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A Prescient, Indomitable Final Album From Jewlia Eisenberg’s Charming Hostess

“There was a doctor, there was a teacher, but the doctor didn’t care about illness, and the teacher didn’t care about teaching,” Charming Hostess frontwoman Jewlia Eisenberg sang, to open her radical circus rock band’s final album, The Ginzburg Geographies. In the context of 2022, the irony could not be more crushing.

Eisenberg died on 3/11 last year, four months after the Covid shot rollout. She’d been in precarious health for quite some time before. Nonetheless, the indomitable singer and musical polymath had continued to perform and work on a vast series of projects right up until the 2020 lockdown. It’s something of a miracle that she got as far as she did with the album, which her bandmates finished without her last year.

It’s collection of wildly original arrangements of Italian protest songs, an exploration of the territory that nurtured and eventually destroyed the marriage between World War II-era Italian antifascist activists and writers Natalia and Leone Ginzburg, Hounded and pursued by axis forces, the two managed to evade and outlive Mussolini, but Leone was murdered by the Nazis. His widow would go on to serve in the Italian parliament in the decades after the war.

If you count their college days, Charming Hostess enjoyed a career that lasted almost thirty years, on and off. They went through many incarnations, from proto Gogol Bordello punk to feminist klezmer. Here, they do a strikingly faithful evocation of an anarchic Italian street band from seventy years ago, while also putting their own spin on retro 70s Italian film music in a Tredici Bacci vein . Eisenberg took several of the couple’s texts and used them to create a playlist of brooding, accordion-fueled psychedelia, oom-pah blue-collar protest songs and skittishly subversive bedroom pop. A girl protests against household drudgery, over a swaying, accordion-fueled backdrop. “Authority has no value,” Eisenberg reminds. Guitarist Jeremiah Lockwood jangles through some heartbreakingly beautiful interludes behind Eisenberg’s delicate multitracks. Much of this is on the phantasmagorical side, which makes plenty of sense considering the context. There’s also a ramshackle, bluegrass-flavored cover of a classic Woody Guthrie antifascist song.

The best number on the album is La Situazione, a slinky, shuffling, distantly creepy psychedelic rock shuffle fueled by Dan Cantrell’s roller-rink organ. The gist of Leone’s text is that it is Italians’ duty not to give in to alarmism and instead to dig in and fight while the Nazis roll into Rome. You want prophetic?

Eisenberg was outrageously funny, earthy and sometimes combative. Yet that feisty persona was a manifestation of her deeply liberational Jewish spirituality. She wrote film and theatre music, took a plunge into Babylonian mysticism and late in her career revisited her inner soul and blues sirens: she was a lot of those. Eisenberg didn’t just think outside the box: that box existed only as a target for her surrealist wit…or to be destroyed. How cruel that we’ll never know what else she might have had up her sleeve.

A Lustrous Solo Album From Dobro Stylist Abbie Gardner

Abbie Gardner is one of the most distinctive dobro players in  Americana. She has a seemingly effortless grace and otherworldly precision on an instrument that often bedevils other acoustic guitarslingers. Despite her vaunted technique, she plays with a remarkable economy of notes. She may be best known as a member of well-loved harmony trio Red Molly. but she had fearsome chops before she joined that band. Her new solo album DobroSinger is streaming at Bandcamp

As with her other solo records, almost all the tunes are originals. The opening number, Down the Mountain is a steady coal-mining blues. Gardner’s liquid chords contrast with her stiletto-articulate fingerpicking and slithery slide lines. She sings in an expressive down-home delivery equally informed by oldschool gospel, blues and front-porch folk music.

The second track, Only All the Time is more enigmatic, a stripped-down throwback to the alt-country sounds of the 90s. Gardner slows down for See You Again, part sophisticated blues ballad, part country waltz, with a spare, suspenseful solo on the way out. Born in the City has more of Gardner’s signature, silken legato: the gist of the song is that urban people stick together just as tightly as country folks do.

