New York Music Daily

Global Music With a New York Edge

Tag: folk music

Party People in the House in Flushing Tonight

If you’re in a party mood, grab the 7 train and head to Flushing Town Hall tonight, Oct 21 where Betsayda Machado and La Parranda El Clavo are throwing a wild Afro-Venezuelan bash at 7:30 PM. There will be all kinds of ecstatic call-and-response, booming drums and dancing: Flushing Town Hall always keeps the front section close to the stage open for the dance crowd. Cover is $16, $10 for seniors, and if you’re a kid between 13-19, you get in free, as you can at all the shows here.

Machado recreates a Venezuelan hill country party vibe, a high-voltage tradition passed down through the centuries and maintained by the descendants of the first African slaves kidnapped and brought to the Venezuelan coast. But not all those slaves remained in chains: just as the Maroons in Jamaica did, some managed to escape and set up self-sustaining communities where the the old African traditions survived more or less intact. Machado and her village band trace their ancestry to those days: with just a choir and many drums handmade from local lumber, they are as oldschool as you can get. Parranda musicians don’t stand still – they typically make a procession. The soaring voices and stomping rhythms of Machado’s band are similar to Carolina Oliveros’ Afro-Colombian bullerengue crew Bulla En El Barrio.

Machado’s new album Loé Loá – Rural Recordings Under the Mango Tree is streaming at Spotify. It’s amazing how catchy these songs are: a brass band or a salsa orchestra could have a great time filling in the harmonies between the singers and the beats. Which are all over the place: sometimes a straight-up dancefloor thump but more likely to be a swaying triplet groove, a funky dance pulse or tricky, intricate polyrhythms. What’s consistent throughout the album, and the music in general, is the contrast between the hypnotically booming drums and the energy of the vocals. The songs celebrate good times, dancing, console the lonely or the bereaved and invoke the ancient spirits, recast as Christian saints. You can sing along; it helps if you know Spanish.

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Ampersan Play Dreamy, Cinematic Tropical Psychedelia in Their New York Debut at Lincoln Center

There were some ecstatic moments in Ampersan’s New York debut at Lincoln Center last night, part of the ongoing Celebrate Mexico Now festival. The high point might have been where the punteador and jarana of the five-piece Mexico City band’s founders Kevin Garcia and frontwoman Zindu Cano intertwined with a rippling, slinky intensity. But more often than not, throughout their roughly hourlong set,  the music was simply something to get lost in, reflecting the band’s long background scoring for film.

Ampersan make hypnotic, psychedelic sounds with instruments typically associated with far more boisterous styles. The show came together slowly. Was this going to be just another evening of vampy trip-hop-influenced tropicalia with the occasional psychedelic flourish? The lilting, harmony-infused opening number and the stately candombe ballad afterward suggested that, bassist Sergio Medrano’s terse pulse in tandem with cajon player Héctor Aguilar Chaire and his fellow percussionist Nirl Cano.

Then the group took a detour into reggaeton and Cano switched to violin, raising the energy with his stark, rustic resonance. Garcia played mostly electric guitar and the small, uke-like punteador. Rocking a slinky, gothic black dress, the group’s lead singer began the set on jarana and then switched to guitar; she also had a couple of mics set up for her vocals, one which she ran through a mixer for subtle atmospheric effects.

Then Garcia went up to the board, twiddled with it as it hiccupped and burped…and just when it seemed that the electronics were about to clear the room, they simmered down and the group followed with what could have been the best song of the night, a lush, dreamy, slowly crescendoing tropical psychedelic anthem. The quintet would make their way through more of these while animated videos of Adriana Ronquillo and Mónica González’s mystical deep-forest narratives and imagery played on the screen above the stage.

Likewise, the band’s Spanish-language lyrics have a mysterious, allusive quality: themes of escape, and unease, and occasional heartbreak floated to the surface over the music’s graceful pulse. They like to use poetry from across the ages and hit another peak when they brought up son jarocho champion and poet Zenen Zeferino to deliver a defiant, characteristically eloquent freestyle. As they romped their way through some snazzy Veracruz party polyrhythms, he alluded to how Mexico is just as much or even more of a melting pot than the United States. The implication was that this intelligence ought to trump the demagoguery seeping from the bowels of the White House.

