New York Music Daily

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Tag: classical music

Colin Stetson Hauntingly Reinvents an Iconic Eulogy For the Victims of Genocide

What’s more Halloweenish than the arguably most evil event in human history? Friday night at the World Financial Center, saxophonist Colin Stetson led a twelve-piece jazz orchestra through his inventive, intensely immersive original arrangement of Henryk Gorecki’s third Symphony, better known as the “Symphony of Sorrowful Songs.” The Polish composer dedicated it to victims of the Holocaust and World War II; the 1992 recording by the London Sinfonietta with soprano Dawn Upshaw remains one of the very last classical recordings to sell a million copies worldwide.

Stetson pointedly remarked before the show that he’d remained true Gorecki’s original melodies, beyond extending or sustaining certain climactic passages, “Amplified for these times.” That ominousness rang especially true right from the start. The main themes are a solemn processional and a round of sorts, both of which rose to several mighty crescendos that were far louder than anything Gorecki ever could have imagined.

Spinning his axes – first a rumbling contrabass clarinet, then his signature bass sax and finally an alto – through a pedalboard along with his looming vocalese, Stetson anchored the dense sonic cloud. Bolstering the low end on multi-saxes and clarinets were Matt Bauder (of darkly brilliant, psychedelic surf rockers Hearing Things) and Dan Bennett, along with cellist Rebecca Foon and synth players Justin Walter and Shahzad Ismaily. Violinists Amanda Lo and Caleb Burhans were charged with Gorecki’s most ethereal tonalities, while guitarists Grey Mcmurray and Ryan Ferreira got a serious workout, tirelessly chopping at their strings with endless volleys of tremolo-picking. It’s amazing that everybody got through this without breaking strings.

The addition of Greg Fox on drums resulted in an unexpected, sometimes Shostakovian satirical feel, adding a twisted faux-vaudevillian edge to a section of the second movement. Stetson’s sister Megan ably took charge of the Upshaw role with her dramatic but nuanced arioso vocal stylings. After the smoke had risen and fallen and risen again across the battlefield, the air finally cleared, an apt return to the stillness and meditative quality of the original score, matching the guarded optimism of the ending as much as the group had channeled the grief and muted anguish of the rest of the work. One suspects the composer – who toiled under a repressive Iron Curtain regime for much of his life – would have approved.

You’ll be able to hear this when the performance airs on John Schaefer’s New Sounds Live on WNYC, most likely early in November.

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Pianist Leif Ove Andsnes and the New York Philharmonic Think Outside the Box

It’s almost twenty years to the day that virtuoso Norwegian pianist Leif Ove Andsnes made his debut with the New York Philharmonic. In another stroke of fate, he was playing a Rachmaninoff concerto, with a Scandinavian conductor on the podium, just as he will during his first stand as artist-in-residence with the orchestra, which starts tonight at 7:30 PM, featuring Rachmaninoff’s relatively rarely programmed Piano Concerto No. 4 and Sibelius’ Fifth Symphony.

In conversation with the Philharmonic’s Isaac Thompson at Lincoln Center last night, Andsnes revealed that he’s played New York more than any other city in the world – in that sense, he’s one of us, and he feels it. Yet another happy coincidence, Thompson revealed, was that this will be the first time in quite awhile where both the Philharmonic’s artist-in-residence and composer-in-residence will be represented on the same bill, in this case by a New York premiere by Esa-Pekka Salonen. Paavo Järvi conducts; Andsnes and the Philharmonic are back on Oct 13 at 11 AM, Oct 14 at 8 and on the 17th at 7:30. The most affordable tickets are in the thirty-dollar range and still available as of today

As a programmer, Andsnes isn’t satisfied with merely performing standard repertoire. He’s fresh off a world tour playing Beethoven concertos, but also served for seventeen years as artistic director of a Norwegian festival, a role that greatly influenced him, not only through the expected exposure to all sorts of different music, but also the need to think outside the box and celebrate lesser-known works from across the centuries. In some lively banter with the audience, Andsnes spoke of his fondness for the seldom-performed solo piano works of Dvorak as well as Shostakovich’s haunting, World War II-era Piano Sonata No. 2, a recent discovery for him. His latest album celebrates the solo piano music of Sibelius.

Andsnes animatedly reaffimirmed his advocacy for the Rach 4, a vastly different beast by comparison to the composer’s previous concertos. Famously, Rachmaninoff’s favorite pianist was the only guy in the world at the time who could play faster: Art Tatum. “Rhythmically, it’s very jazzy sometimes,” Andsnes explained, “The second movement begins like an improvisation by Bill Evans,” a confluence of jazz-informed harmonies and nostalgia.

“The harmonies are so juicy in late Rachmaninoff, with the Third Symphony, with the Symphonic Dance – truly heartbreaking. Rachmaninoff would always dismiss composers like Prokofiev, but in the final movement there’s a lot of Prokofiev along with the long, sweeping melodies Rachmaninoff was so famous for” 

The Rach 4 is also very hard to play from memory, Andsnes admitted. “Maybe this is the jazz influence: very few downbeats, very few obvious rhythms between the orchestra and the pianist. It’s very easy to get lost and for them to understand what I’m playing. I have a few scary memories with this piece,” he grinned, referring to his first live performances of it.

With his new album, Andsnes leaps to the front of an admittedly small circle of advocates for Sibelius’ solo piano music, which he admits is “much more uneven” than the composer’s orchestral output but is still full of rare gems. His wishlist for future recording includes Chopin preludes as well as Mozart and Debussy: he likes to focus on one particular composer at a time, to get a full sense of the diversity of their work.

As the interview went on, Andsnes offered plenty of insight into his own development as a performer, not to mention a sharp sense of humor. Which composer does Andsne find the most challenging? Bach. Surprisingly, Andsnes didn’t get much exposure to Bach as a young piano student: to Andsnes, Bach is like a language, best learned sooner than later in life. Does Andsnes ever get the urge to compose? No. “Not even once,” he smiled, “There’s already so much bad music out there, and there’s so much exciting music waiting for me to discover.”

What were his most dramatic moments at the keyboard? As a sixteen-year-old, headlining with the Grieg Piano Concerto on the final night of the annual festival in his native Bergen = he’d never heard the piece before, beyond its first few famous bars. He also mentioned a colorful, satirical Britten concerto whose big keyboard-length glissandos left the pianist bleeding all over the ivories.

And the night’s funniest moment was when Thompson asked Andsnes to talk about his frequent side gigs as a chamber musician. Andsnes got a kick out of that one. “Friends get together. We play music,” he laughed. “What’s so exotic about that?”

Revisiting One of the Most Haunting String Quartets of Recent Years

One of the most sepulchral and chilling albums of recent years is the Blair String Quartet’s 2014 recording of Michael Hersch’s Images From a Closed Ward. Hersch takes his inspiration from Michael Mazur’s 1960s series of etchings of grimacing, contorted, sometimes catatonic patients in a Rhode Island mental institution, lost in perpetuity in their own worlds. In a particularly tragic footnote, just when Hersch had finished his own sketches for this work and reached out to his old artist pal, Mazur died. So there’s a doubly elegaic quality to this music.

It’s very slow and ghostly in the purest sense of the word. Stark sheets shift and then evoke sudden and persistent horror, grounded by Felix Wang’s cello – Shostakovich’s macabre String Quartet No. 7 is a persistent reference point. A gentle, graceful dance brings a moment of nostalgia, only to fade mournfully toward black, awash in eerie close harmonies.

Moments where individual voices – Christian Teal and Cornelia Heard’s violins and John Kochanowski’s viola – enter or pair off outnumber passages where the whole quartet is in slow, ineluctably grim motion. Microtonal fragments flicker and then disappear just as suddenly. But when the quartet are going full steam, particularly through a surreal, phantasmagorical, cruelly ironic march before the final clouds descend, the effect is hair-raising.  That sense is amplified by Mazur’s drawings, several of them included in the cd booklet.

Innova Records still has this available, and it’s up at Spotify.

The Momenta Quartet’s Marathon Week Just Won’t Stop

If you’re regretting that you missed the Momenta Quartet’s marathon four-day festival that wound up last night, wait – there’s more! The indomitable string quartet are playing an all-Ursula Mamlok program to accompany Miro Magloire’s New Chamber Ballet performing Stray Bird, a tribute to the pioneering 20th century composer, tonight, Oct 5 and tomorrow night, Oct 6 at 7 PM. It’s happening at the German Academy New York, 1014 5th Ave. (between 82nd & 83rd Sts), and it’s free; an rsvp would be a good idea.

This year’s third annual Momenta Festival started on Sunday night at a classy Lower East Side black-box theatre and wound up in a dingy old church on the Upper West. Consider: doesn’t that mirror the career trajectory of how many thousand acts to play this city? Seriously, though, last night’s program might have been the most electrifying of all four nights (this blog was AWOL for the first one).

If you’re new to this page, each member of the quartet programs a night of music for the festival. The finale fell to violinist Alex Shiozaki to sort out, and he packed it with three acerbic, often chilling microtonal works and a favorite from the early third-stream canon. The theme (these are all theme nights) was the creation of the world, but destruction also played a part, to the point of being the night’s riveting centerpiece and arguable high point of the entire festival. 

The quartet celebrated the work of Danish composer Per Norgard last year; this performance revisited that otherworldly intensity, with a dynamic, white-knuckle version of his World War I-themed String Quartet No. 8. Awash in microtones, halftones and pretty much anything but the western scale, it’s a showstopper, and the group negotiated its barbwire thicket of harmonics, glissandos, eerie oscillations and brooding, sometimes macabre tonalities with a matter-of-factness that made it look easy.

Cellist Michael Haas’ coolly precise pizzicato contrasted with starkness, violist Stephanie Griffin echoing that dynamic while first violinist Emilie-Anne Gendron sailed and dove alongside Shiozaki through the similarly edgy leaps and steady pulse of another microtonal work, Hiroya Miura’s Singularity. Then to open the second half, Shiozaki played Joao Pedro Oliviera’s similar Magma, interspersed with electronics (mostly echo and reverb effects) that didn’t get in the way but were ultimately pretty superfluous. In fact, leaving Shiozaki alone with its big cadenzas punctuated by plenty of space would have ramped up the suspense. It was akin to a Berio Sequenza distilled to its basic hooks.

Joined by Shiozaki’s wife, pianist Nana Shi, the group closed with a jaunty take of Darius Milhaud’s La Creation du Monde, a counterpart to Gershwin with its juxtaposition of late Romantic and ragtime tunesmithing. Milhaud mentored Dave Brubeck, so it was no wonder this brought to mind the jazz piano titan’s later, larger-ensemble works. There’s a sudden point about three quarters of the way through where the strings all of a sudden go off the rails together into a whirl of trouble, and the group didn’t miss a beat. In its own way, that strange and rather assaultive interlude was as radical and defiantly thrilling as anything else on the bill.

This Year’s Momenta Festival, Installment Three: Fun Night!

Even by the rigorous standards of the string quartet world, the Momenta Quartet have to assimilate an enormous amount of material for their annual Manhattan festival. Never mind the kind of stylistic leaps and bounds that would drive most other groups to distraction. This year’s festivities conclude tonight with a free concert at 7 at West Park Church at 86th and Amsterdam put together by violinist Alex Shiozaki. The centerpiece is Per Norgard’s mesmerizingly dark String Quartet No. 8, and reportedly there will be free beer. But the music will be better than the beer. What’s better than free beer? Now you know.