Wouldn’t it be kind of cool if the next song, Three Quarter Time was in, say, 7/8? It actually isn’t: it’s in 6/8! The intimate arrangement is an artful approach to what’s essentially a vintage Memphis-style soul ballad. Gardner digs in hard for a wicked but nuanced vibrato for a starkly original, grim take of Cypress Tree Blues. Then she flips the script with the wryly aphoristic Too Many Kisses, which wouldn’t be out of place in the Amy Allison songbook.

The brisk, bouncily swinging Honky Tonk Song is the one number here where an overdubbed rhythm track would have come in handy: the absence of a band isn’t an issue anywhere else. Gardner interrupts the playful mood for the stark, understatedly harrowing memoir When We Were Kids: in a quiet way, it’s the most stunning song on the album.

Gardner closes the record with a couple of covers. The first one is a spacious, pouncing version of Those Memories of You, a minor hit for Pam Tillis in the mid-80s. And Gardner reinvents the proto-Lynchian Jo Stafford hit You Belong to Me with a distant, uneasily dreamy feel. If you play guitar, there’s plenty of inspiration here for you to take your chops to the next level. If you don’t, it’s a characteristically sharp, smart Americana record.

An Urban Country Legend Makes an Unlikely Stop on the Lower East Side

Alex Battles may have earned a place in New York music history as a bandleader and scenemaker in what was once a thriving Americana music scene, but he wouldn’t have reached that point without some good songs. With his wry, aphoristic lyrics and unpretentious baritone, the frontman of the Whisky Rebellion was a fixture for years at places like the old Hank’s and Sunny’s, just to name two of the more popular joints he could be be found at. It may seem a little odd that he’s playing the small room at the Rockwood tomorrow night, May 14 at 9, but these are weird times. As a bonus, all-female, soaring front-porch Americana harmony band the Calamity Janes play beforehand at 8. It’s a pass-the-tip-jar situation, and there are no restrictions on entry.

Battles’ catalog is well capsulized by his single A Perfect Game For Lenny Barker, an older song which is up at Bandcamp. It has a lot less to do with the big, burly Cleveland Indians pitcher’s wicked curveball on the historic night of May 15, 1981 against the Toronto Blue Jays than simply the civic pride he brought to a decaying rust belt city whose population was leaving in droves. These days, the same could be said for this city, although there hasn’t been any rust belt here to speak of since the 1960s.

Battles’ 2011 album Goodbye Almira has also been fairly recently digitized and is up at Bandcamp. You can hear his voice suddenly toughen up as he takes control on the mic on the one full-band song on the record, Tom Sawyer’s Island, over the fiddle and the honkytonk piano. Otherwise, it’s something of a change of pace for Battles, a mix of solo acoustic songs and a handful of fetching duets with Aiofe O’Donovan, long before she got off the bluegrass circuit and started playing shows with symphony orchestras.

Battles gets a lot of credit for helping to jumpstart the urban country sound here, and there’s a lot of the pull of the devil city on innocent, goodnatured out-of-towners here. Marilyn Monroe hits the road to get away from two of the main sophisticates who chased her. A nameless Nebraska girl finds out the hard way that being queen of the prairie doesn’t mean anything to the wolves of Wall Street. The two singers shoot for a low-key Gram-and-Emmylou vibe when Battles isn’t painting wistful and sometimes sharply evocative scenes of late-night battles of the sexes, a sad post-carnival tableau and a couple of tales where the big takeaway is what’s left unsaid.

This blog hasn’t been in the house at a Battles show in ages: the last one wasn’t actually his show, it was a birthday party at 68 Jay Street Bar in Dumbo where all his friends from the Roots and Ruckus scene gathered together to sing his songs. Memory is foggy on that one, but it was definitely a party. As for the Calamity Janes, it’s also been awhile; back in 2016, they battled an inept sound mix at a Williamsburg gig and emerged with a decisive victory. That won’t be a problem at the Rockwood.

