 PM kinetic, eclectic, funky parlor jazz violinist Mazz Swift at Bar Lunatico

8/7-13, 8:30;10:30 PM purist postbop guitarist Kurt Rosenwinkel leads a trio at the Vanguard. Then he’s here with a quartet through the 19th.

8/7. 9:30 PM high-voltage delta blues/Romany swing guitarist Felix Slim at Bar Chord

8/8, noon charmingly torchy vocal trio the Ladybugs – who put a twistedly original spin on old Disney movie themes – at the triangle at 66th St. and Broadway

8/8, 5:30 PM Afropop dancefloor guy Sinkane at Bryant Park

8/8, 6:30 PM slinky maracatu/New Orleans/surf rock mashups from Nation Beat on the plaza at the Brooklyn Public Library

8/8, 6:30 PM in reverse order: the Sun Ra Arkestra play a live score to Space Is the Place, José James sings Bill Withers and Samora Pinderhughes: The Transformations Suite at Damrosch Park out back of Lincoln Center. Jury’s out on the openers.

8/8, 7:30/9 PM eclectic, paradigm-shifting B3 jazz organist Brian Charette leads a trio at Minton’s, $10

8/8, 8 PM irrepressible klezmer violinist Eleonore Biezunski leads her Titi Parisienne ensemble playing French songs of displacement with her trio featuring ex-Chicha Libre keyboardist Josh Camp on accordion at Barbes

8/8, 8 PM improvisationally-inclined Madrid-based pan-latin jazz chanteuse Aurora Arteaga and band at Club Bonafide, $15

8/8, 9 PM hot 20s swing with trumpeter Jason Prover and his Sneak Thievery Orchestra at Radegast Hall

8/8. 10 PM Savak – who rehash Wire as well as anybody else ever has – at Coney Island Baby, $10 

8/9, 5 PM Maceo Parker of the JBs at Chambers Plaza in Newark

8/9, 6:30 PM powerhouse tropicalia chanteuse Xenia Rubinos in the sculpture garden at MOMA, free w/museum adm

8/9, 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 –  plays “a very special [spectacularly surreal, snarky] show of reinterpretations of songs by the Talking Heads, Bob Dylan, Nick Drake, Michael Hurley, Hoagy Carmichael, John Lennon, Brian Wilson, Johnny Mercer, Joni Mitchell, Laura Nyro, Neil Young, Harry Nilsson, Leonard Cohen, Tom Petty, Screaming Jay Hawkins” – what, no Eagles? at Pangea

8/9, 7 PM tenor saxophonist Ken Fowser leads his band at the Fat Cat. 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.

8/9, 7 PM 9ish noirish blue-eyed soul singer Fiona Silver and popular blues guitarslinger Gary Clark Jr. at Prospect Park Bandshell

8/9, 7:30 PM International Contemporary Ensemble and Greg Stuart play whispery music on instruments like of glass bowls at the Lincoln Center Atrium, free, early arrival advised

8/9, 8 PM a short set 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 – followed by a screening of Maxim Pozdorovkin’s hilarious/terrifying documentary Our New President, “a vodka-soaked, fever-dream documentary of Donald Drumpf’s rise to power as told by Russian propaganda” on the roof of the American Can Factory, 232 3rd St north of 3rd  Ave., Gowanus, F/R to 9th St., $16, free booze to follow

8/9, 8 PM plush, balmy, oldtimey uke swing band Daria Grace & the Pre-War Ponies  followed by theatrical avant-garde drummer Sean Noonan leading his band playing the album release show for his new one Aqua Diva at Barbes (note $10 cover for the headliners)

8/10, 5:30 PM weird segues, enticing triplebill: plaintive Yorkshire/Appalachian singer Jan Bell, avant garde jazz chanteuse May Cheung and brilliantly lyrical dark oldtimey songwriter/multi-instrumentalist Pete Lanctot & the Stray Dogs at the American Folk Art Museum  

8/10, 7:30 PM fiery, politically fearless, atmospheric Tunisian art-rocker Emel Mathlouthi  and macabre slowcore band Godspeed You Black Emperor at Prospect Park Bandshell

8/10, 7:30 PM the Bobby Sanabria Multiverse Big Band reinvent Leonard Bernstein’s Wes Side Story soundtrack at Damrosch Park out back of Lincoln Center

8/10, 8 PM eclectic, lyrical, pensive jazz bassist/composer Pedro Giraudo leads his Tango Quartet at Barbes

8/10, 8 PM feral, hypnotic Afro-Colombian trance-dance band Tribu Baharu at Bryant Park

8/10, 8ish eclectic, tuneful accordionist/songwriter Ali Dineen  and fiery oldtime string band guitarist Jackson Lynch at the Owl

8/10-12, 8 PM this summer’s Latino punk festival at Brooklyn Bazaar, short sets by too many bands to name, heavy on the hardcore, the festival link is here, $tba

8/10, 9 PM Austin bluegrass guitarist/singer Talia Bryce followed at 10 by fellow Texan oldtimey band the Troll Smashers and 11 by fiery, psychedelically bluesy oldschool soul/southern rockers Lizzie & the Makers at Pete’s. Lizzie’s also at the small room at the Rockwood at 11 on 8/24.