The group brought the show full circle at the end, Zula’s voice receding from a fullscale wail to a tender balminess. The concluding concert of this year’s Celebrate Mexico Now festival is a free show this Sunday, Oct 22 at 3 PM at the Queens Museum in Crotona Park with cinematic music by violinist Carlo Nicolau along with post-industrial projections by video artist Vanessa Garcia Lembo. And the next show at the Lincoln Center atrium space on Broadway north of 62nd St. is tonight, Oct 20 at 7:30 with oldschool salsa dura band Avenida B.

Starkly Beautiful, Weird Americana and New Classical Sounds in Williamsburg Last Night

Last night at the beautifully renovated San Damiano Mission in Williamsburg, Anna & Elizabeth joined their distinctive voices in a very colorful patchwork quilt of songs from across the centuries. Cleek Schrey, a connoisseur of little-known vintage fiddle tunes, played lilting solo pieces in odd tempos when he wasn’t sitting at the organ or the piano. Timo Andres unveiled a hypnotic new solo piano diptych awash in both Glassine echo effects and mystical Messiaenic close harmonies. And at the end, Anna Roberts-Gevalt led a packed house in a haunting, rapturously rising and falling singalong of the blues-infused African-American Virginia spiritual, Oh Lord Don’t Let Me Die in the Storm.

It was a night of envelopingly beautiful, weird Americana. On the surface, pairing oldtime folk tunes and some pre-Americana with indie classical could have opened a Pandora’s box of ridiculous segues. That this bill actually worked testifies to how much outside-the-box creativity went into it. Part of the explanation is simply how some things eventually get so old that they become new again. There’s a lot of centuries-old music that sounds absolutely avant garde, and there was some of that on this bill. For example, while there was no obvious cross-pollination between the subtly shifting cells of Andres’ piano piece and the cleverly rhythmic permutations of Schrey’s solo numbers, it was a reminder how musicians from every time period use a lot of the same devices.

There were also a handful of country gospel and Appalachian folik tunes on the bill. You could have heard a pin drop when Elizabeth LaPrelle reached for the rafters with her signature plaintive, rustic, high-midrange-lonesome wail in a solo a-cappella number. Standing in between the front pews, Roberts-Gevalt clog-danced a swinging beat and sang in perfect time, accompanied by Schrey and viola da gamba player Liam Byrne, who anchored much of the night’s material with a low, ambered, lushly bowed resonance.

Joined by a guest baritone singer, Anna & Elizabeth sang a fetchingly waltzing take of the hymn I Hear a Voice Calling. The night began with a hypnotic take of what sounded like an old Virginia reel played solo on bagpipe, a gentle reminder for the faithful to take their seats. And Anna & Elizabeth brought crankies! Each singer slowly cranked a big wooden box to unscroll a colorfully detailed portrait of the events in the other’s song. LaPrelle delivered a long, extremely detailed, ultimately pretty grim 18th century account of a shipwreck, and Roberts-Gevalt intoned a hazy nocturnal Nova Scotia lament that morphed into droning spectral string music. Anna & Elizabeth are off on European tour momentarily: lucky Lithuanians can catch them at the Keistuoliy Theatre in Vilnius on Oct 21 at 7:30 PM.

Celebrating Resistance and Triumph Over Tyranny at Lincoln Center

For three years now, Lincoln Center has been partnering with Manhattan’s  Maxine Greene High School for Imaginative Inquiry in an annual celebration of freedom fighters from across the decades. Inspired by Howard Zinn’s A People’s History of the United States, Thursday night’s annual performance featured “a stellar cast,” as Lincoln Center’s Viviana Benitez put it, playing some powerfully relevant music and reading insightful, inspiring, sometimes incendiary works by activists and authors from the sixteenth century to the present day.

Brianna Thomas raised the bar dauntingly high with the Civil Rights-era Sam Cooke hit A Change Is Gonna Come, guitarist Marvin Sewell playing bottleneck style on the intro for a ringing, rustic, deep blues feel. “I go downtown, and somebody’s always telling me, don’t hang around,” Thomas intoned somberly over Sewell’s terse icepick soul chords. In an era when Eric Garner was murdered because he got too close to a new luxury condo building, that resounded just as mightily as it did in Birmingham in 1964. She picked it up again with a ferociously gritty insistence, the audience adding a final, spontaneous “Yeah!” at the very end.