Violinist Lily Henley Reinvents Haunting, Ironic Ancient Ladino Folk Tunes

Like most good violinists, Lily Henley has been called on to play all sorts of different styles of music. She got her start in New York playing bluegrass and front-porch folk, but also gravitated toward klezmer music. On her latest album Oras Dezaoradas – streaming at Bandcamp – she takes a deep dive into original Ladino songcraft.

There’s actually plenty of historical precedent for Henley’s decision to take a bunch of old ballads and set them to new melodies: until the advent of recording technology, folk musicians had been doing the same thing, largely uncredited, for thousands of years. One of the main themes that runs through the record is female empowerment, underscoring how important women musicians have been in keeping the tradition of Sephardic Spanish Jewish music alive since the terror of the Inquisition.

For the uninitiated, Ladino is to Spanish what ebonics are to English, more than what Yiddish is to German, so Spanish speakers won’t have a hard time getting the gist of these songs. Henley sings the first of several new versions of centuries-old lyrics with clarity and an airy understatement: the humor and irony in these songs is no less resonant today. The wistful, gently swaying tale that she opens the album with is a prime example, a mother confiding to her child that dad is sneaking home in the middle of the night from his girlfriend’s place. Henley fingerpicks a delicate lattice of guitar on this one; Duncan Wickel adds airy, atmospheric fiddle over the terse pulse of bassist Haggai Cohen-Milo.

Henley and Wickel swap instruments for a mashup of klezmer and Appalachia on the second track, jumping from a brightly waltzing intro to a biting, dancing escape anthem. Henley follows that with a defiant party-girl’s tale set to stark, bouncing minor-key tune with Wickel’s cello front and center.

There’s a cruel undercurrent to the broodingly fingerpicked, minor-key Alta Alta Va La Luna – “how high the moon,” basically. It’s a mother telling her child that they might be better off if they hadn’t been born. From there Henly goes back toward brisk, moody bluegrass for Arvoles Lloran Por Lluvia (Trees Cry For Rain), a bitter tale of exile common in much of diasporic Ladino music.

The album’s title track – meaning “Timeless Clock” – features the first of Henley’s original Ladino lyrics, a melancholy if energetically picked seaside tableau echoing a pervasive sense of abandonment. Esta Noche Te Amare, with equal hints of simmering flamenco drama and rustic Americana, is a fabulistic tale of a fair young maiden who sees her knight in shining armor revealed for what he really is.

The three musicians bounce darkly through the album’s lone instrumental, Muza de la Kozima: the acidic bite of the violin and cello is luscious. In La Galud, Henley paints an aching portrait of celebrations and traditions left behind, maybe for forever, set to a fast, steady waltz. She winds up the album, her anguished voice reaching for the rafters over a bass drone, a young woman recounting her boyfriend’s grim demise. It’s the most distinctly klezmer-adjacent melody here and a spine-tingling closer to this fascinating, imaginative record.

Live Music Calendar for New York City and Brooklyn For May and June 2022

More concert listings this month than last: hardly critical mass, but live music in this city is becoming a thing again. Hopefully this is a trend: if all goes well, there will be many additions to this calendar throughout the month.

Weekly events first followed by the daily calendar.

Mondays at the Django 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.

5/6, 5/13 and 5/20 at 7:30 PM, and  5/12 at 10:30 PM tenor saxophonist Ken Fowser leads his band at the Django. Jukebox jazz in a JD Allen vein but not as dark and more straight-ahead/groove-oriented: as postbop party music goes, nobody’s writing better than this guy right now, $25

5/1, 8ish offhandedly chilling angst-rock/psychedelic songwriter Grace Bergere followed by Heavy Feather and the Magic Word – who do a good, shambly baby Supergrass imitation – at Our Wicked Lady, “$13.60” meaning $14 at the door

5/2-6, half past noon veteran, melodic 1950s era jazz pianist Bertha Hope plays the house electric model at Bryant Park

5/2, 7:30/9 PM reliably adrenalizing saxophonist Seamus Blake leads a quartet followed at 10:30 by  expansive postbop pianist Miki Yamanaka and her group at Smalls, $25 cash at the door. Blake is back here the next night, 5/3; Yamanaka is back on the 23rd.