8/10, 9:30 PM darkly sizzling original surf rock band the Black Flamingos play surf at the Gutter, $5

8/10, 10 PM Lakeside Lounge honcho and careening Americana guitar icon Eric Ambel, and fiery, lyrical Steve Earle-ish songwriter Kasey Anderson at Hill Country

8/10, 10 PM pyrotechnic jazz improv trumpeter Peter Evans with homemade instrument builder/percussionist Levy Lorenzo followed by the prosaically branded but mesmerizing Duet for Theremin and Lap Steel at Wonders of Nature 

8/10-11, 10:30 PM hard-charging alto saxophonist Mike DiRubbo leads his quartet at Smalls

8/10, 10:30 PM Max’s era-style punks the NY Junk play the album release show for their new one at Coney Island Baby, $10

8/11, 3 PM the North, South, East, and West choruses – which could include you – sing the world premiere of John Luther Adams: In the Name of the Earth at Harlem Meer in Central Park

8/11, 3 PM ish swirling, feral female-fronted psychedelic cumbia/tropicalia allstars Combo Chimbita  outdoors at Union Pool, free

8/11, 4ish the lavish Mariachi Real de Mexico de Ramon Ponce  on the Coney Island Boardwalk in front of the Wonder Wheel

8/11, 5 PM an extremely rare solo show by the crystalline-voiced, savagely lyrical Mary Lee Kortes at Pete’s

8/11, 6 PM Microscopic Septet pianist Joel Forrester f – who’s doing a barrellhous take on hypnotic Philip Glass-ine composition lately – followed at 8 by chanteuse/uke player Dahlia Dumont’s kinetic French-Caribbean band  Blue Dahlia and at 10 by Cumbiagra – who’ve been going in a much more psychedelic direction lately-  at Barbes

8/11, 7 PM sizzling, haunting, psychedelic Turkish string band Neotolia at Joe’s Pub, $15

8/11, 7:30/9:30 PM drummer Tomas Fujiwara’s thundering, tidally shifting two-guitar/two-drum Triple Double at the Jazz Gallery, $25

8/11, 7 PM dark Americana lit-rock cult hero Joe Henry and soul/gospel icon Mavis Staples – good twinbill, hilariously bad segue – at Damrosch Park out back of Lincoln Center

8/11, 7 PM  Markus Reuter (Berlin), Mark Wingfield (London), Tim Motzer (Philadelphia), and Doug Hirlinger (NYC/Philadelphia) in a guitar trio plus drums. The late set starting at 9 is a talent-packed quadruple bill with Ikue Mori solo, Peter Evans’ new ensemble “Being & Becoming”, vocalists/noise artists Andrea Pensado, Charmaine Lee, and percussionist Chris Strunk at Arete Gallery, free

8/11, 8 PM masterful improvisational camaraderie with Shipp/Lowe/Cleaver/Ray – Matthew Shipp, Allen Lowe, Gerald Cleaver, Kevin Ray – at the  Poisson Rouge, $20 adv tix rec

8/11, 8 PM kinetic jazz vibraphonista Yuhan Su leads her quintet at the Cell Theatre, $15/$10 stud/srs

8/11, 8:30 PM jangly, clanging late 80s nostalgia with the Breeders at Prospect Park Bandshell

8/11, 9 PM hilarious, smartly political faux-French retro 60s psych-pop band les Sans Culottes at Bar Chord

8/11, 10 PM the Muslim & a Mexican play classic psychedelic Farsi funk from the 60s and 70s at the old Nublu, $10

8/12, 1 PM Super Yamba play their bracingly psychedelic Afrobeat jams at the Riis Park Beach Bazaar in the Rockaways

8/12, 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 8/26

8/12, 3 PM acerbic indie classical duo String Noise at the Noguchi Museum, 9-01 33rd Rd,, Long Island City,  N to Broadway and about a 15-block walk, free w/museum adm

8/12, 4 PM amazingly psychedelic, cross-pollinated Indian sounds with the Women’s Raga Massive at the Queens Botanical Garden, 43-50 Main St, Flushing, free w/garden adm