Each member of this irrepressible quartet programs a single festival evening. Violinist Emilie-Anne Gendron was in charge of night one, which was reputedly challenging and entertaining – this blog wasn’t there. Night two, assembled by violist Stephanie Griffin, was harrowingly intense and had enormous political relevance. Last night’s bill at Columbia’s Italian Academy auditorium, devised by celist Michael Haas, was the fun night – although the fun promises to continue tonight as well.

Last night’s theme was a tourists-eye view of Italy. Haas took that idea from the evening’s one world premiere, Claude Baker’s absolutely delightful Years of Pilgrimage: Italy. Baker found his inspiration in Italian-themed works by Liszt, Berlioz and Tschaikovsky, and there were jarring episodes interpolating snippets of some of those themes throughout an otherwise distinctively 21st century work. It wasn’t the easiest, segue-wise, but it was riotously funny. Otherwise, the piece didn’t seem to have much to do with Italy, from austere, minimalist insistence, to all sorts of allusive, enigmatic ripples and rises, a daunting and uneasily captivating microtonal interlude, and plenty of tongue-in-cheek glissandos and other only slightly less ostentatious uses of extended technique. The group had a great time with it: every string quartet ought to play it.

The party ended on a high note with Tschaikovsky’s Souvenir de Florence, the quartet bolstered by their former teachers Samuel Rhodes and Marcy Rosen on second viola and cello, respectively. It was an unabashedly joyous, conversational performance: to the extent that this music can swing, the group swung it, through beery, punchy Beethovenesque riffage bookended by familiar Russian gloom.

It was as if Tschaikovsky was reassuring himself that it was ok to cut loose and have some fun. And did he ever. That buffoonish brass fanfare midway through, transposed for strings – whose doublestops and rat-a-tat phrasing are brutally tough to play, by the way? Check. That ridiculous faux-tarantella at the end? Doublecheck. Otherwise, the group reveled in nifty exchanges of voices as the mood shifted back and forth.

They’d opened with Britten’s String Quartet No. 3, which was more of a vehicle for individual members’ technical skill than anything else. Gendron spun silky filigrees while Haas and Shiozaki  provided elegant, precisely pulsing pizzicato alongside Griffin’s plaintive resonance. But ultimately, the piece – a late work based on Britten’s 1973 opera Death in Venice – didn’t really go anywhere. Obviously, the group can’t be faulted for the composer electing for a “this is what I look like when I’m sad” pose over genuine empathy. That the opera is based on the Thomas Mann novel explains a lot.

A Stunning, Harrowing, Relevant Night at This Year’s Momenta Festival

Who says music for string quartet isn’t as relevant in the here and now as, say, hip-hop? Who says classically trained professional musicians can’t improvise with the best of them? Could there be a better concert for Halloween month than a program of works written in opposition to tyrants?

Yesterday evening’s second installment of this year’s Momenta Festival at the Americas Society answered those questions decisively.

The Momenta Quartet stages this annual festival at venues across New York. Over the past three years it’s come to be one of the most amazingly eclectic, never mind herculean feats attempted by any chamber ensemble in this city. Each group member comes up with an individual program. Night one, assembled by violinist Emilie-Anne Gendron, featured a theremin and playful projections to go along with the music – this blog was absent. Last night’s program, put together by violist Stephanie Griffin, was a harrowing, fearlessly political mix of works by Schoenberg, Alvin Singleton, Agustin Fernandez, and one made up on the spot. Tonight’s installment, with works by  Britten, Tschaikovsky and Claude Baker, follows an Italian theme which dovetails with the venue: the Italian Academy at Columbia, at Amsterdam and 116th. Celist Michael Haas came up with that one; violinist Alex Shiozaki takes responsibility for the final night, tomorrow at 7 at West Park Church at the corner of 86th and Amsterdam. Its centerpiece is Per Norgard’s harrowing String Quartet No. 8. Oh yeah – all these shows are free, although an rsvp would be a good idea.

Griffin’s program explored themes including the struggle against tyranny, hope for a more auspicious future, and also the failures and pitfalls of revolution. The quartet opened with Singleton’s Marian Anderson-inspired Somehow We Can, juxtaposing tightly synched, clenched-teeth staccato pedal notes with austere, wounded washes that eventually took on a similar if more muted insistence. With its relentless intensity, it foreshadowed the direction Julia Wolfe would be going about ten years later.

That Fernandez’s String Quartet No. 2 would not be anticlimactic attests to its relentless power, and the group’s forceful focus. Pulsing with deceptively catchy, allusive minor modes, the triptych is a portrait of the 1970 uprising in Teoponte, Bolivia, and also references an ancient Incan curse against the conquistadors. With some otherworldly, challenging extended-technique passages midway through – including a twistedly oscillating interlude for high harmonics – it was the highlight of the evening, if perhaps only because it was the longest piece.

Guest bassist Hilliard Greene provided a deep-river anchor for a lingering duo improvisation with Griffin on the theme of Sometimes I Feel Like a Motherless Child, viola leading the way toward a resolution that the two eventually sidestepped. Joined by pianist Christopher Oldfather and Cuban rapper Telmary Diaz, the quartet closed with Schoenberg’s Ode to Napoleon Bonaparte. Over a tireless, viciously sarcastic bustle, Diaz delivered a witheringly unrelenting, knowing critique of a revolutionary who got too big for his britches, via conductor Sebastian Zubieta’s dynamite new Spanish translation of the Byronic lament. As one concertgoer remarked, it was a performance that resonated all the way to the White House – although the chance that Donald Trump speaks a language other than English is awfully unlikely.

What’s the takeaway from all this? That other ensembles should aspire to be as relevant; that the rest of the festival is just as promising, and that this city needs an Agustin Fernandez festival. Maybe the Momenta Quartet can arrange that.

Live Music Calendar for New York City and Brooklyn for October and November 2017

Free and cheap concerts in just about every neighborhood. 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.

Constant updates. 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.

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. Up next: Bartok, Mozart and fascinating improvisations. Sugg don $10 (pay what you can), delicious gluten-free refreshments, beverages and lively conversation included! email for info/location.

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).

Three Mondays in October: 10/9, 10/16 and 10/23 at 8 PM charismatic,cutting-edge purist jazz chanteuse Champian Fulton – who’s equally captivating as a pianist –  leads her trio at Radegast Hall

Mondays in October, 8 PM erudite, fascinating jazz guitar maven,Matt Munisteri plays “guitar for lovers” at the Jalopy Tavern, free

Mondays in October, 8:30 PM powerful, dynamic blue-eyed soul belter Sarah Wise at Pete’s

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 at 10 noir guitar legend Jim Campilongo leads his trio at the big room at the Rockwood

Also Mondays in October, 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.

Mondays at midnight in October gonzo postbop pianist Dred Scott leads his trio at the small room at the Rockwood

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

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

Wednesdays at 6 PM, irrepressible pianist/singer Champian Fulton – as entertaining a postbop improviser as torch singer – plays at Talde, 8 Erie St. (Bay/1st) in Jersey City, a block and a half from the Grove St. Path station

Wednesdays at 8 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 Art Cafe, 884 Pacific St.(at Washington Ave) in Brooklyn, $15; closest train is the 2 to Bergen St. Tons of special guests followed by a wild raga jam!

Wednesdays in October, 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

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

Three Wednesdays in October: 10/11, 1018 and 10/25 ,9 PM enigmatic female-fronted psychedelic pop/new wave band the New Tarot at Bowery Electric, $10

Thursdays in October, 8 PM drummer Francisco Mora-Catlett’s AfroHORN mashes up Sun Ra and Afro-Cuban jazz at Zinc Bar

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 around 9:30 PM Bulgarian Romany sax legend Yuri Yunakov with his wild but haunting band at Mehanata

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

Saturdays in October, 10 PM oldschool ffemale-fronted psychedelic soul/groove band Empire Beats at the Way Station

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

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

Sundays in September, at sometime past noon at Hank’s, Nashville gothic crooner Sean Kershaw‘s legendary honkytonk brunch is back! It’s just like 1999 again!

10/1, 11:30AM ish eclectic mostly-female klezmer/cumbia/tango jamband Isle of Klezbos at City Winery, $10, no minimum, kids under 12 free

10/1, 2 PM popular indie classical orchestra the Knights  play Mendelssohn’s Italian symphony; special guest tenor Nicholas Phan joins them for Benjamin Britten’s Les Illuminations at Bric Arts, $12 adv tix rec. There’s also a 10/5, 8 PM show there for six bucks more in advance. 

10/1, 3 PM the New York Classical Players plus pianist HaeSun Paik play Beethoven’s Piano Concerto No. 4, a premiere of Eric Nathan’s “Omaggio a Gesualdo” plus works by Shostakovich and Saint-Saens at Flushing Town Hall, free w/rsvp 

10/1, 4 PM badass harpist Bridget Kibbey and violinist Siwoo Kim reinvent works by Bach at National Sawdust, $30 adv tix rec. You have to hear Kibbey’s version of the Toccata in D – it’s not what you would expect at all!

10/1, 5 PM forward-looking indie classical piano trio Longleash play the album release show for their new one at the Poisson Rouge

10/1. 6 PM drummer Jeremy Carlstedt and haunting electroacoustic trombonist Rick Parker – of horror surf band Behinghove’s Hangmen –  at Downtown Music Gallery

10/1, 7 PM eclectic, lyrical jazz bassist/composer Pedro Giraudo leads his Tango Quartet followed at 9:30 by Romany jazz/psychedelic rock guitar mastermind Stephane Wrembel at Barbes

10/1, 7 PM the fantastic and irrepressible Momenta Quartet with Elizabeth Brown, theremin play works by Biber, Schoenberg, Kee Yong Chong, Michael Small, Elizabeth Brown at Dixon Place, free

10/1, 7 PM eclectic Americana crooner Charley Crockett – sort of the Texas version of Hayes Carll – at the Knitting Factory, $12 adv tix rec 

10/1, 7 PM charming continental swing harmony band the New York Nightingales at Caffe Vivaldi.

10/1, 7:30 PM wild, theatrical, ancient Punjabi dance band Rajasthani Caravan at Drom, $15. Followed at 9:15 by innovative, energetic all-male a-cappella jazz sextet M-Pact, separate $15 adv tix adm.

10/1, 7:30 PM wryly playful, hauntingly atmospheric, otherworldly Tuvan throat-singing group Alash at Merkin Concert Hall, $25

10/1, 8 PM guitarslinger Mallory Feuer’s fiery power trio the Grasping Straws – sort of a mashup of Patti Smith and Hole’s first album –at Pine Box Rock Shop. They slayed with a surprising amount of new material at a low-key East Village show last month.

10/1, 8:30ish 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

10/1, 9 PM darkly jangly, catchy, new wave-ish rockers Melissa & the Mannequins at Bowery Electric, $10. They’re also at LIC Bar on 10/25 at 9.