Later in the performance the duo played a hauntingly hazy, utterly Lynchian take of Strange Fruit. Thomas’ slow, surreal swoops and dives raised the macabre factor through the roof: If there’s any one song for Halloween month, 2017, this was it.

In between, a parade of speakers brought to life a series of fiery condemnations of tyrants and oppression, and widely diverse opinions on how to get rid of them. Staceyann Chin bookended all this with an understatedly sardonic excerpt from Bartolome de las Casas’ grisly account of early conquistadorial genocide, closing with a rousing Marge Piercy piece on how to build a grassroots movement.

Shantel French matter-of-factly voiced Henry George’s insight into how poverty is criminalized, but is actually a form of discrimination. Michael Ealy’s most memorable moment onstage was his emphatic delivery of the irony and ironclad logic in Jermain Wesley Loguen’s famous letter to the slaveowner he escaped during the Civil War: ‘You say you raised me as you raised your own children…did you raise them for the whipping post?”

Geoffrey Arend read Eugene Debs’ address for his 1918 sedition sentencing, optimism in the face of a prison sentence and a corrupt system doomed to collapse  Laura Gomez voiced the anguish and indignity of a longtime resident of Vieques, Puerto Rico who’d seen his neighbors harassed and killed by drunken marines and errant bombs dropped in practice runs (this was in 1979, before the island was rendered uninhabitable by the same depleted uranium dropped on Afghanistan and Iraq). Considering that the President of the United States has castigated the people of this disaster-stricken part of the world for being a drain on the Federal budget, this packed a real wallop. We can only hope this latest incident helps the wheels of impeachment move a little faster.

Brian Jones read from a witheringly cynical pre-Emancipation Frederick Douglass speech on what the Fourth of July means to a slave, and also Martin Luther King’s emphatically commonsensical analysis of the racism and injustice inherent in the Vietnam War draft. Aasif Mandvi brought out all the black humor in Brooklyn College professor Moustafa Bayoumi’s account of being besieged by off-campus rightwing nutjobs. And joined by incisive, puristically bluesy guitarist Giancarlo Castillo, songwriter Ani Cordero sang a venomous take of Dylan’s Masters of War and an understatedly passionate, articulate version of Lydia Mendoza’s 1934 border ballad Mal Hombre, sad testimony to the fact that Mexican immigrants have been demonized long before Trump.

The next free performance at Lincoln Center’s Broadway atrium space just north of 62nd St. is on Oct 19 at 7:30 PM featuring artsy Mexican trip-hop band Ampsersan. Getting to the space a little early is a good way to make sure you get a seat, since these events tend to sell out.

In Her First New York Solo Show, Seungmin Cha Invents a Riveting, Brand New Kind of Music

It’s impossible to think of anyone other than Seungmin Cha who could make a tiny dinner bell sound more menacing than she did at her first-ever New York solo concert last weekend. Or for that matter, who could get as much sound as she did out of a single Korean daegeum flute, sometimes serene and verdant, other times acidic or even macabre.

“Can I check out your rig?” an interested concertgoer asked her before the show.

“Sure,” she replied. On the floor in front of her were a couple of large pedalboards’ worth of stompboxes, hardly limited to reverb, delay, disortion, chorus, flange and an envelope filter. Hardly what you would expect a virtuoso of a centuries-old folk instrument to be playing her axe through.

“This is a guitar rig,” the spectator observed. “Is that a volume pedal?” 

“It’s a total guitar rig,” Cha smiled. “That’s a distortion pedal. For my vocals.”

But this wasn’t a rock show. Instead, Cha invented a brand new kind of music right there on the spot. This particular blend of ancient Korean folk themes, western classical, jazz improvisation and the furthest reaches of the avant garde might have only existed for this one night.

She began by slowly making her way in a circle around the audience. It took her a good fifteen minutes, playing subtle, meticulously nuanced variations on a gentle Korean pastoral theme. On one hand, this might have been a welcoming gesture, a comfortably lulling interlude. More likely, Cha was getting a sense of the room’s acoustics for when she really cut loose.