8/12, 6 PM noir-inspired low-register reedman Ben Goldberg  and cornetist Kirk Knuffke duel it out at Downtown Music Gallery

8/12, 7 PM twangy Crazy Horse-ish Americana jamband Lukas Nelson & Promise of the Real followed by newschool Americana soul chanteuse Margo Price at Damrosch Park out back of Lincoln Center

8/12, 7:30 PM a haunting Tunisian/Palestinian twinbill: singer Sonia M’barek & oudist/violinist Simon Shaheen with his funky Qantara group at Merkin Concert Hall, $30

8/12, 7:30 PM a short set by irrepressibly devious, lyrically hilarious multi-instrumentalist songwriter Walter Ego – who spans from darkly elegant art-rock to classic Britrock sounds – at Sidewalk

8/12, 11 PM creepy, psychedelic circus rock/Russian folk band Mad Meg followed at midnight by Helsinki girlpunk band the Shrieks at Littlefield, $10 

8/13, 7 PM night one of this year’s sublime Drive East Festival of Indian music opens with acclaimed Hindustani spiritual singer Rattan Mohan Sharma at LaMama, 66 E 4th St, $28 tix avail

8/13, 8 PM a rare NYC appearance by classy, cinematic NZ jazz pianist Alan Broadbent at Mezzrow, $15 at the bar

8/13, 8 PM the all-female Resistance Revival Chorus sing epic, inspiring populist gospel tunes and anti-trumpie broadsides, plus appearances by Valerie June, Jojo Abot, Ayo, Deva Mahal, Renee Elise Goldsberry, Mariachi Flor de Toloache, Annabella Sciorra, Abby Dobson, Shakina Nayfack, Indya Moore and others at the Delacorte Theatre in Central Park, free, early arrival advised (doors at 7:30

8/13, 8:30 PM fearlessly haunting, dynamic, charismatic Romany/Balkan chanteuse Eva Salina with pyrotechnic accordionist Peter Stan at Bar Lunatico

8/13-16, 8/10:30 PM a rare summit meeting between trumpeter Roy Hargrove and soulful reedman Paquito D’Rivera at the Blue Note, $30 standing room avail. Hargrove is back leading his quintet here 8/28-31.

8/13, 8:30 PM the Vitamin String Quartet play faux-classical covers of all your favorite cheeseball radio hits at City Winery, $20 gen adm

8/13, 9:30ish the NYC Gaita Club – a Bulla en el Barrio spinoff – play rustically pounding Afro-Colombian trance-dance music at Barbes

8/14, 7 PM powerhouse postbop trumpeter Wayne Tucker leads his group followed byclever, fiery, eclectic ten-piece Balkan/hip-hop/funk brass maniacs Slavic Soul Party at Barbes

8/14-15, 7:30/9:30 PM golden-age large-ensemble postbop sounds with the Lee Konitz Nonet at the Jazz Standard, $30

8/14. 8 PM bassist Adam Minkoff leads a nine-piece rock band with horns playing his original arrangements of Stravinsky works at the Poisson Rouge, $20 adv tix rec

8/14, 8:30 PM this year’s sublime Drive East Festival of Indian music continues with Vishal Vaid singing rapturous ghazals at LaMama, 66 E 4th St, $28 tix avail

8/14-15, 8:30 PM lyrical, Balkan-inspired pianist Uri Caine leads a trio at Mezzrow, $20 at the bar

8/14, 9ish tuneful, smartly lyrical songwriter and slashing guitarist Jennifer O’Connor and her band at Wonders of Nature

8/14, 9  PM Crampsy ghoul-surf/noir garage band Twin Guns at Coney Island Baby, $12

8/14. 10 PM bass sax monster Stefan Zeniuk does double duty with two of his dark latin bands: punk mambo crew the NY Fowl Harmonic  followed by the titanic, richly noir Gato Loco at Hank’s, $7

8/15, 5:30 PM night one of this year’s amazing Bryant Park Accordion Festival, short sets by musicians scattered across the park lawn to prevent any sonic interference. Lineup includes Phil Passantino (Cajun + Zydeco), Maestro Tito Castro (Bandoneón: Argentine Tango), Foncho Castellar (Colombian Cumbia + Vallenato), Gregory Grene (Irish Rock), Eduardo de Carvalho (Brazilian Forró), Christina Crowder (Klezmer & Moldavian Folk), Jenny Luna (amazing Balkan + Turkish), Susan Hwang (wryly literary Blues + Soul), Jody Kruskal (Concertina: Old Americana), Dmitry Sokolovsky (Retro, Samba, Musette + Jazz), Nathan Koci (American and English Folk Tunes), and Barry Adler (German + Austrian)