10/1, 10:30 PM the great unsung hero of darkly purposeful, noir-tinged jazz guitar, Saul Rubin leads his quartet at Smalls. 10/5 and 10/10, 7 PM his Zebtet are at the Fat Cat.

10/2, 6 PM the improvisationally-inclined Osso String Quartet at the Fat Cat

10/2, 7 PM the Momenta Quartet  with Vicky Chow, piano, and Hilliard Greene,bass play a liberation-themed program of works by Schoenberg, Alvin Singleton, Agustín Fernández and a violin/bass improvisation at the Americas Society, 680 Park Ave, free

10/2, 7 PM feral psychedelic guitarslinger Debra Devi at the small room at the Rockwood

10/2. 7:30 PM Luke Doucet and Melissa McClelland’s intense folk noir band Whitehorse at Baby’s All Right, $15

10/2, 8 PM the NYU01 Ensemble play Berlioz: Roman Carnival Overture, Op. 9; Grieg: Piano Concerto in A minor, Op. 16; Elgar: Variations on an Original Theme, Op. 36, “Enigma” at the NYU Loewe Theatre, 35 W 4th St, free

10/2, 9:30 PM a screening of newly digitized, restored footage filmed by Metropolis Video comprising the world premiere of several rare, rediscovered songs from summer and fall 1975 CBGB performances by the Talking Heads, at the Kitchen, free

10/3, 7 PM the Momenta Quartet with Samuel Rhodes, viola, and ​Marcy Rosen​, cello play works by Britten, Tschaikovsky and Claude Baker at the Italian Academy at Columbia University, 1161 Amsterdam Ave north of 116th St., free

10/3, 7:30 PM harpist Hae Joo Hahn plays works by Bach, Gounod, Handel, Vivaldi, Faure, Debussy and more at Zankel Hall at Carnegie Hall, $30 tix avail

10/3, 7:30 PM the New Juilliard Ensemble play North American premieres by John Woolrich, Gerald Barry, Akira Nishimura and Raminta Serksnyte at the Sharp Theatre at Juilliard, free

10/3, 7:30 PM charismatic, adventurous postbop/avant garde trombonist/crooner Frank Lacy leads his group at Smalls

10/3-4, 7:30/9:30 PM drummer Adam Rudolph’s strikingly tuneful, rumblingly improvisational Moving Pictures at the Jazz Gallery, $15

10/3, 7:30/9:30 PM guitarist Steve Cardenas leads his quartet playing Monk tunes at the Jazz Standard, $25

10/3, 8 PM in reverse order at the Silent Barn: eclectic drummer/vibraphonist Kate Gentile‘s Friends of Reason, math-y duo Bangladeafy, wildfire guitarist Brandon SeabrookNeedle Driver playing the album release show for their new one, and noisy art=rock/indie guitar legend Martin Bisi, $8

10/3-8, 8:30 PM the world’s most captivatingly assaultive extended technique trumpeter, Peter Evans plays with a series of ensembles at the Stone, $20. Choice pick: opening night, with strings: Mazz Swift (violin) Tomeka Reid (cello) Brandon Lopez (bass) Dan Lippel (guitar) Craig Taborn (piano) Miya Masaoka (koto)

10/3, 10 PM Duckie Simpson’s version of what’s left of 80s roots reggae legends Black Uhuru at B.B. King’s,  $25 adv tix rec

10/4, 6 PM enigmatically intense, sometimes assaultive jazz/postrock group Desert Foxx with eclectic special guest Levon Henry at Cornelia St. Cafe, $10 includes a drink!  

10/4, 7 PM wildly eclectic, theatrical one-man band the Lonesome Organist followed by intense minor-key klezmer/groove/psychedelic art-rock instrumentalists Barbez playing the album release show for their new one For Those Who Came After: Songs of Resistance from the Spanish Civil War at Joe’s Pub, $15. Followed at 9:30 (separate $20 adm) by high-voltage sarod duo Amaan Ali Bangash and Ayaan Ali Bangash with Karsh Kale on percussion.

10/4, 7 PM the Momenta Quartet  with Nana Shi, pianist play works by Milhaud, Per Norgard’s awesome String Quartet No. 8, Hiroya Miura and João Pedro Oliveira at West Park Presbyterian Church, 165 W 86th St at Amsterdam

10/4, 7 PM Skip LaPlante’s wild, gamelesque kitchen-sink percussion piece Symphony of Chimes performed by the composer, Laurie Bennett, David Demnitz, Skip La Plante, Andrea Skurr, Omar Zubair and others at Shapeshifter Lab, $10

10/4, 7:30 PM indie powerpop cult hero Walter Salas-Humara of the Silos at Hifi Bar

10/4, 7:30/9:30 PM guitarist Mike Moreno leads his quartet playing Monk tunes at the Jazz Standard, $25

10/4, 8 PM fearlessly political LES soul-rock songwriter/chanteuse Dina Regine at Sidewalk

10/4, 8 PM pianist Steven Masi plays Beeethoven sonatas at the Dreck Center at the Brooklyn Public Library, free, no under-sixes.

10/4, 8:30 PM magically luminescent pastoral jazz/space-jazz group Bryan and the Aardvarks  at Nublu 151, $10

10/4, 9 PM Dervisi feat. guitar god Steve Antonakos play “exotic Greek gangsta blues” at Troost 

10/4 Zola Jesus at Rough Trade is sold out. Good for her.

10/5, 6:30 PM not a music event but an important one: a panel discussion on the criminalization of poverty with Brooklyn Law School professor Jocelyn Simonson plus Josmar Trujillo of the Coalition to End Broken Windows, Alyssa Aguilera of VOCAL-NY, Imani Henry of Equality for Flatbush: E4F, and Ben Ndugga-Kabuye of the Black Alliance for Just Immigration (BAJI) at the Brooklyn Historical Society, 128 Pierrepont St. in downtown Brooklyn, free

10/5, 7 PM percussionist Alessandra Belloni‘s rustically witchy tarantella band at the Italian American Museum, 155 Mulberry St. near Grand, $25

10/5-6, 7 PM Tanya Kalmanovitch’s ominously polyphonic, improvisational eco-disaster suite The Tar Sands Songbook, focusing on the Ft. McMurrray oil sands debacle, at the New School 4th Floor Theatre at 55 W 13th St., free

10/5, 7/8:30 PM, repeating on 10/6, the Momenta Quartet play an all-Ursula Mamlok program alongside Miro Magloire’s new chamber ballet, Stray Bird, in tribute to the composer at German Academy New York, 1014 5h Aven (bet. 82 & 83 Sts), free, rsvp req

10/5, 7:30 PM popular bachata crooner Joan Soriano “El Duque de la Bachata,” at the Lincoln Center Atrium, free, early arrival advised

10/5. 8 PM Eva Zollner plays accordion music by women composers followed by trombone-fueled improvisational alchemy with the Steve Swell Ensemble at Roueltte, $20

10/5, 8/9:30 PM violinist Sam Bardfeld plays the album release show for his excellent, eclectic new one, The Great Enthusiasms with  Kris Davis, piano;  Michael Sarin, drums at Cornelia St. Cafe, $10 + $10 min

10/5, 8:30 PM the irrepressible, cinematic, comedic Broken Reed Saxophone Quartet play new material at Shapeshifter Lab, $15

10/5, 10 PM high-energy female-fronted honkytonk/hard country band American Aquarium at the Knitting Factory, $15

10/6, 5:30 PM oldtimey toe-tapping tunes with Washboard Slim and the Bluelights at the American Folk Art Museum

10/6, 7 PM the Jentsch Group No Net play work from guitarist Chris Jentsch’s ongoing acerbic, relevant Topics in American History suite for large jazz emsemble – referencing pre-Colombian North America, the Lincoln/Douglass Debates, Manifest Destiny, and the Domino Theory – at Brooklyn Conservatory of Music, $15

10/6, 7 PM the Art Ensemble of Chicago, legends of avant garde jazz, make their first NYC stop in decades. Lineup this time out is Roscoe Mitchell, flutes, saxophones; Famoudou Don Moye, drums, percussion; Hugh Ragin, trumpet; Tomeka Reid, cello; Junius Paul, double bass; Joseph Jarman, spoken word, at Columbia’s Lenfest Center for the Arts , 615 W 129th St, $25/$15 stud

10/6. 7 PM the US premiere of The Strange Library of Babel – a largescale improvisational work drawing on both Murakami’s “The strange library” and Borges’ “The library of Babel”, with music by the Mivos Quartet, saxophonist Anna Webber, trumpeter Nate Wooley and others at Spectrum, $15

10/6, 7 PM Jog Blues – who reinvent classical Indian themes much as Brooklyn Raga Massive does – at National Sawdust, $30 adv tix rec

10/6, 7 PM postrock octet Threefifty at Shapeshifter Lab, $15

10/6, 7 PM pianists Brent Funderburk and Miori Sugiyama back the Brooklyn Art Song Society in works by Ravel and Debussy at the Brooklyn Historical Society,  128 Pierrepont St. in downtown Brooklyn, $25

10/6-7, 7:30/9:30 PM the Alan Ferber Big Band play the album release show for their typically lush, diverse new one at the Jazz Gallery, $25

10/6, 8 PM cinematic, psychedelic, dynamic Chinese folk/postrock/shoegaze band Zhaoze make their US debut at American Beauty, $15 

10/6. 8ish LA psychedelic latin soul stars Chicano Batman  preceded by  Thai-inspired heavy psych trio Khruangbin at Warsaw, $26 tix avail. at the Knitting Factory ticket window. Don’t buy online unless you want to get really screwed.

10/6, 8 PM Belarus classical and folk multi-instrumental wizard Siarhei Douhushau – who plays kolavaia lira (hurdy-gurdy), parnaia dudka (double bagpipe), Belarusian dudka (fife), akaryna (okarina), zhaleika, and sapilka – at the  Jalopy, $15

10/6, 8 PM 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 Terry Riley’s In C at the Poisson Rouge, $20 adv tix rec. You want psychedelic?

10/6, 8 PM high-voltage rustic Belize coastal dance tunes with the Garifuna Collective featuring Umalali at Flushing Town Hall, $16/$10 srs/, ages 13-19 free w/ID

10/6, 8 PM percussion and piano quartet Yarn/Wire play the world premiere of Enno Poppe’s Feld, “filtered through microtonal organs or paired with dense, perpetually moving piano complexity” at the Kitchen, $20/$15 stud/srs

10/6. 8:30 PM reliably unpredictable, assaultively tuneful guitarist Brandon Seabrook leads a trio with Daniel Levin on cello and Henry Feaser on bass at Cornelia St. Cafe, $10 + $10 min –  yikes!