Which she did, eventually. At one point, she was getting two separate overtones out of the flute, without relying on the electronics. As it turned out, she’d been talking shop with her special guest, clarinetist Ned Rothenberg, before the show and he’d shown her a couple of overtones. Which, maybe half an hour after learning them, she incorporated into the show. Can anybody say fearless?

As Cha built her first improvisational mini-epic of the night, a mist of microtones wafted through the space, sometimes light and tingling, sometimes mysteriously foggy. Slow, judicious bends and dips flowed through a mix that she eventually built to a dark deep-space pulse, the flute’s woody tone cutting through like a musical Hubble telescope somewhere beyond Pluto but unwilling to relent on its search for new planets. Yet when she sang a couple of resigned “my love’s gone over the hills” type ballads, her vocals made a contrast, low and calm – until she hit her pedal to raise the surrealism factor through the roof.

As it turns out, Cha can also be very funny. She began an improvisation inspired by a snakelike Alain Kirili sculpture on the floor in front of her with a sort of one-sided Q&A…then decided to pick it up and play it as if it was a flute. Grrrr!! This thing is evil!

Rothenberg joined her for a lively duet to close the show: he tried goosing her with a few riffs early on, and she goosed back, but it became clear that she wanted to take this in a more serious direction and he went with it, adding judicious, mostly midrange, confidently bubbling motives while Cha took a slow, similarly considered upward path. It was a playful way to close what had been an intense and sometimes harrowing journey up to that point. You’ll see this on the Best Concerts of 2017 page here later this year.

Cha flew back to her home turf in Seoul the next day, but a return to New York is in the works: watch this space.

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

Abraham Brody Brings His Mystical Reinventions of Ancient Shamanic Themes to Williamsburg

Lithuanian-American violinist/composer Abraham Brody covers a lot of ground. In a wry bit of Marina Abramovic-inspired theatricality, he’ll improvise as he stares into your eyes, a most intimate kind of chamber concert. He also leads the intriguing Russian avant-folk quartet Pletai (“ritual”) with vocalist-multi-instrumentalists Masha Medvedchenkova, Ilya Sharov and Masha Marchenko, who reinvent ancient Lithuanian folk themes much in the same vein as Igor Stravinsky appropriated them for The Rite of Spring. The group are on the bill as the latest installment in Brody’s ongoing series of performances at National Sawdust on Oct 5 at 7:30 PM. Advance tix are $20 and highly recommended.

Brody’s album From the Dark Rich Earth is streaming at Spotify. It opens with the methodically tiptoeing It’s Already Dawn, its tricky interweave of pizzicato, vocals and polyrhythms bringing to mind a male-fronted Rasputina. The ominously atmospheric Leliumoj goes deep into that dark rich earth, disembodied voices sandwiched between an accordion drone and solo violin angst.

Green Brass keeps the atmospheric calm going for a bit and then leaps along, Brody’s wary Lithuanian vocals in contrast with increasingly agitated, circular violin. Aching atmospherics build to a bitterly frenetic dance in Orphan Girl.  In Linden Tree, a web of voices weaves a trippy round, joined by plaintively lustrous strings.

Father Was Walking Through the Ryefield begins with what sounds like an old a-cappella field recording, then dances along on the pulse of the violin and vocal harmonies, rising to a triumphant peak. Oh, You Redbush, with its hazy atmosphere, and insistently crescendoing bandura, reaches toward majestic art-rock and then recedes like many of the tracks here. Likewise, the mighty peaks and desolate valleys in The Old Oak Tree.

Spare rainy-day piano echoes and then builds to angst-fueled neoromanticism in the distantly imploring I Asked. Strings echo sepulchrally as the ominous, enigmatic Litvak gets underway. Then the band build an otherworldly maze of echoing vocal counterpoint behind Brody’s stark violin in Trep Trepo, Martela.

The group revisit the atmosphere of the opening cut, but more gently, in Green Rue, at least until one of the album’s innumerable, unexpected crescendos kicks in. The final cut is the forcefully elegaic piano ballad A Thistle Grows. Fans of Mariana Sadovska’s bracing reinventions of Capathian mountain music, Aram Bajakian’s sepulchral take on Armenian folk themes or Ljova’s adventures exploring the roots of The Rite of Spring will love this stuff.