8/15, 6 PM high-voltage psychedelic cumbia/Afrobeat jamband MAKU Soundsystem at Madison Square Park

8/15, 6 PM sitar player Abhik Mukherjee at the Rubin Museum of Art, free w/museum adm

8/15, 7:15 PM this year’s sublime Drive East Festival of Indian music continues with rising star santoor player Vinay Desai at LaMama, 66 E 4th St, $21 tix avail

8/15, 9 PM haunting all-acoustic symphonic art-rock band the Arcane Insignia at the Delancey, $10

8/16, 7:15 PM this year’s sublime Drive East Festival of Indian music continues with the epic, mesmerizing Navatman Music Collective – the only carnatic choir in this hemisphere – at LaMama, 66 E 4th St, $22 tix avail

8/16, 7:30 PM the Jimi Hendrix of the cuatro, Jorge Glem at the Lincoln Center Atrium, free, early arrival advised

8/16, 8ish an amazing original roots music triplebill: badass original country blues and oldtimey guitarist/songwriter Mamie Minch, oldtimey Americana duo the Hawkins Brothers and wildly hilarious acoustic Veracruz-style folk-punk band Radio Jarocho at a house concert at 169 Spencer St. at Willoughby, Bed-Stuy, G to Myrtle-Willoughby, sug don

8/16, 7:30/9:30 PM reedman Brian Krock’s titanic 20-piece jazz orchestra Big Heart Machine – conducted by Miho Hazama and featuring the spectacular Arcoiris Sandoval on piano – at the Jazz Gallery, $15

8/16-19, 7:30/9:30 PM high-voltage vibraphonist Warren Wolf and his Quartet at the Jazz Standard, $30

8/16, 8 PM eclectic, vivid Colombian pianist Ricardo Gallo with Ben Goldberg: clarinet; Sam Kulik: trombone; Satoshi Takeishi: drums followed at 10 by Pangari & the Socialites careening through classic ska and rocksteady – most of it from the 60s Skatalites catalog – at Barbes

8/16, 8:30 PM riveting, incisive oudist Brandon Terzic with 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 – at the Jalopy, $15. Terzic is also at Barbes on 8/29 at 8.

8/16, 9 PM indie powepop icons Guided By Voices at Industry City Courtyard, 274 36th St, Sunset Park, D/R to 36th St., $25 tix avail at the Bell House box ofc

8/17, 5:30 PM ubiquitous, moodily lyrical, politically savvy Irish folk-rocker Niall Connolly at the American Folk Art Museum 

8/17, 6 PM ferocious, female-fronted Afrobeat band Underground System at Bryant Park

8/17, 10 PM ferociously lyrical, Macbeth-inspired art-rock/psychedelic songwriter Rose Thomas Bannister and her killer new band at the Jalopy, $10

8/17, 8 PM a collaboration between wildly eclectic bluegrass/Taiwanese folk guitaris/songwriter Chalaw Basiwali and Malagasy griot Kilema at Flushing Town Hall, $16/$10 srs, under 18 free w.ID

8/17, 8 PM rustic Brazilian jungle guitar-and-accordion sounds with Regional de NY at Barbes

8/17, 9:30 PM a killer surf rock twinbill: the Nebulas and the evilly psychedelic Satan’s Pilgrims at the Gutter, $5

8/17, 7:30 PM baritone saxophonist Lauren Sevian leads her killer LSQ quartet with Helen Sung on piano at Smalls

8/11, 8 PM jazz violinist Frederika Krier & her quartet Molecular Vibrations at the Cell Theatre, $15/$10 stud/srs

8/17, 8 PM exotic vibraphone-driven surf rock instrumentalists the Vibro-jets at Troost

 8/17, 8:30 PM future hall of famers the Out Louds: Tomas Fujiwara – drums; Ben Goldberg – clarinet; Mary Halvorson – guitar at I-Beam, $15

8/17, 8:30 PM organist and  Monk reinventor Greg Lewis and dazzlingly eclectic purist jazz singer Brianna Thomas at Bar Lunatico – OMFG

8/17, 10:40 PM (not 10:30) anthemic lit-rocker Dalton Deschain followed y the darkly eclectic, enigmatic Lorraine Leckie  – equally adept at Slavic and Americana noir – at Sidewalk

8/17, midnight, this era’s most intensely powerful tenor sax guy, JD Allen runs the jam session at Smalls. Hell, he could sleep here afterward

8/18, 1 PM hilarious, smartly political faux-French retro 60s psych-pop band les Sans Culottes at the Riis Park Beach Bazaar in the Rockaways