10/6. 9 PM moodily lyrical, politically savvy Irish folk-rocker Niall Connolly  plays the album release show for his new one Dream Your Way Out of This One at Union Hall, $12

10/6, 9ish trumpeter Darren Johnston’s Wind Over Walls with the amazing Carmen Staaf – piano; the equally amazing Alison Miller – drums; Noah Garabedian – upright bass at I-Beam, $15

10/6, 9:15 PM Miss Velvet & the Blue Wolf play quirky, torchy blue-eyed soul with incisively edgy, purist blues guitar at the big room at the Rockwood, $10

10/6, 9:30 PM upbeat oldschool C&W and more rustic sounds with Woody Pines at Hill Country

10/6, 10 PM the world’s creepiest and most subtly amusing crime jazz/film noir band, Big Lazy at Barbes

10/6, 10:30 PM catchy Booker T-esque soul jazz with the David Gibson/Jared Gold, Hammond B3 organ band at the Fat Cat

10/6, 11 PM theatrical female-fronted circus rock/Romany folk-inspired rock band Varya at Sidewalk

10/7. 6 PMquirkily cinematic, psychedelic, family-friendly instrumentalists Songs for Unusual Creatures, followed  eventually at 10 by eclectic, electric C&W/blues band the Jug Addicts at Barbes

10/7, 7 PM Du Yun and Novus NY play excerpts from her creepy, cynical work in progress Angel’s Bone – about a couple who ostensibly find a couple of battered and bruised angels, but under the pretext of repairing their wings, cannibalize their bodies – at National Sawdust, $30 adv tix rec

10/7, 7 PM dark psychedelic acoustic blues/klezmer/reggae/soca jamband Hazmat Modine at Terra Blues. They’re also here on 10/21

10/7, 7:30 PM the Israeli Chamber Project  play Stravinsky’s Soldier’s Tale plus works by Mozart, Schumann and Leef at Merkin Concert Hall, $30

10/7, 8ish Mary Lorson – whose eclectic catalog comprises everything from uneasy parlor pop to trip-hop to swing – at the Owl, $10

10/7, 8 PM B3 organ cult fave Dr. Lonnie Smith leads his trio at the Miller Theatre, $20 seats avail

10/7, 8:30 PM Jason Stein – bass clarinet; Jacob Sacks – piano; Tomas Fujiwara – drums collaborate at I-Beam. $15

10/7, 9 PM Unsteady Freddie‘s monthly surf rock extravaganza at Otto’s begins at 9 with the percussive Bongo Surf, at 10  jangly New York original surf rock cult heroes the Supertones, at 11 menacing horror surf legends the Coffin Daggers and then Brooklyn cover trio the Band of Others sometime around midnight

10/7, 9 PM baritone crooner Sean Kershaw‘s Serpentones play “hi octane Brooklyn honkytonk”at  Bar Chord

10/7, 9 PM haphazardly careening, occasionally theatrical dreampop/noiserockers Gold Dime at Alphaville, $10

10/7, 10:30 PM kinetic jazz vibraphonista Yuhan Su leads her quartet at Cornelia St. Cafe, $10 cover plus $10 minimum

10/7, 11 PM explosive electric blues guitarist/songwriter Jackie Venson – arguably the best thing happening in Texas blues right now – at  the third stage at the Rockwood, $10

10/8, noon jangly New York original surf rock cult heroes the Supertones at the Dropout, 16702 Rockaway Beach Blvd at Bay 9 in the Rockaways, free

10/8, 3 PM Brigid Coleridge, violin; Julia Yang, cello; Lee Dionne, piano play works by Beethoven, Schubert and Shostakovich at Concerts on the Slope, St. John’s Episcopal Church, 139 St. John’s Place downhill from 7th Ave, sugg don

10/8, 4 PM pianist Steven Masi plays Beeethoven sonatas at the Dreck Center at the Brooklyn Public Library, free, no under-sixes.

10/8, 5 PM flutist Joseph Piscitelli, cellist Michael Finckel and pianist Helene Jeanney play; music by Haydn, Weber and Damase at the Lounge at Hudson View Gardens, 128 Pinehurst Ave at W183rd St, $12, reception to follow

10/8, 6 PM dueling violins from Venezuela and New York: Leonor Falcon with Sana Nagano at Downtown Music Gallery

10/8, 6 PM lustrously dark jazz pianist Guy Mintus at Caffe Vivaldi

10/8, 7 PM witty Microscopic Septet pianist Joel Forrester followed at 9:30isy byRomany guitar legend Stephane Wrembel at Barbes

10/8, 7:30 PM sitar virtuoso Nishat Khan at Merkin Concert Hall, $25 tix avail

10/8, 7:30/9:30 PM cool improvisational stuff: tenor saxophonist Ingrid Laubrock  leads an electroacoustic septet with Kris Davis on piano and Miya Masaoka on koto at the Jazz Gallery, $15

10/8, 7:30 PM the intrepid Queensboro Symphony Orchestra  plays Fabrizio Ferraro’s guitar concerto Hachiko with the composer as soloist; also on the program iare Mozart’s Violin Concerto No. 3 featuring Hanako Miyajima and Brahms’ Symphony No. 1 at Mary’s Nativity Church, 46-02 Parsons Blvd. (at Holly Ave.), Flushing, sugg don, 7 to Flushing/Main St. and a comfortable 10-minute walk, or take the Q27 or Q65 bus

 10/8, 8 PM a very rare NYC appearance by Macedonian brass band Prilepski Zvezdi and Zlatne Uste, NYC’s first and arguably most deeply authentic, explosive Balkan brass unit, with special guest clarinet monster Bilhan Macev at Drom, $15 adv tix rec

10/8, 8 PM dark late 70s CB’s style punk-pop/powerpop band Ingrid & the Defectors at Otto’s

10/8, 9 PM smart, original oldtimey guitar/banjo instrumentals with Breadfoot at Sidewalk

10/9,  7 PM tuneful pianist Jim Ridl leads his trio from behind the Fender Rhodes at 55 Bar

10/9, 8 PM darkly cinematic Israeli Middle Eastern jazz trio Kadawa at Cornelia St. Cafe, $10 + $10 min 

10/10, 6:30 PM a killer triplebill: snotty lo-fi accordion-driven oldschool cumbia band Ratas En Zelo, fiery singer Carolina Oliveros’ trippy tropicalia band Combo Chimbita and then Thee Commons – the missing link between Tom Waits, Los Destellos, Industrial Tepee and the Ventures – at the Mercury, $10 

10/10, 9 PM oldschool Texas fingerstyle acoustic blues, Romany swing and all sorts of fiery antique styles with fantastic guitarist Noe Socha at Freddy’s

10/9, 9:30 PM cumbia band Los Cumpleanos – with new wave synths & retro organ sounds with effect-laden trombone and trumpet as well as a three piece percussion section – at Barbes 

 10/10-15, 8/10:30 PM ageless salsa jazz piano powerhouse Eddie Palmieri celebrates his 80th birthday with a week at the Blue Note, $30 standing room avail

10/10, 8 PM the perennially intense, tuneful godfather of edgy, lyrical, anthemic downtown NYC rock, Willie Nile sings Dylan at City Winery, $30 standing room avail.

10/10, 8 PM opening night of this year’s Honk festival of Balkan brass music with New Orleans’ New Creation Brass Band and the L Train Brass Band (which never goes where it’s supposed to, stops abruptly and then doesn’t do anything?) at City Reliquary, 370 Metropolitan Ave cattycorner from the Knitting Factory, free

10/10-15, 8:30 PMnoir-inspired low-register reedman Ben Goldberg  plays with a variety of ensembles at the Stone, $20. Choice pick: opening night with Orphic Machine:  Carla Kihlstedt (violin) Ches Smith, Kenny Wollesen (vibes) Myra Melford (piano) Ron Miles (trumpet) Nate Radley (guitar), Trevor Dunn (bass)

10/10,  9:30 PM the Bronx Conexion play their mighty salsa big band jazz at the Nuyorican Poets Cafe, $10

10/11, 5 PM free, eclectic brass band triplebill:  Brazil’s all-female, canavalesque Damas de Ferro, New Orleans’ New Creation Brass Band and drummer Kenny Wollesen‘s Sonic Massage at Everything Goes Book Cafe, 208 Bay Street, Staten Island

10/11, 6 PM Middle Eastern oudist Tom Chess at the Rubin Museu of Art, free w/museum adm

10/11, 7:30/9:30 PM piano icon Kenny Barron  leads his trio playing Monk tunes at the Jazz Standard, $25

10/11-12, 7:30 PM purposeful, subtl  guitarist Lage Lund leads his quartet at Smalls. 10/12 he’s followed at 10:30 PM by trumpet powerhouse Wayne Tucker – of Anbessa Orchestra – leading a sextet

10/11, 8 PM dynamic, subtle new female-fronted klezmer band Tsibele play the album release show for their new one at Barbes

 10/11 8 PM deviously theatrical oldschool C&W/rockabilly parodists Susquehanna Industrial Tool & Die Co  followed by hard honkytonk guitarslinger Wayne “The Train” Hancock at the Bell House, $15 adv tix rec

10/11, 8 PM drummer Ches Smith “debuts 3 new pieces that explore orchestrational commonalities and incongruences among acoustic and electronic sounds”with Jennifer Choi (violin),  Anna Webber (flute), Nate Wooley (trumpet), Oscar Noriega (clarinet), Michael Nicolas (cello), at Roulette, $20 adv tix rec

 10/11-12, 10 PM high-energy retro soul/Americana band the California Honeydrops at Bowery Balroom, $15 adv tix rec. On 10/11 Cumbiagra – whose take on psychedelic cumbias is more rustic and purist than most bands who play that stuff  – open the show at 9.

10/12, 7 PM Brazil’s all-female, canavalesque Damas de Ferro, New Orleans’ New Creation Brass Band,by Brooklyn’s original punk Balkan horn group Hungry March Band, amusing trip-hop brass group Pussy Grabs Back: The Band and careening ten-piece Balkan brass crew Veveritse  at WFMU’s Monty Hall, 43 Montgomery Street, Jersey City

10/12, 7 PM innovative art-rock/postrock string chamber ensemble Founders play their new Edgar Allen Poe song cycle and new arrangement of Messiaen’s Quartet for the End of Time at National Sawdust, $30 adv tix rec. This could be awesome. 

10/12, 7 PM hypnotic, intricate, eclectically virtuosic fingerstyle guitar instrumentalist RD King – Fahey meets Kottke meets Dave Miller? – at Shrine

10/12, 7 PM irrepressible slide trumpeter Steven Bernstein  leads the New School Studio Orchestra at the New School U100 auditorium, 63 5th Ave., free. 10/13-14 at 8:30 PM he and his band are at the New School’s Glass Box Performance Space, 55 W 13th St, $20

 10/12, 7:30 PM Leif Ove Andsnes plays Rachaninoff’s Piano Concerto No. 4 with the NY Philharmonic. Also on the bill: an Esa-Pekka Salonen premiere, and Sibelius’ Symphony No. 5 at Avery Fisher Hall, $31 tix avail. The program repeats on 10/14 at 8 and 10/17 at 7:30.

10/12, 7:30/9:30 PM the John Beasley Monkestra play big band versions of Monk tunes at the Jazz Standard, $30

10/12, 7:30 PM eclectic new versions of classical Indian themes – Akshara play the album release show for their excellent new one at Drom, $20 adv tix req

10/12. 8 PM plush, balmy, oldtimey uke swing band Daria Grace & the Pre-War Ponies followed at 10 by Jina Brass Band at Barbes

10/12, 8 PM bassist Lisa Mezzacappa “presents Glorious Ravage, an evening-length song cycle inspired by female explorers” at Roulette, $20 adv tix rec

 10/12, 8.9:30 PM the Jazz Samaritan Alliance – Nadje Noordhuis, trumpet;  Kris Allen, alto sax;  Chris Dingman, vibraphone;  Noah Baerman, piano;  Ike Sturm, bass – play protest jazz at Cornelia St. Cafe, $10 + $10 min

10/12, 8 PM rockabilly/honkytonk guitar maven Monica Passin a.k.a. L’il Mo and her trio followed by a rare solo set byDemolition String Band’s Elena Skye at Sidewalk

10/12, 9 PM smart, cleverly lyrical original swing chanteuse/songwriter/trombonist Emily Asher’s Garden Party at Radegast Hall.