5/2, 8 PM an intriguing avant jazz sax-and-guitar duo: Charlotte Greve and Simon Jermyn Duo at Seeds

5/3, 6 PM Avenida B play oldschool Lower East Side-style salsa at Bryant Park

5/3, 6:30 PM guitarist Federico Balducci leads an improvisational trio with bassist Brian Kastan and drummer Mike Pride followed at 7:30 by Alix Tuccp solo on bass trombone at Downtown Music Gallery, free

5/3, 7 PM eclectically rustic newgrass shredders We Banjo 3 at City Winery, $26 adm avail.

5/4. 5:30 PM Venezuelan piano jazz with the Gabriel Chakarji Group at Multi-Use Room A in Pelham Fritz Recreation Center at Marcus Garvey Park, free

5/4, 6 PM the Antoinette Montague Experience play oldtimey swing jazz at Bryant Park

5/4. 7 PM intriguingly brooding Turkish jazz pianist Bilge Gunaydin at the big room at the Rockwood, $15

5/4. 7:30 PM chanteuse Anais Reno fronts the lyrically energetic Pete Malinverni Trio at the Django, $25

5/4, 8 PM Jambalaya brass band NOTUS march into Drom, $10 adv tix rec

5/5, 6 PM Mariachi Real de Mexico who are as playfully rustic as they are regal at Bryant Park\

5/5, 7:30/9 PM intimate trumpet and piano sounds from Dominick Farinacci and Dan Tepfer at Smalls, $25 cash at the door

5/5. 11 PM ferociously dynamic, tuneful,female-fronted power trio Castle Black at Otto’s

5/6, 7 PM fearlessly powerful, outside-the-box South African jazz siren Melanie Scholtz at the downstairs room at the Rockwood,$15

5/7, 7 PM Liftoff Brass Band play New Orleans-style tunes outdoors at Culture Lab in Long Island City

5/7. 7:30 PM Abhik Mukherjee on sitar and Dibyarka Chatterjee on tabla at the Chhandayan Center For Indian Music, $25

5/7, 8 PM a cool surf twinbill at Otto’s with the Chillers and Blue Wave Theory

5/7. 10:30/midnight  feral tenor saxophonist Eric Wyatt and band and then the jam session at Smalls, $25 cash at the door. He’s back on 5/21

5/7, 11 PM trippy, fun psychedelic disco unit Cosmonaut Radio at the big room at the Rockwood, $10

5/8, 1 PM clever saxophonist Paul Shapiro’s Ribs & Brisket Review plays the “music of Mrs. Maisel” at City Winery $25

5/8, 1:30 PM intense retro 60s influenced Nubian funk band Alsarah & the Nubatones and high voltage Mexican folk-punk band the Villalobos Brothers at the bandshell in Forest Park, Woodhaven Boulevard and Forest Park Drive in Queens, J to 111th St

5/8, 5 PM charming/slashing noir cabaret/circus rock duo Frenchy & the Punk outdoors at Culture Lab in Long Island City

5/9-13, half past noon noir-inspired pianist Todd Robbins plays speakeasy jazz and blues at Bryant Park

5/10, 6:30 PM an improvisational triplebill:  Symbiotique with guitarist Michael Eaton, Seth Andrew Davis, Cheryl Pyle and Kule Quass followed at 7:30 by violinist/singer Kate Birch with guitarist Tal Yahalom and then at 8:30 PM guitarist Chris Pitsiokos and Kevin Murray at Downtown Music Gallery, free

5/11, 7:30 PM lyrical, sweeping pianist/accordionist Ben Rosenblum leads his septet at Smalls, $25 cash at the door

5/11, 8 PM  funk-jazz crew the Silver Arrow Band at Drom, free. They’re also here on 5/24