8/18, 1/3 PM the Collaborative Arts Ensemble play southern US-inspired works by Samuel Barber, Charles Ives, Johnny Cash,Hoagy Carmichael, Henry Mancin at Colonels Row on Governors Island, free

8/18, 6 PM trippy downtempo/postrock band Droneship followed at 7 by rockabilly band the Lexingtons at the Delancey 

8/18, 7:30 PM fearlessly relevant, genuinely riveting, populist tenor sax visionary/improviser Matana Roberts  solo on tenor sax at the Jazz Gallery. At 9:30 she plays a duo set with drummer Gerald Cleaver, $25

8/18, 7:30/9:30 PM powerful jazz belter – and Gil Scott-Heron reinventor –  Charenee Wade leads her group at Minton’s, $10

8/18, 8:30 PM this year’s sublime Drive East Festival of Indian music continues with Nirmala Rajasekar and Group playing magical Saraswati veena music at LaMama, 66 E 4th St, $23 tix avail

8/18, 8:30 PM Unheard Of Ensemble play works by Christopher Stark, Margaret Shedel, Reiko Füting, Erin Rogers and Tonia Ko at Spectrum

8/18, 9 PM chugging girlpunks Grim Streaker, feminist hardcore band Fea and ageless Cali surf punk legends Agent Orange at the Knitting Factory, $17 adv tix rec 

8/18, 9ish crunchy Italian stoner doom metal band Megatherium at the Cobra Club, $tba 

8/18, 10 PM expansive brass-fueled Afrobeat jams with the Brighton Beatat Shrine

8/18. 10 PM fiery electric bluegrass and C&W with Demolition String Band  at Skinny Dennis

8/18. 10 PM oldschool psychedelic soul/groove band Empire Beats at the Way Station

8/18, 9:30 PM wryly retro, period-perfect classic 60s style female-fronted honkytonk band the Bourbon Express at Freddy’s

8/19, 1 PM bouncy, slyly amusing psychedelic cumbia band Consumata at the Riis Park Beach Bazaar in the Rockaways

8/19, 5 PM the final concert of this year’s sublime Drive East Festival of Indian music features the Flute Raman Trio playing mystical, centuries-old repertoire at LaMama, 66 E 4th St, $21 tix avail

8/19, 7 PM Fuck You Tammy play amazingly spot-on recreations of themes from Twin Peaks and David Lynch films at the Mercury, $10

8/19, 7:30 PM Haley Fohr aka Circuit des Yeux plays a live ensemble soundtrack to the 1923 silent film adaptation of Oscar Wilde’s play Salomé. at National Sawdust, $17 adv tix rec

8/19, 8 PM torchy, riveting, erudite countrypolitan songwriter Drina Seay plays her bday show at the Treehouse at 2A

8/19, 8 PM hauntingly cinematic, windswept lapsteel soundscapes with Rainer Maria guitarslinger Kaia Fischer and freak-folk eeriness with Uke of Spaces at a house concert at 169 Spencer St. at Willoughby, Bed-Stuy, G to Myrtle-Willoughby, sug don

8/20, 7:30 PM a rare U.S. appearance by legendary Russian folk singer, composer and multi-instrumentalist Sergei Starostin with his Virtual Village Ensemble playing medieval sounds at the Fridman Gallery, $20

8/20-22, 8/10:30 PM trumpeter Christian Scott and band at the Blue Note, $20 standing room avail

8/20, 9 PM lustrously dark jazz pianist Guy Mintus leads his trio at the big room at the Rockwood, $10

8/20, 9 PM legendary dual-reedman George Braith – who can play two saxes at once better than most guys can play one – leads his quartet at the Fat Cat

8/21-22, 7:30/9:30 PM rising star jazz harpist Brandee Younger leads her Quintet: electric on the 21st and acoustic on the 22nd at the Jazz Standard

8/21, 8 PM roaring 20s hot jazz with Sweet Megg & the Wayfarers at Radegast Hall

8/21-25, 8:30 PM guitar icon Bill Frisell leads a series of duos with various drummers at the Stone at the New School, $20. Choice pick: how to decide? 8/22 with Kenny Wollesen or 8/24 with Johnathan Blake? 8/29 at 7 PM Frisesll plays a rare duo show with Ikue Mori on percussion at National Sawdust, $25 adv tix rec. He’s also at Russ & Daughters – smallest venue he’s ever played – on 8/30 for FREE. Get there early

8/21, 10:30 PM brilliant drummer/percussionist Willie Martinez & La Familia Sextet play classic salsa grooves at the Nuyorican Poets Cafe, $10