10/12, 9ish noir-inclined, bluesy guitarslinger Phil Gammage and band at 11th St. Bar

10/12, 10 PM the massive 18-piece NYC Ska Orchestra at the Fat Cat

10/13, 5:30 PM cinematic pastoral chamber-folk instrumentals from Dougmore at the American Folk Art Museum

 10/13, 7 PM intense, politically fearless, frequently hilarious gothic Americana songwriter Rachael Kilgour  at Caffe Vivaldi

 10/13. 7 PM pianist Jerome Lowenthal performs works by Mozart, Chopin, Debussy and Poulenc at Greenwich House Music School, $15/$10 stud/srs

10/13, 7 PM edgy postbop guitarist Mike Baggetta  leads his trio at Spectrum, $15

10/13, 7 PM pianist Monica Verona plays fugues by Bach, Beethoven and Barber – who knew? – at Bloomingdale School of Music, 323 W108th St, free

10/13, 7;30  PM whirlwind bass sax god Colin Stetson plays his new suite Sorrow: A Re-imagining of Górecki’s Third Symphony at the World Financial Center, free

10/13, 8 PM mesmerizing, haunting Middle Eastern singer Shelley Thomas and oudist Brian Prunka play Fairouziyat, Wahabiyat, Muwashahat followed by Kane Mathis (kora) & Roshni Samlal (tabla) and their hypnotic duo Orakel at the Owl, $15

10/13, 8 PM singer Jenny Luna’s haunting, oud-and-clarinet-driven Turkish band Dolunay followed by irrepressibly slinky, accordion-driven multi-instrumentalists Cumbiagra – whose take on classic Colombian cumbia has gone in a more psychedelic direction lately – at Barbes

10/13, 8 PM the George Gee Swing Orchestraat Flushing Town Hall, free w/rsvp 

10/13, 9 PM darkly lyrical Americana rock bandleader Nora Jane Struthers plays the album release show for her new one at American Beauty, $12

10/13, 9 PM guitar genius Lenny Molotov’s torchy, lyrically smashing original female-fronted oldtimey swing crew the Fascinators  at Sidewalk

10/13, 9 PM guitarist Alyse Lamb’s fiery, subtly witty tightly psychedelic jazz-inspired postpunk band Parlor Walls  followed by swirly, hypnotic, totally 80s 4AD dreampop/shoegazers Dead Leaf Echo – who if they let their frontwoman sing fulltime would be one of NYC’s best bands –  at the Knitting Factory, $10 adv tix rec

10/13, 9 PM enigmatic, darkly cinematic downtempo/art-rock band Seasonal Beast play the album release show for their new one at the big room at the Rockwood 

10/13, 10 PM quirky, smartly lyrical avant chamber pop with the Icebergs – Jane LeCroy – vox; Tom Abbs – cello; David Rogers-Berry – drums – at Pete’s

10/13, 10 PM a fiery brass band twinbill with Brazil’s all-female, canavalesque Damas de Ferro followed by New Orleans’ New Creation Brass Band at Shrine. Damas De Ferro are also at the NYC Transit Museum at 1 PM the following day, 10/14 with the L Train Brass Band – unless that group goes out of service at Myrtle-Wyckoff. 

10/14, 4 PM the Me Oh My Oh’s play oldschool C&W at Pete’s

10/14, 5 PM a cheap, high-quality brass street band triplebill in anticipation of this year’s NY Gypsy Festival: trumpet icon Frank London and his group headline, preceded by Artists for a Free World and the 3 Million Majority Band at Drom, $10

10/14, 6 PM the Erik Satie Quartet – Ron Hay (trombone), Max Seigel (bass trombone), Ben Holmes (trumpet), and Andrew Hadro (bari sax) –reinvent classic and obscure Satie chamber pieces as well as rare compositions by his obscure contemporaries, followed at 8 by accordionist/sitarist Kamala Sankaram’s hot surfy Bollywood/cumbia/psychedelic rock project Bombay Rickey – a launching pad for her spellbinding four-octave voice –  at Barbes

10/14, 7 PM eclectic, hard-hitting, lyrical composer/tenor saxophonist Stan Killian and group at 55 Bar

10/14, 7 PM Juilliard415 and the Yale Schola Cantorum play Bach cantatas at St. Michael’s Church, 225 W. 99th, free

10/14, 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

10/14, 7:30 PM elegantly intense Cuban jazz pianist Elio Villafranca with a woodwind quintet play his new Caribbean Suite at Hostos College Repertory Theatre, 450 Grand Concourse, Bronx, 2 to Grand Concourse, $15.

10/14, 7:30 PM pianist Shai Wosner plays works by Schubert, Chopin, Gershwin and Ives at Irving HS Auditorium, Irving Place betw 17th/18th, $14

 10/14, 8 PM high-voltage psychedelic cumbia band MAKU Soundsystem – whose latest album takes a detour toward Caribbean and African sounds  at C’Mon Everybody, $12

10/14, 8ish newgrass string duo Tessa Lark & Michael Thurber followed by pastoral gothic accordion art-rock with Sam Reider & the Human Hands at the Owl, $10

10/14. 8 PM stoner 70s Murder City style rockers  Sun Voyager at the Knitting Factory, $20 adv tix rec

10/14, 8 PM Rohab Ensemble featuring members of legendary Iranian group Dastan Ensemble – Hossein Behroozinia (barbat – lute), Said Farajpoori (kamancheh – spike fiddle) and Behnam Samani (tombak – goblet drum) – with Hamid Behrouzinia (tar – lute) and entrancing vocalist Sepideh Raissad at at Roulette, $32

10/14. 10 PM hilarious, smartly political faux-French retro 60s psych-pop band les Sans Culottes  followed by dark oldschool soul/garage band Mighty Fine at Hank’s, $8

10/14, 10 PM innovative electroacoustic/postbop saxophonist Wayne Escoffery leads his quintet at the Fat Cat

10/15, 5 PM pianist Eleanor Bindman and violinist Robert Chausow play an all-Bach program, including  Sonatas #2 and #4 for Violin and Piano, and Partita #3 for solo piano at the Old Stone House in Park Slope, $20/$10 srs.

10/15, 5 PM Hypercube with Erin Rogers on saxophones, Chris Graham on percussion,Jay Sorce on classical and electric guitar, and Andrea Lodge on piano play high energy works ncluding Louis Andriessen’s Hout, Philippe Hurel’s spectral Localized Corrosion, Chris Cerrone’s Variations on a Still Point,  Mikel Kuehn’s Color Fields and Philip Schuessler’s Liminal Bridges at the  Poisson Rouge 

10/15, 7 PM clarinetist Andy Biskin‘s wryly but aptly titled Reed Basket followed at 9:30ish by Romany jazz/psychedelic rock guitar mastermind Stephane Wrembel at Barbes

 10/15, 7 PM the reliably dynamic, intense Saeunn Thorsteinsdottir plays solo cello works at Spectrum, $15

10/15, 7:30/9:30 PMnoir jazz piano mastermind Frank Kimbrough and his Quartet play Monk at the Jazz Standard, $25

10/15, 7:30 PM Andrew Smith, cello and Alfredo Oyaguez Montero, piano play Spanish works by Granados, Turina, Cassado, Falla, Montsalvatge, and Casalsat Weill Hall at Carnegie Hall, $25

10/15, 7:30/9:30 PM intense postbop pianist Gerald Clayton leads his trio at the Jazz Gallery, $25

10/15, 8 PM purist, guitarishly excellent oldschool soul band Miss Tess & the Talkbacks  and bewitching noir Americana chanteuse Eilen Jewell and her amazing band at City Winery, $20 standing room avail

10/16, 8 PM “rising experimental pianist Kelly Moran presents Hallucinations, influenced by states of altered consciousness and their effect on musical processes. The program will feature prepared piano, synthesizers, and recorded electronics in front of video projections,” at Roulette, $20 adv tix rec

10/16, 9 PM Carolina Oliveros’ trippy tropicalia band Combo Chimbita – who mash up cumbia, salsa, champeta and a whole bunch of other south of the border styles  open for a very rare US appearance by wild, legendary 1960s/70s Peruvian psychedelic cumbia jamband Los Wemblers at Pioneer Works, $25

10/16, 9:30 PM Chicha Libre spinoff Locobeach play trippy electro-cumbia at Barbes

10/17, 7 PM violinist Eleonore Biezunski and Ukrainian tsimbl (hammered dulciimer) player Pete Rushefsky’s darkly rustic klezmer band the Klezmographers with special guest, haunting chanteuse Zhenya Lopatnik, followed at 9 by ten-piece funky Balkan brass jazz monsters Slavic Soul Party at Barbes

10/17, 7 PM  Canadian ensemble L’Harmonie des Saisons “presents a program of rarely heard eighteenth-century French music for the pardessus de viole, the crowning glory of the viola da gamba family” at the Americas Society, 680 Park Ave., $20/$10 stud

10/17, 8 PM the new quartet of charming front-porch folk duo Anna & Elizabeth, fiddler/composer Cleek Schrey & viola da gamba player Liam Byrne unveil quietly lush new compositions and reimagine ancient melodies in the rich sonics at the San Damiano Mission, 85 N 15th St, Williamsburg, $15

10/17, 8/10:30 PM ageless, perennially hard-hitting jazz piano sage and ex-Coltrane bandmate McCoy Tyner at the Blue Note, $30 standing room avail

 10/17, 8 PM darkly tuneful, intensely focused, noir-tinged guitarist Andre Matos leads his quartet at Cornelia St. Cafe, $10 + $10 min

10/17, 8:30 PM Red Molly’s dobro sorceress Abbie Gardner at Pete’s

10/17, 8:30 PM intense, smartly lyrical newgrass/janglerock/parlor pop bandleader Missy Raines and the New Hip at the third stage at the Rockwood, $15

10/17-22, 8:30 PM cellis Okkyung Lee plays with a variety of ensembles at the Stone, $20.Choice pick: opening night, a duo with Nels Cline

 10/17, 9 PM popular newschool Americana/southern soul singer Jessica Lea Mayfield at Baby’s All Right, $15

10/17, 10:30 PM brilliant drummer/percussionist Willie Martinez & La Familia Sextet play classic salsa grooves at the Nuyorican Poets Cafe, $10

10/18, 6 PM magically intertwining kotos played by Masayo Ishigure + Kyoko Morishima at the Rubin Museu of Art, free w/museum adm

10/18, 7:30 PM trumpeter Brian Lynch and his quintet play Monk at the Jazz Standard, $25

10/18, 7:30/9:30 PM pianist Marta Sanchez leads her quintet playing the album release show for her new one Danza Imposible at the Jazz Gallery, $15