Otherworldly Central Asian Ensemble Alash Bring Their Throat-Singing Alchemy to Midtown

In the perennially popular demimonde of Tuvan throat-singing ensembles, Alash are akin to what Huun-Huur-Tu were doing in the early days before they were discovered by the ambient and techno crowds. At this point, Alash’s music is both more rustic and upbeat than their grey-sky brethren’s recent work. The trio of multi-instrumentalist/singers Bady-Dorzhu Ondar, Ayan-Ool Sam and Ayan Shirizhik also distinguish themselves with a puckish sense of humor that really comes across in their live show. Their latest album Achai is streaming at Spotify; the World Music Institute is bringing them to Merkin Concert Hall on Oct 1 at 7:30 PM for $25.

For newcomers to the genre, or those who haven’t tried throat-singing themselves (it’s not that difficult), music from the central Asian steppes is like nothing you’ve ever heard before. Flute melodies sail over clanky, trebly acoustic doshpuluur and chanzy lutes, and frequently, clicking percussion instruments made from animal bones while the singers create strange, high harmonics oscillating from the back of their throats. Some of the melodies utilize the Asian pentatonic scale, but more often than not they don’t. Alash like methodically crescendoing one-chord jams, but also tend to keep their songs on the short side. This album makes a good introduction.

The first track, For My Son, sets a super-low bass vocal melody beneath what’s essentially a brisk boogie blues guitar tune – it’s amazing how low these guys can sing. The flute-and-guitar tune Let’s Fatten the Livestock starts out with a whisper and builds to a mighty, bullish anthem, then rises and falls with a spring breeze of a flute solo.

Stark, bluegrass-ish igil two-string fiddle wafts over delicate guitar fingerpicking on the next track, Don’t Let Me Freeze, which never slides into the terror it alludes to. The briskly strolling Karachal is a launching pad for some pretty spectacular low-register vocals: unlike other groups, Alash sing actual lyrics, not just vocalese, from the stygian depths of their registers!

Mezheegei has a grimly cinematic, windswept feel punctuated by delicate guitar and flute over resonant fiddle. Only You is a spare, brooding accordion waltz. The long, slow, moody ballad Kosh-Oi and Torgalyg is the catchiest, most anthemic number here.

The Black Bird has a hypnotically galloping bounce, while My Throat the Cuckoo  is a droll, catchy exercise in birdsong riffs. The album’s title track is its darkest and most atmospheric, while the final cut, Let’s Relax, is its gentlest yet most epic. There’s also a perambulating flute-and-percussion solo and a pensive, overtone-spiced atmospheric fiddle-and-vocal piece. Count this as one of the most strangely beguiling albums of recent months.

Everybody’s Favorite Americana Harmony Trio, Red Molly, Make a Triumphant Return to City Winery

Is there another Americana band with as individualistic and spine-tingling a blend of voices as Red Molly? Actually yes – Bobtown, who played the Brooklyn Americana Festival on Saturday. More about them later.

Red Molly’s first New York show in two years last night at City Winery was epic. The harmony trio of dobro player Abbie Gardner, guitarists Molly Venter and Laurie MacAllister really give you a lot of bang for your buck. In two long sets, bolstered by bassist Craig Akin and Roosevelt Dime guitarist/percussionist Eben Pariser, they played a wickedly fun, dynamic mix of originals and a bunch of choice covers.

Each group member has a solo album in progress: MacAllister fretted about how the trio would be able to “shoehorn the songs into a Red Molly show,” but everything worked seamlessly. As usual, the women took turns on lead vocals, often in the same number. Venter took centerstage on one of the best of the new songs, Cold Black Water, a portrait of an indomitable single mother making a new start on the rugged Oregon coast, rising from an enigmatic, quiet suspense on the verse to a ferociously anthemic payoff on the chorus. Another standout was a hauntingly muted ballad by Gardner, told from the point of view of a war veteran’s wife who’s watching her wounded warrior trying to keep himself together.