8/21, 10:30 PM fiery alto saxophonist Lucas Pino’s twin-guitar No No Nonet at Smalls

8/22, 1 PM a NYC bluegrass band twinbill with Bluegrass Collusion and Sheriff & the Deputy at the triangle at 66th and Broadway

8/22, 5:30 PM night two of this year’s amazing Bryant Park Accordion Festival, short sets by musicians scattered across the park lawn to prevent any sonic interference. Lineup includes John Sherman (Cajun, Appalachian + Blues), Tinta Roja (Argentine Bandoneón + Guitar), El Toro de la Sierra (Mexican Norteño), Dan Gurney (Traditional Irish), Felipe Hostins (Northeast Brazilian), Mary Spencer Knapp (French, Pop + Soul), Nathan Rivera (Gypsy Blues), The Bumper Crop Boys (Blues and Country), Yuri Lemeshev (World, Classical + Jazz), Sam Reider (American Roots), Erica Mancini (Jazz, Blues + Country), and Mario Tacca (French Musette + Waltz).

8/22, 9 PM intense, charismatic oldschool soul belter Sami Stevens at the small room at the Rockwood

8/23, 5 PM oldschool Dirty Jerz hip-hop with pioneering female rapper Rah Digga at Chambers Plaza in Newark

8/23, 5:30  PM string ensemble Leadlights play works by Kyle Werner, Beethoven, Brahms, and Mendelssohn at Belvedere Plaza north of Battery Park, follow the sound

8/23, 6 PM oldschool salsa dura with Los Habaneros under the Manhattan Bridge archway, go south from the  York St. subway and follow the sound

8/23, 6:30 PM Tom Csatari & Uncivilized Orchestra at Pioneer Works, free. Brooklyn’s most interesting jazz guitarist survives a brush with death and reemerges with his careening nine-ish piece band – an event not to miss

8/23, 7:30/9 PM lyrical latin jazz alto saxophonist Roman Filiu  leads a quartet with David Virelles on piano at Minton’s, $10

8/23, 8 PM singer Dida Pelled salutes obscure cult favorite women songwriters including Connie Converse, Elizabeth Cotten, Molly Drake, Vashti Bunyan and Norma Tanega followed at 10 by allstar violinist and drummer Jenny Scheinman & Allison Miller’s Parlour Game trio with formidable pianist Carmen Staaf at Barbes

8/23, 8:30 PM bassist Ben Allison teams up with noir-inspired pianist Frank Kimbrough & guitarist Steve Cardenas at Mezzrow, $20 at the bar

8/23, 10 PM twangy oldschool C&W band Girls Guns & Glory – who actually don’t embarrass themselves with their Hank Williams covers – at Hill Country

8/23, 10 PMtrumpeter Steven Bernstein’s legendary noir jazz outfit Sexmob at the old Nublu, $10 adv tix avail at the Poisson Rouge box ofc

8/24, 5:30 PM blues guitarist Will Scott – who can play just about any style from all over the country – and vivacious, badass all-female oldtimey string band the Dead Sea Sisters at the American Folk Art Museum 

8/24, 8 PM brilliantly lyrical trumpeter Ben Holmes’ Naked Lore with Kyle Sanna and Shane Shahanan at Barbes followed at 10 by the world’s creepiest crime jazz/film noir band, Big Lazy 

8/24-25, 10:30 PM innovative, erudite jazz organist Jared Gold leads his quartet at Smalls

8/25, 3 PM the ageless godfather of boogaloo, Joe Bataan outdoors at Union Pool, free

8/25, 5ish purist swing singer Catherine Russell and Jamaican jazz piano icon Monty Alexander’s reggae-jazz Harlem-Kingston Express at Marcus Garvey Park

8/25, 6 PM cleverly lyrical, murderously witty murder ballad/chamber pop allstars Charming Disaster at Castle Clinton in Battery Park

8/25, 7 PM the intricately polyrhythmic eight-piece Chhandayan Tabla Ensemble followed by Sougata Roy Chowdhury on sarod with Monir Hossain on tabla at Chhandayan Center For Indian Music, $20

8/25, 7 PM pianist David Greilsammer “takes a musical journey to the heart of a strange and dazzling labyrinth in a solo recital that spans musical eras,” with a centerpiece of Leoš Janáček’s darkly cinematic suite “On An Overgrown Path” at National Sawdust, $25 adv tix rec

8/25, 10 PM sludgy, ornate Detroit metal band Acid Witch at St. Vitus, $12 

8/25. 10 PM Danaya Band play Malian and Afrobeat sounds at Silvana

8/26, 1 PM jangly New York original surf rock cult heroes the Supertones at the Riis Park Beach Bazaar in the Rockaways at the triangle at 66th St. and Broadway