10/18, 8/10:30 PM saxophonist Marcus Strickland’s Twi-Life at the Blue Note, $15 standing room avail

10/18, 9 PM wild sax-and-drum dancefloor madness with Moon Hooch at Bowery Ballroom, $20 adv tix rec. If the club calendar is accurate, they’re here the following night, 10/19 at 8. Avoid the wanky synth player also on the bill, who’s ostensibly opening on the 18th and headlining on the 19th

10/18, 9:30 PM intense, piano-based, Aimee Mann-style literate chamber pop group Elizabeth & the Catapult  play the album release show for their new one at the Poisson Rouge, $12 adv tix rec

10/19, 7 PM Changing Modes – NYC’s funnest, most unpredictable, sharply lyrical new wave art-rock band –  at Drom, $10 adv tix rec

10/19, 7:30 PM hypnotic, kinetic female-fronted Mexican downtempo-trip-hop/folk-pop band Ampersan at the Lincoln Center Atrium, free, early arrival advised 

10/19, 7:30 PM the MSM Brass Ensemble play an all-Bartok program at Ades Performance Space at Manhattan School of Music, free

10/19, 7:30 PM night one of the Bric Jazzfest with – in reverse order: the Sun Ra Arkestra under the direction of nonagenarian EWI player Marshall Allen, hip-hop string ensemble Miles Mosley & the West Coast Get Down, drummer Terri Lyne Carrington and Social Science,  awesome, purist, guitar-driven oldschool soul/blues crew the Binky Griptite Orchestra, a tuneless mathrock band, a noodly guitarist struggling to find his own style, the funky postbop Mike Casey Trio, a singer who’s halfheartedly trying to blend Indian music and jazz, and purposeful, smart, tuneful saxophonist Sharel Cassity & Elektra  – at Bric Arts, $25 adv tix rec

 10/19, 7:30/9:30 PM feral, wildly improvisational, tuneful pianist Mara Rosenbloom   leads her trio at the Jazz Gallery, $15

10/19-21, 7:30/9:30 PM the Charles Tolliver Tentet plays Monk at the Town Hall 1959 in its entirety at the Jazz Standard, $30

0/19, 8 PM Sephardic band Alhambra followed by Red Baraa spinoff Jina Brass Band playing live bhangra at Barbes

10/19, 8 PM state-of-the-art indie classical string quartet Brooklyn Rider play five new works influenced by Bach, Cage, Zorn, Xenakis, Minor White, and others at Roulette, $20 adv tix rec

10/19, 8 PM the Jack Quartet playworks by American composers Natacha Diels, John Zorn, Gloria Coates and Ruth Crawford Seeger at the Miller Theatre, $20 seats avail

10/19, 8:15 PM popular retro C&W/bluegrass/soul singer Dori Freeman at the big room at the Rockwood, $12

10/19, 8:30 PM Binyomin Ginzberg’s boisterous, intense Breslov Bar Band at the Jalopy, $15

10/19. 8:30 PM saxophonist Jeremy Udden’s Plainville – one of NYC’s first and best pastoral jazz outfits – at the Owl, $10

10/19, 9 PM Haakon’s Fault – who mash up stoner boogie, ornate keyboard-driven art-rock and a litle psych-funk – at Arlene’s, $8

10/20, 8 PM Lusterlit play their ominous, noirish literary chamber pop  at Communitea, 11-18 46th Rd., Long Island City, G to 21st/Van Alst

10/20, 5:30 PM charming, thoughtful classic front-porch folk songstress Cordelia Stephens at the American Folk Art Museum

10/20, 7 PM fearlessly relevant latin rock songwriter and protest song connoisseur Ani Cordero leads her band at the CUNY Grad Center auditorium, 365 5th Ave north of 34th St., $25

10/20, 7:30 PM the Mannes Orchestra play Rimsky-Korsakov: Capriccio Espagnol; Daugherty: Raise the Roof for Timpani and Orchestra (Jeffrey Kautz, soloist), Grieg: Piano Concerto (Ivan Gusev, soloist) at the Room U100 auditorium, 63 Fifth Ave, free

10/20, 7:30 PM Avenida B play classic LES salsa dura at the Lincoln Center Atrium, free, early arrival advised

10/20, 7:30 PM the American String Quartet play Zhou Tian: Viaje (Journey), Beethoven’s String Quartet No. 1 and Shostakovich’s harrowing String Quartet No. 7 at Greenfield Hall at Manhattan School of Music, $15/$10 stud/srs

10/20, 7:30 PM night two of the Bric Jazzfest is a mixed bag: some allstars and some real duds. The allstars, in reverse order: violinist Regina Carter reinventing Ella Fitzgerald tunes, the Vijay Iyer Sextet, trumpeter Dave Douglas “Meets the Westerlies,” latin jazz trombonist Papo Vazquez‘s Mighty Pirate Troubadours, haunting Puerto Rican bolero revivalists and Sylvia Rexach reinventors Miramar, and drummer LaFrae Sci + the Groove at Bric Arts, $25 adv tix rec

10/20, 8 PM three scions of important flamenco legacies: Kiki Morente and Alba Molina on vocals accompanied by Juan ‘Habichuela’ on guitar at Drom, $20 adv tix rec

10/20, 8 PM playfully lyrical, fearlessly political superduo Kill Henry Sugar – guitar/banjo mastermind Erik Della Penna and drummer Dean Sharenow –followed at 10 by the intoxicatingly clattering, sintir bass lute fueled Moroccan trance grooves of Innov Gnawa at Barbes

10/20, 8/9:30 PM drummer Dan Weiss leads his trio with Jacob Sacks on piano and Ben Street on bass at Cornelia St. Cafe, $10 + $10 min

10/20, 8 PM Hollywood’s Dan Finnerty leads his savagely hilarious top 40 parody group the Dan Band at Highline Ballroom, $25 adv tix rec

10/20, 8 PM chamber ensemble Repast Baroque play music of Couperin and his baroque contemporaries at First Unitarian Church, 119 Pierrepont Street, Brooklyn Heights, $30/$20 stud/srs. The program repeats on 10/21 at Advent Lutheran Church, 2504 Broadway at 93rd St 

10/20-21, 8:30 PM hauntingly innovative cellist Erik Friedlander at the New School’s Glass Box Performance Space, 55 W 13th St, $20

10/20, 9:30 PM intense, charismatic singer Sami Stevens’ oldschool soul group at the Parkside (the Brooklyn boite at 705 Flatbush Ave between Winthrop and Parkside), free

10/20-21, 8 PM ex-Moody Blues synth player Patrick Moraz plays solo piano at Iridium, $27.50 tix avail. Go figure.

10/20, 8 PM electroacoustic works by Laetitia Radigue performed by  clarinetist Carol Robinson and harpist Rhodri Davies, plus a performance of Radigue’s 2013 piece OCCAM IX by Laetitia Sonami at Issue Project Room, $20

10/20, 8:30 PM intriguing improvisational triangulations: Scott R. Looney – piano; Sarah Bernstein – violin; Reuben Radding – bass at I-Beam, $15

 10/20, 10 PM high-voltage steampunk duo Frenchy & the Punk followed by charismatic folk noir chanteuse Lorraine Leckie at Sidewalk

10/21, 10 AM (in the morning) til 10 AM 10/22 the 24-hour raga festival at the Rubin Museum of Art streaming live at NYC Radio Live 

10/21, 3:30 PM sitar virtuoso Shafaat Khan at the Queens Botanical Garden, 43-50 Main St, 7 to Flushing/Main St., $6

10/21, 4 PM trumpeter Ben Holmes and accordionist Patrick Farrell – two thirds of the fiery Yiddish Art Trio – play new compositions by Patrick Farrell & Ben Holmes followed eventually at 8 by the reputedly amazing  Night Kitchen -Gene Yelin – guitar & vocals Trip Henderson – harmonica; Joanna Sternberg – bass and vocals – playing “Hank Williams, old timey and country” and then at 10 by haunting Puerto Rican bolero revivalists – and Sylvia Rexach reinventors – Miramar a at Barbes

10/21, 7 PM the Cita Rodriguez Orchestra, led by legendary singer El Conde Rodriguez’s daughter/singer and featuring a ton of big names from the golden age of salsa dura, at Hostos Center for the Arts and Culture, 450 Grand Concourse, Bronx, 2 to Grand Concourse, $25. They played Lincoln Center a couple of years back and are amazing live.

10/21, 7 PM legendary, often haunting Hungarian folk group Kaláka Ensemble at Hungarian House,  213 E 82nd St, free

10/21, 7:30 PM the Rosamunde String Quartet with guest cellist Peter Wiley play works by Haydn, Barber and Schubert at Irving HS Auditorium, Irving Place betw 17th/18th, $14

10/21, 7:30 PM night three of the Bric Jazzfest is a mixed bag: some allstars and some real duds. In reverse order: the JBs’ Maceo Parker, a fussy British electro band, postbop trumpeter Theo Croker‘s Escape Velocity, visionary Indian-American saxophonist Rudresh Mahanthappa‘s Indo-Pak Coalition, guitarist Brandon Ross’ hazy trio Harriet Tubman, soul-funkstress Imani Uzuri‘sWild Cotton, and some peeps who call themselves Butcher (awesome branding, btw) at Bric Arts, $25 adv tix rec

10/21,  7:30 PM the Greenwich Village Orchestra play with soloist Tosca Opdam, violin play Berlioz – Roman Carnival Overture; Sibelius – Violin Concerto; Beethoven – Symphony No. 3, “Eroica” at Good Shepherd-Faith Presbyterian Church, 152 W 66th St., $15 sug don, reception to follow

 10/21, 7:30 PM, repeating on 10/22 at 5  Lissa Moira directs Paul Kirby’s new song cycle about UN Secretary-General and peace crusader Dag Hammarskjold’s struggles, Night of the Secretary General, at Our Saviour’s Atonement, 178 Bennett Ave (one block west of Broadway at 189th St), free

10/21, 8 PM haunting, slinky Middle Easten compositions by Mohammed Abdel-Wahab, Wadi ElSafi, Zakariyya Ahmed, Sayyed Makkawi, and Farid Alatrash performed by allstars George Ziadeh on oud, Tareq Abboushi on buzuq and Firas Zriek on kanun at Alwan for the Arts, $20/$15 stud

10/21, 8 PM multi-generational Afro-Venezuelan soul, traditional rhythms and dances with Betsayda Machado and La Parranda El Clavo  at Flushing Town Hall, $16/$10 srs/, ages 13-19 free w/ID

10/21, 8 PM eclectic Americana/C&W rock band Spuyten Duyvil and newgrass jamband Man About a Horse at the Jalopy, $10

10/21, 8:30 PM Afrobeat dancefloor jammers Ikebe Shakedown play the album release show for their new one at Union Pool, $12

10/21, 9ish deviously lyrical, historically spot-on, cleverly sultry oldtimey/Americana songwriter/bandleader Robin Aigner  followed by high-voltage oldtimey barrelhouse swing group the 4th St. Nite Owls at Freddy’s

10/22, 2 PM fearless, badass, lyrically brilliant janglerock songwriter Linda Draper at Sunnyvale, $8

10/22, 2 PM pianist Ádám György plays works by Chopin and Liszt at Stern Auditorium at Carnegie Hall, $12 seats avail

10/22, 3  PM cinematic music by violinist Carlo Nicolau along with post-industrial projections by video artist Vanessa Garcia Lembo at the Queens Museum in Crotona Park, free

10/22, 3 PM irrepressible trumpeter Steven Bernstein leads an allstar 14-piece band with Marc Cary on piano, Luis Bonilla on trombone, Marika Hughes on cello and more at the Town Hall, “revisiting Coretta Scott King’s Freedom Concerts,  a milestone collaboration between Dizzy Gillespie and Chano Pozo,  and cantor Moishe Oysher’s anti-Nazi fundraising rally,” $27 tix avail. at the box office

 10/22, 3 PM the Circe Trio: Isabel Fairbanks (cellist), Laura Kay (soprano) and Zach Mo (pianist) play works by Andre Previn, Mozart, Amy Beach and others at the art gallery at the 92nd St. Y, free

10/22, 4 PM violinist Rolf Schulte and pianist Nicolas Namoradze perform works by Medtner, Debussy, and Schumann.at the Dreck Center at the Brooklyn Public Library, free, no under-sixes.