And the voices were sublime. Gardner has jazz bloodlines and Venter is a connoisseur of Texas Americana, with blue notes peeking out from every secret corner. MacAllister contrasts with a disarmingly direct delivery. And while there was plenty of the usual banter between the group and what seemed to be a sold-out crowd, MacAllister came across as the ringleader in this merry band. Introducing a rousing number inspired by a gig in Alaska that wound up with a dude in the crowd throwing a taxidermied fox onto the stage, she related how, for a woman in a state with a gender imbalance, “The odds were good, but the goods were odd.”

The best song of the night was When It’s All Wrong. Gardner’s dobro slid and slithered through every macabre passing tone in the scale as her voice channeled a bitterness and menace that Lana Del Rey and all the other wannabe noir pinups would die to have written.                   

The covers were choice, beginning with the famous Richard Thompson tune from which they take their name. Gardner drew lots of chuckles with a sly little dobro lick on the intro to Crazy, which Venter sang with a nuance that would have made Patsy Cline proud. The three-part harmonies, backed by just bass, on The Fever were a lot of fun, while the group’s most calmly rapturous moment was their a-capella take of their original May I Suggest. As long as Red Molly are still together and touring – something that didn’t seem likely a couple of years ago – maybe, despite the madmen in the White House, we are truly living in the best years of our lives. The darkest times sometimes produce the greatest art. Red Molly’s current tour continues on Oct 6 at at the Freight & Salvage in Berkeley, CA; advance tix are $25.

Next month is a particularly good one at City Winery, Just for starters, Willie Nile – the world’s most obvious choice to sing Dylan – does that on the 10th at 8 PM: tix are expensive, $30, but this could be an awful lot of fun. And then there’s a killer twinbill on the 15th at 8 with blue-eyed soulstress and fiery guitarslinger Miss Tess followed by one of the great songwriters in noir Americana, Eilen Jewell, for $20.

And Gardner has a solo show at Pete’s on Oct 17 at 8:30 PM

Paraguayan Harpist Silvio Solis Leads a Classy Multi-Stringed Ensemble in His Lincoln Center Debut

Paraguyan-born harpist Silvio Solis made his Lincoln Center debut this past evening leading an acoustic guitar ensemble and playing his own innovative take on traditional music from his home turf…on the harp that he’d built for himself. Lincoln Center impresario Viviana Benitez grinned and told the crowd that it they ever needed one custom-made, he’s the man to talk to, “A master of his instrument in every way, shape and form.” She wasn’t kidding.

The music brought to mind the drama of mariachi, and the sweep of Mexican rancheras, but in this group’s hands both the songs and instrumentals in their set came across as more low-key. Solis opened with a gracefully cascading waltz, a duo with guitarist Dani Cortaza, whose harmonics and slides on the fretboard complemented the bandleader’s snazzy glissandos. A bittersweetly gorgeous, bouncy dance number followed, awash in spiky textures: the intricacy of Solis’ two-handed chords was as breathtaking as it was subtle.

Then Solis took a seat as guitarist Federico Tottil joined Cortaza for an understated, shapeshifting Paraguayan ranchera balad lit up with flamenco tinges flyiing from Cortaza’s fingers. Solis functioned essentially as both bassist and lead player on the scampering folk dance after that.

The number of strings onstage kept growing as they switched out Tottil for Paraguayan guitarists Duo Los Maqueda and a dramatically waltzing love song: the orchestral effect generated a clapalong throughout the crowd. Cortaza switched to bass for a stately shout-out to the musicians’ home country, then the guitar trio brought down the lights with a brooding ballad spiced with Cortaza’s chromatics.

The permutations of the group kept shifting, to harp, two guitars and bass, singer Fatima Burgos delivering a spacious ballad with a disarming, low-key directness, underscoring the longing in the lyrics. A couple of propulsive Paraguayan polkas contrasted with a brooding solo ballad sung by Tottil. As the trajectory of the set moved upward, the sparks generated by the strings grew even as the tunes grew simpler and more hard-hitting. The night ended ecstatically with the full sextet.

The programming at Lincoln Center’s atrium space on Broadway just north of 62nd Street has been amazing this year. Next up: a dance party tomorrow night, Sept. 22 at 7:30 PM with vintage Nuyorican salsa crew Charanga America.