8/26, 3 PM the trio of Adam O’Farrill, Immanuel Wilkins and Joel Ross, Amina Claudine Myers, then a lame corporate jazz act, then Gary Bartz leading a quartet at Tompkins Square Park

8/26, 4 PM Music Against Mass Incarceration at Secret Project Robot with lo-fi janglerock/C&W songwriter Colin Langenus, Americana songstress Erin Durant, first-class lo-fi stoner jamband Rhyton, that guy from the former Pleasure Unit, hazily jangly, psychedelic slowcore/free jazz/avant instrumentalists Sunwatchers  and no-wave funksters Guerilla Toss, all proceeds to benefit Just Leadership USA and the fight to shut down Rikers Island $15

8/26, 7 PM  Perspectives Ensemble play works by Manuel de Falla at the Angel Orensanz Center, 172 Norfolk St south of Houston, free 

8/26, 7 PM Alfred Kpebsaane – Ghanaian Gyil xylophone, and Brittany Anjou – piano & keyboards playing Ghanaian Bewaa and Binne funeral music followed at 9:30 by Romany jazz/psychedelic rock guitar mastermind Stephane Wrembel at Barbes

8/26, 8ish perennially vital latin jazz piano sage Eddie Palmieri  at Central Park Summerstage

8/26, 10 PM stampeding, merciless Savannah metal band Black Tusk at St. Vitus, $18 

8/26, 10 PM swirly, dancey/dreamy, vaguely 80s inflected stadium rock band Mars Motel at the Delancey, $12 

8/27, 8ish irrepressible, historically informed, crystalline-voiced folk noir/art-rock songwriter Elisa Flynn at Troost

8/27, 8/10 PM  ageless, perennially hard-hitting jazz piano sage and ex-Coltrane bandmate McCoy Tyner at the Blue Note, $30 standing room avail.

8/27, 9 PM darkly torchy southwestern gothic/Europolitan songwriter/guitarist Miwa Gemini followed by high-voltage delta blues/Romany swing guitarist Felix Slim at LIC Bar

8/27, 9:30ish singer Carolina Oliveros’ mighty 13-piece Afro-Colombian trance/dance choir Bulla en el Barrio at Barbes

8/28, 8 PM badass oldschool electric bluesmistress Celisse Henderson  and a bunch of actors read from and play music inspired by the Howard Zinn classic People’s History of the United States at Central Park Summerstage. They did something like this at Lincoln Center last year and it was surprisingly subversive.

8/28, 9 PM slashing guitarist Steve Antonakos plays slide guitar blues with his band at Bar Chord

8/29, 5:30 PM night three of this year’s amazing Bryant Park Accordion Festival, short sets by musicians scattered across the park lawn to prevent any sonic interference. Lineup includes Kenny Margolis (Zydeco + Blues), David Hodges (Bandoneón: Argentine Tango), Harold Rodriguez (Colombian Vallenato), Annmarie Acosta (Williams Traditional Irish), Rob Curto (Brazilian Bluegrass), Ed Goldberg & the Odessa Klezmer Band (Eastern European Klezmer), Melissa Elledge (Rock + Pop), George Saenz (Music from Texas-Mexico Border), Smörgåsbandet (Scandinavian), Earl Accordionist (Polka, French + Tango), Mindra Sahadeo (Harmonium: South Asian), and Rachelle Garniez (arguably this era’s greatest and most colorful, magnetic songwriter)

8/29, 7:30/9:30 PM this era’s most cutting-edge, politically relevant large jazz ensemble, Darcy James Argue’s Secret Society at the Jazz Standard, $30

8/29, 8:30 PM epically prolific, fearless, monumentally tuneful pianist Satoko Fujii leads her trio at i-Beam, $15, get there early

8/29, 10:30 PM slinky maracatu/New Orleans/surf rock mashups from Nation Beat at the big room at the Rockwood

8/30, 5:30 PM the Harlem Quartet play works by Schubert, Debussy and others at Belvedere Plaza north of Battery Park, follow the sound

8/30-9/2, 7:30/9:30 PM purist pianist Cyrus Chestnut and Trio featuring Buster Williams and Lenny White at the Jazz Standard

8/30, 8:30 PM haunting, intense ,soulful folk noir songwriter Holly Miranda – who’s as good on Telecaster as she is on piano at City Winery, $15

 8/30, 10 PM accordionist/sitarist Kamala Sankaram’s hot surfy Bollywood/cumbia/psychedelic rock project Bombay Rickey at Barbes

8/31, 6 PM 80s style goth/dreampop band Shadow Age at Elsewhere, $12 

8/31, 7:30 PM the glimmering, noir-inspired Tom Beckham on vibes with Peter Slavov on bass and George Schuller on drums at the Bar Next Door, $12

8/31, 8 PM klezmer-jazz icon Anthony Coleman on piano and organ with Doug Wieselman – clarinets and Brad Jones – bass; Chris Cochrane – guitar and Brian Chase – drums followed by a rare club show by busker legends the Xylopholks at Barbes. Let’s see how far they get in those sweaty animal onesies and masks!