10/22, 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

 10/22, 8/9:30 PM ethereal, raptly haunting singer Sara Serpa leads a trio with Kris Davis on piano and Chris Tordini on bass at Cornelia St. Cafe, $10 + $10 min

10/23, 7 PM Kacy & Clayton – who sound like a 60s Laurel Canyon psychedelic version of Jenifer Jackson at the Mercury, $15  

10/23, 7 PM a benefit for Puerto Rico with the Bobby Sanabria Multiverse Big Band with  many special guests: trumpeter Jimmy Owens, pianist Larry Harlow, Fania All Star Eddie Montalvo and more at the Poisson Rouge, $25 gen adm

10/23, 7:30 PM  the Shanghai Quartet play works by Bridge, Zhou Long and Dvořák / String Quartet in E-flat Major, op. 51 at Music Mondays, Advent Church, northwest corner of 93rd and Broadway, free 

10/24, drinks at 5:30 PM, show at 6 clarinetist Vasko Dukovski and bass clarinetist Joshua Rubin play works by John Zorn, Peter Eotvos and more at the Miller Theatre, free

10/24-25, 7:30/9:30 PM fearlessly intense postbop saxophonist Azar Lawrence leads his quintet with Steve Turre on trombone and shells at the Jazz Standard, $30

10/24, 7:30 PM pianist Sara Davis Buechner plays works by Mozart, Chopin, and her arrangement of Gershwin’s Rhapsody No.2. at the Baruch Performing Arts Cente, 25th St. btw Lex/3rd Ave, free

10/24, 7:30 PM allstar wind ensemble Windscape with special guest Margaret Kampmeier, piano play works by Shostakovich, Prokofiev, Rimsky-Korsakov and Borodin at Greenfield Hall at Manhattan School of Music, free

10/24, 8 PM violinist Elmira Darvarova and French harpist Melanie Genin play French works for violin and harp by by Saint-Saëns, Massenet, Ibert, Messiaen, Marais, Berthomieu, and others at Christ & St. Stephen’s Church, 120 W 69th St., free

10/24, 9ish trippy, hypnotically enveloping EWI and ambient electronics from baritone sax mastermind Moist Paula Henderson at Troost

10/24. 9 PM cinematic Quincy Jones-style B3 gutbucket organ jazz with Underground System’s Colin Brown and his band at Freddy’s

10/25, 7 PM improvisational cinematic duo the Flushing Remonstrance – Catherine Cramer (percussion) and Robert Kennedy (keyboards, electronics, voice) play their original live score to F.W. Murnau’s classic 1922 film Nosferatu at Shapeshifter Lab, $10 

10/25, 8 PM Brooklyn’s funnest band, psychedelic organ-driven Middle Eastern-tinged surf rock trio Hearing Things at Barbes

10/25, 8 PM percussionist James Shipp and trumpeter Nadje Noordhuis jam out at Cornelia St. Cafe, $10 + $10 min

10/25, 9 PM oldschool-style high plains C&W singer Hope Debates & North 40 at Bar Chord

10/26, 8 PM the annual oud summit at Barbes, watch this space!

10/26, 8ish the intoxicatingly clattering, sintir bass lute fueled Moroccan trance grooves of Innov Gnawa at the Owl, $10

10/26, 8:30 PM singers Eleonore Biezunski & Lauren Brody’s Yerushe Yiddish women’s folksong project at the Jalopy, $15

10/26, 9 PM darkly lyrical Americana songwriting great James McMurtry at Hill Country, $25, could be kinda intimate and cool or pure hell

10/26, 9 PM hot 20s swing with trumpeter Jason Prover and his Sneak Thievery Orchestra at Radegast Hall

10/26, 10ish west village reggae legend Chukka Riddim at the Bitter End. He’s been around forever, you are destined to see him

10/26, 10:30 PM cleverly lyrical, murderously witty murder ballad/chamber pop allstars Charming Disaster. at Pete’s

10/27, 3 PM the Mannes Orchestra play Mendelssohn’s Scottish Symphony at the New School U100 auditorium, 63 5th Ave., free

10/27, 5:30 PM interesting original delta blues guitarist Rust Dust followed eventually at 6:30 by darkly theatrical cello rocker Meaghan Burke at the American Folk Art Museum

10/27, 7 PM rippling Indian santoor star Sandip Chatterjee with percussionist  Subhajyoti Guha at the Rubin Museum of Art, $25

10/27, 7:30 PM, repeating on 10/28 at 8:30 PM the reliably entertaining, adventurous Chelsea Symphony perform Beethoven’s “Pastoral” Symphony. Friday’s concert features soloist Alicia Furey performing Saint-Saëns’ Cello Concerto No. 1; Saturday’s concert features Jessica Lightfoot on Beethoven’s Romance No. 2 for Violin and Anna Keelin Fitzgerald performing Weber’s Concerto for Bassoon. Both concerts open with a world premiere by composer Aaron Dai,  at St. Paul’s Church, 315 W 22nd St., $20 sugg don

10/27,  8 PM rustic Brazilian jungle guitar-and-accordion sounds with Regional de NY followed at 10 by psychedelic salsa bandleader Zemog El Galle Bueno at Barbes

10/27, 8 PM indie classical ensemble Either/Or play a memorial concert for Romanian composer Ana-Maria Avram at Issue Project Room, $15/$12 stud/srs

10/27-28, 8:30 MPM haunting pan-Asian avant-jazz songstress/composer Jen Shyu at the New School’s Glass Box Performance Space, 55 W 13th St, $20

10/27, 9ish bouncily menacing French noir surf/new wave band La Femme at Warsaw, $20 tix avail. at the Knitting Factory ticket window, don’t buy em online because you’ll get ripped off. 

10/27, 9 PM eclectic, electric C&W/blues band the Jug Addicts  at Bar Chord

10/27, 10:30 PM funky, lyrically intense dark folk jamband the Sometime Boys– with the riveting Sarah Mucho on vocals – at Freddy’s

10/28, 6 PM incomparable country/jazz/janglerock icon Amy Allison with pianist Lee Feldman at Cornelia St. Cafe, $10 + $10 min

10/28, 7 PM ska and punk in reverse order at Bowery Electric: Mephiskapheles, the Hub City Stompers and 45 Adapters, $20

10/28, 7 PM Long Gone West play brooding Lynchian Americana and Orbisonian rock at Branded Saloon 

10/28, 7:30 PM celebrated musical artists from South Korea, including Lee Tae-Baek (ajaeng), Yun Jin-Chul (pansori singer), Yi Ji-Young (gayageum), You Kyung-Hwa (janngu/cheolhyeongeum), Kwak Soo-Eun (25-String gayageum) and Lee Young-Sub (daegeum flute) at Merkin Concert Hall, $30 tix avail

 10/28, 7:30 PM pianist Vladimir Feltsman plays Moussorgsky’s Pictures at an Exhibition plus works by Brahms at Irving HS Auditorium, Irving Place betw 17th/18th, $14

10/28, 8 PM wryly funny, psychedelic covers of 60s Russian pop with the Eastern Blokhedz – who specialize in the catalog of legendary Polish singer Edita Piaha – at Barbes

10/28, 8 PM early music chorale the Orlando Consort sing the “Loire Valley in Song” at Church of St. Mary the Virgin, 145 West 46th St, $30 tix avail

10/28, 8:30 PM massive shapeshifting improvisational big band jazz – the CMS Improvisers Orchestra led by Karl Berger play their 99th concert, with special guest, the charismatic Min Xiao-Fen on pipa and vocals at El Taller Cultural Community Center, 215 E 99th St, $20./$15 stud

10/29, 3 PM Sheng-Ching Hsu, violin; Maren Ro Rothfritz, viola; Ben Larson,cello Daniel Epstein, piano play works by Tania Leon, Robert Sirota and Brahms at Concerts on the Slope, St. John’s Episcopal Church, 139 St. John’s Place downhill from 7th Ave, sugg don

 10/29, 4 PM the American Brass Quintet perform an eclectic program of consort music of Elizabethan and Jacobean England, canons of the 16th century, and contemporary works by Steven Franklin at the Dreck Center at the Brooklyn Public Library, free, no under-sixes.

10/29, 7 PM this year’s best Halloween show is at Barbes where darkly careening guitarist Tom Csatari‘s large-ensemble Americana jazz project Uncivilized  plays Twin Peaks themes, followed at 9:30 by Romany jazz/psychedelic rock guitar mastermind Stephane Wrembel at Barbes

10/29, 7:30 PM the New York Symphony Orchestra play Beethoven’s Emperor Piano Concerto and Eroica Symphony at Merkin Concert Hall, $30 tix avail

10/29. 8 PM careeningly intense gutter blues bandleader Breanna Barbara  followed by hypnotic psychedelic/spacerock band the Heaters at Baby’s All Right, $12

10/29, 9 PM creepy Americana hellraiser duo the Tall Pines at at Muchmore’s

 10/30, 6 PM Oscar Wilde’s kid sister was the “pet of the house;” she died at nine of a brain aneurysm. Kari Swenson Riely stars in Isola, with text by Oscar and his mom and a live score by pensive, atmospheric soprano saxophonist David Aaron. Followed by a brief set with his quartet Flip City at Cornelia St. Cafe, $10 + $10 min

10/30, 7 PM intense, cinematic lapsteel virtuoso Raphael McGregor and probably some of his Brain Cloud western swing bandmates, followed at 9:30ish by  haunting, powerful Afro-Colombian trance choir Bulla en El Barrio at Barbes 

10/30. 7 PM Juliiard’s new music ensemble Axium play  an all-Jacob Druckman program at Alice Tully Hall, free

10/30, 10 PM fiery jazz violinist/composer Zach Brock at the small room at the Rockwood

10/31, 6-9 PM trumpeter Pam Fleming’s colorful Halloween project, the Dead Zombie Band play a free show on Waverly Ave., between Willoughby and DeKalb Ave. in Ft. Greene

10/31, 7:30/9:30 PM Scott Robinson’s sextet the Hellotones with drummer Matt Wilson,trombonist Frank Lacy and Gary Versace on piano and organ play a Halloween show at the Jazz Standard, $25

10/31, 8:30 PM this year’s ultimate Halloween show: spine-tingling art-rock/avant-garde/chamber pop songwriter Carol Lipnik – pretty much everybody’s choice for best singer in all of NYC – unveils her creepy, mystical new suite Songs From a Stone Tower at Bar Lunatico

 10/31, 9ish the original creepy circus punks, World Inferno at Warsaw, $25 tix avail. at the Knitting Factory ticket window, don’t buy online unless you want to get screwed

10/31, 10 PM wild string metal faves Stratospheerius at Shrine

11/1, 9 PM catchy Connecticut newgrass/Americana band Plywood Cowboy at the Bitter End 

11/2, 8 PM a rare US show by eerie Japanese freak-folk pioneer Kazuki Tomokawa, the “screaming philosopher” of the 1970s Tokyo avant garde underground at Greene Naftali, 508 W 26th St, $20

11/3, 8 PM Xander Naylor plays from his creepily squirrelly new guitar-and-efx album at Greenpoint Gallery, 390 McGuinness Blvd., G to Greenpoint Ave.

11/7, 8 PM the incomparable, lush, eclectic Jenifer Jackson – a connoisseur of Americana, Beatlesque janglerock, bossa nova and Texas noir – at the Owl

11/8, 7 PM pianist Javor Bracic plays Chopin waltxes, mazurkas and more at the Bulgarian Consulate, 221 E 62nd St, free

11/9, 7:30 PM torchy singer Jennifer Charles’ and guitar mastermind Oren Bloedow’s long-running art-rock/noir band Elysian Fields in their similarly haunting psychedelic Sephardic folk disguise, La Mar Enfortunada at the Jewish Museum,1109 5th Ave at 92nd St,  $18/$15 stud/srs

11/10, 8 PM elegant, sharply lyrical parlor pop stylist Heather Eatman, crystalline-voiced noir Americana songwriter Jessie Kilguss  and dark Americana guy/girl harmony duo the Tall Pines at Red Hook Bait & Tackle

11/18, 8 PM haunting minimalist/cinematic multi-keyboardist Dominique Lawalrée at the San Damiano Mission, 85 N 15th St, Williamsburg, $20

11/18, 8 PM Athens’ #1 gangster hash-smoking 1920s/30s style rebetiko music band, Rebetiki Istoria at Roulette, $25

11/20, 7:30 PM Trident Ensemble with Miranda Cuckson, violin and Raman Ramakrishnan, cello play Messiaen’s Quartet for the End of Time. Also on the bill: vocal works  by Pérotin, Francis Poulenc, Arvo Pärt, Mariano Garau at Music Mondays, Advent Church, northwest corner of 93rd and Broadway, free 

12/2, 8 PM Gamelan Kusuma Laras with Javanese gamelan luminaries Darsono Hadiraharjo, “the best young Javanese gamelan player of his generation;” master musician Midiyanto; and rising star singer Heni Savitri; at Roulette, $25

Pianist David Greilsammer Plays a Brave, Impactful Program in an Uptown Crypt

Pianist David Greilsammer addressed an intimate Harlem crowd last night with the utmost seriousness. He took care to explain that he typically never introduces the music on the bill since he wants it to speak for itself.

But this was an unusual program. He pondered the viability of playing organ or harpsichord works on the piano. He addressed the need to reaffirm classical music’s relevance, to be true to how historically radical and transgressive much of it is. Perhaps most importantly, he asserted, a performer ought to put his or her heart and soul into the music rather than maintaining a chilly distance.

That close emotional attunement came into vivid focus with the uneasy, insistent poignancy and emphatic/lingering contrasts of Janacek’s suite On the Overgrown Path, which Greilsammer interpolated within segments of works by Froberger, Mozart, C.P.E. Bach, Jean-Fery Rebel and a moodily dynamic world premiere by Ofer Pelz. Greilsammer averred that he’d been inspired to do this by a nightmare where he found himself stuck in a labyrinth.

Was this shtick? He considered that question too. As he saw it, that’s a judgment call. Mashing up segments of various composers’ works isn’t a new concept, but it is a minefield. An ensemble at a major New York concert space took a stab at a similar program last year and failed, epically. By the audience reaction – a standing ovation in the rich, reverberating sonics of the crypt at the Church of the Intercession – Greilsammer earned a hard victory.

Just the idea of trying to wrangle less-than-awkward segues between the baroque and the modern sends up a big red flag. But Greilsammer pulled it off! At about the midpoint of Janacek’s surreal, disorienting nightmare gallery walk, there’s a wrathful, exasperated low-lefthand storm, and Greilsammer didn’t hold back. Likewise, Froberger’s notes to the performer are to deliver the stately grace of his Tombstone suite with as much rubato as possible, and the pianist did exactly that, with a similar if vastly more subtle wallop.

That piece bridged the gap to thoughtful, purposeful, considered takes of the unfolding layers of Mozart’s Fantasy in C Minor and C.P.E. Bach’s Fantasy in F Sharp Minor. The Pelz premiere made an ominously lustrous centerpiece. It was only at the end, where each coda took its turn, that the feel of dominoes falling away crept in: maybe next time, one coda would be enough, considering how decisively each of these pieces ends. Thematically, it all made sense, pulling bits and pieces of one’s life together on a long, tortuous path that finally reached a triumphant clearing.

The concert’s organizers’ url is http://www.deathofclassical.com (they’re held in a church crypt, get it?). There’s also food and wine, a very generous supply, at these shows, conceived to dovetail with the music. A firecracker 2014 Galil Mountain Viognier, from Galilee, with its sparkle on the tongue and lingering scorched-butter burn at the end, was the highlight. An impressively diverse date-night crowd seemed as content with it as they were with the music.

Pianist Leann Osterkamp Plays One For the History Books at Steinway Hall

A major moment in the history of classical music in New York took place last night at Steinway Hall, where Leann Osterkamp gave a breathtaking and often breathless performance of Leonard Bernstein works for solo piano. Had such a program ever been staged in this city? Definitely not in the last thirty years, possibly never. There have been thousands of all-Bernstein programs performed here over the decades, and Bernstein conducted a handful of those from the piano. But beyond playing for his friends and family, it’s not clear if the composer himself ever gave a solo recital here.

Even Osterkamp, whose new Steinway album comprises all kinds of rare Bernstein solo works which she unearthed during some herculean research at the Library of Congress, couldn’t solve that mystery. If this was in fact a first, it was one worthy of the composer. As Nancy Garniez has asserted, a composer’s private works can be even more interesting than those written for public performance, and some of these pieces were exactly that. One of the most revealing numbers was written for his daughter Jamie, who was in the audience. On one hand, Osterkamp reveled in its lively, balletesque passages, but she also gave every considered ounce of gravitas to its knotty, pensively workmanlike explorations in Second Viennese School melodicism.

That lighthearted/rigorous dichotomy pervaded much of the rest of the material. Many of the pieces were miniatures, including a concluding set of five of Bernstein’s Seven Anniveraries. Osterkamp revealed how rather than being written with specific friends in mind, Bernstein had devised them as a suite of neo-baroque dance numbers: they’d been kicking around his “song junkyard” for years before the composer started doling them out as presents.

Much of the material on the album has never been previously recorded. Who knew that Bernstein wrote a piano sonata? That he could actually play its jackhammer staccato and whirlwind curlicues at age twenty is impressive, to say the least, and Osterkamp held up her end mightily. There’s also a lingering deep-sky passage in the second movement that sounds like it was nicked from the final movement of the Quartet For the End of Time.

Wait – Messiaen hadn’t written that yet. Which speaks to the astonishing range of idioms Bernstein had assimilated by that time. Was this juvenalia? In the sense that it’s gratuitously cross-genre and showoffy, sure. But it was also a rewarding glimpse into the young composer’s mindset.

The rest of the program followed suit, from enigmatic twelve-tone-ish romps that recalled Bernstein’s contemporary Vincent Persichetti, to the briefest flicker of West Side Story riffage that flashed by in what seemed like a nanosecond. Osterkamp couldn’t resist telling the crowd to keep their eyes open for that one.

She played the concert on a Spirio, Steinway’s analog player piano which can deliver both perfect playback of what’s just been played on it, as well as dynamically nuanced versions of the hours and hours of digital “rolls” available. She left it alone to recreate Bernstein’s own interpretation of Ravel while video of the actual performance, from Paris in the late 50s, played on the screen overhead. For pretty much everyone in the crowd, it was as close to seeing Bernstein himself playing solo onstage as we’ll ever get.

Celebrating a Tragic, Iconoclastic Hungarian Hero at the National Arts Club

Wouldn’t you wash your hands after you touched a corpse? Hospital physicians at Vienna’s Algelemine Krankenhaus didn’t. From a 21st century perspective, the results were predictably catastrophic.

Ray Lustig’s grim, powerfully resonant song cycle Semmelweis, which premiered on September 11 at the National Arts Club, begins in 1848, One of Europe’s deadliest outbreaks of puerperal fever is killing one in ten new mothers at the hospital. Hungarian-born obstetrician Ignac Semmelweis is at a loss to explain it.

Semmelweis was a tragic hero in the purest sense of the word. Decades before Louis Pasteur, Semmelweis discovered the bacterial connection for disease transmission. But rather than being celebrated for his discovery and for saving countless of his own patients, he was derided as a medical heretic,  ended up losing his mind and died alone in a mental asylum seventeen years later. If not for the reactionary Viennese medical establishment, terrified of being blamed for the epidemic, today we would say “semmelweissed” instead of “pasteurized.” In an age where leakers are murdered, whistleblowers are jailed as terrorists and 9/11 historians are derided as conspiracy theorists, this story has enormous relevance.

And the music turned out to be as gripping as the narrative. Out in front of an impressively eclectic twelve-piece ensemble for the marjority of the performance, soprano Charlotte Mundy dexterously showed off a vast grasp of all sorts of styles, singing Matthew Doherty’s allusively foreboding lyrics to Lustig’s shapeshifting melodies. Pianist Katelan Terrell. accordionist Peter Flint and violinist Sam Katz wove an alternately austere and lustrous backdrop for the rest of the singers: Lustig himself in the role of Semmelweis, alongside Marcy Richardson, Catherine Hancock, Brett Umlauf, Charlotte Dobbs, Jennifer Panara and Guadalupe Peraza.

The suite began with a wash of close harmonies and ended on a similarly otherworldly note with a Hungarian lullaby sung in eerily kaleidoscopic counterpoint by the choir. The story unwound mostly in flashbacks – by women in peril, ghosts or Semmelweis himself, tormented to the grave by all the dead women he wasn’t able to save.

Many of the songs had a plaintive neoromanticism: the most sepulchral moments were where the most demanding extended technique came into play, glissandoing and whispering and vertiginously shifting rhythms. That’s where the group dazzled the most. Recurrent motives packed a wallop as well, voicing both the dread of the pregnant women and Semmelweis’ self-castigation for not having been able to forestall more of the epidemic’s toll than he did. The Hungarian government will celebrate the bicentennial of Semmelweis’ birth next year, a genuine national hero.