8/31, 8 PM Yoon-Ji Lee’s “Sunday Supper”“Sunday Supper” (Korean title: “저녁식사”), “an experimental chamber opera loosely inspired by the 2007 novel “The Vegetarian” by Han Kang” with electroacoustic Korean music and instrumental backing, plus a dance work in progress by Adrianne Aguilar at National Sawdust, $15 adv tix red

9/1, 3 PM the Sun Ra Arkestra outdoors at Union Pool, free

9/5, 5:30 PM  night four of this year’s amazing Bryant Park Accordion Festival, short sets by musicians scattered across the park lawn to prevent any sonic interference. Lineup includes Laren Droll (Cajun + Zydeco), Laura Vilche (Bandoneón: Argentine Tango), Nain de los M-1 Sangre de Reyes (Norteño Music from Mexico), Patty Furlong (Traditional Irish Music), Cordeone (Portuguese Fado), Ilya Shneyveys (Traditional + Original Klezmer), Eva Salina and Peter Stan (Vintage Balkan Roma Ballads), Mira Stroika (Pop Cabaret), Albert Behar (French Musette + Gypsy Jazz), Alan Morrow (Waltzes, Tango + Blues), Papa Bavarian (German Oktoberfest), and Burlap Don Simons (American Swing).

9/6, 6 PM singer Jessy Carolina’s torchy cabaret band Shanghai Mermaid under the Manhattan Bridge archway, go south from the  York St. subway and follow the sound

9/7, 6 PM elegant, lyrical, wildly eclectic oldtimey jazz/New England Americana songwriter Caroline Cotter at the American Folk Art Museum 

9/12, 5:30 PM night five of this year’s amazing Bryant Park Accordion Festival, short sets by musicians scattered across the park lawn to prevent any sonic interference. Lineup includes Julie Winterbottom (Cajun Music from Louisiana), Javier Sánchez (Bandoneón: Argentine Tango), Sadys Rodrigo Espitia (Colombian Cumbia + Vallenato), Ellen Lindstrom “The Swedish Meatball” (Scandinavian Music), Vitor Gonçalves (Brazilian Choro + Forró), Shoko Nagai (Japanese + Jewish), Maestro (Electronic Balkan Music), Papa Joe De Clemente (Italian + American Standards), Will Holshouser (Jazz + Folk), Ismail Butera (Ancient Mediterranean), Ryan O’Donnell + Friends (Ukrainian), and Guillermo Vaisman (Coastal Argentine Chamamé).

9/14, 5 PM the grand finale of this year’s amazing Bryant Park Accordion Festival with full sets by Shashmaqam (hauntin Bukharan Jewish music and and Central Asian dance), João Cirilo Pilom Batuko Band (Batuko and Funaná from Cape Verde), a lame Patti Smith wannabe on harmonium, Canzoniere Grecanico Salentino (sizzling Pugliese folk dances), and Rimel (Norteño music from Mexico).

9/20 Red Baraat guitarist Jonathan Goldberger, Hearing Things organist JP Schlegelmilch and Alasnoaxis drummer Jim Black bought a vintage Yamaha organ and play the release show for their killer, psychedelic new trio album Visitors at Nublu 151

9/21, 8 PM sizzling oudist Mohamed Abozekry and Karade play haunting, serpentine Egyptian music from across the centuries at Roulette, $25/$20 stud/srs

9/27, 7 PM the all-female Resistance Revival Chorus sing epic, inspiring populist gospel tunes and anti-trumpie broadsides followed by afropop singer Angelique Kidjo at Central Park Summerstage

9/29 lush, dynamically eclectic Korean folk/art-rock band Coreyah mash up lustrous, often plaintive themes with hard-charging hip-hop and dance tunes at the Chile Pepper Festival at the Brooklyn Botanic Garden, time/price tba

10/13, 2:30ish sardonically catchy powerpop/janglerockers the Hell Yeah Babies, long-running, wickedly jangly, tuneful Americana rockers the Sloe Guns in Tompkins Square Park and Giftshop – the missing link between Blondie and the Distillers – at Tompkins Square Park