5/12, 6 PM music of the Americas: Colombia, Peru, and Venezuela with classical guitar duo Nilko Andreas and LaMar NYC at Bryant Park

5/12, 6:45 PM not a music event but fascinating for the scientifically-minded – a titanically smart lineup with the world’s most widely published cardiologist, Dr. Peter McCullough, holocaust survivor and brilliant historian Vera Sharav and Rabbi Jonathan Rietti lead a panel discussion on where we go from here, at 1437 President St (Kingston/Albany), Midwood, Brooklyn, 2 to Nostand Ave, also livestreamed. Put together by the reliably acerbic and insightful Brucha Weisberger and her team

5/12, 7 PM Afro-Cuban percussion legend Pedrito Martinez leads his rumbling, jazz-tinged salsa project at Drom, $20 adv tix rec

5/12, 10:30/midnight  tuneful oldschool soul/jazz trombonist Dave Gibson leads his quintet at Smalls, $25 cash at the door/ He’s back on the 26th

5/12, 11 PM  high-voltage, violin-driven art-rock/metal band Stratospheerius at Shrine

5/13, noon oldschool Cuban streetcorner salsa with Joaquin Pozo y la Clave Suena at Poe Park, 2640 Grand Concourse in the Bronx, B/D to Grand Concourse

5/13, 7 PM the Bootheel Boss Gobblers play western swing and Americana outdoors at Culture Lab in Long Island City

5/13, 7 PM the 18th annual Hank-o-Rama with an allstar band playing Hank Williams classics. Including but not limited to the Lonesome Prairie Dogs, Lenny Kaye on pedal steel, host Alex Battles, with guest stars Tammy Faye Starlite, Cliff Westfall, Sean Kershaw, Jordan McLean, Lil’ Mo Monica Passin and others at the Cutting Room, $20 adv tix rec

5/14. 11 AM (in the morning) oldschool purist 50s jazz guitar sounds with the John Cooksey Quartet at the Smith houses rec center, 80 Catherine St in Chinatown, walk south from Canal St.

5/14, 1 PM West African jazz beats with Jomion & the Uklos Band at Highland Park in Brooklyn, F to Jamaica

5/14 staggered brass band sets around Brooklyn Bridge Park starting at 2 PM with the L Train Brass Band  at Pier 6; at 2:30 – Sugartone Brass Band at the Visitors Center; 3:10 – Ad Hoc Brass Band playing second line stuff at Pier 4 Beach; 3:15-4:25 – Ad Hoc Brass Band at Pier 4 Beach; 4:25-4:30 – Ad Hoc Brass Band second line to Pier 3 Lawnl 4:30-5:10 – Stoop Kidz Brass Band at Pier 3 Lawn; 5:10-5:50 – Extra Syrup Horns at Pier 3 Plaza

5/14, 7:30/9:30 PM drummer Sylvia Cuenca leads a beast of a band with Brian Lynch on trumpet, Craig Handy on sax and Dave Kikoski on piano at Smalls,$25

5/14, 8 PM soaring oldtime front-porch harmony band the Calamity Janes followed by urban country legend Alex Battles at the small room at the Rockwood. In the big room moody retro new waver Alfonso Velez plays at 7 for $14; in the downstairs room at 9 amazing Middle Eastern-tinged psychedelic instrumentalists Sandcatchers play for $10

5/14, 10:30 PM tenor saxophonist Stacy Dillard at Smalls, $25 cash at the door. He’s back here on 5/28

5/15, noon-4 PM the Biophony Festival with various configurations of Metropolis Ensemble-adjacent chamber music groups playing new environmentally-themed works by a vast cast of composers including Charlotte Greve, Claire Dickson and Maria Grand at various locations throughout the Brooklyn Botanic Garden, $18/$12 stud/srs, kids under 12 free.

5/15, noon the annual Greek Jewish Festival opens with the bouncy Elias Ladino Ensemble, followed by the Greek American Folklore Society, the Noga Group featuring oud sorcerer Avram Pengas, captivating bellydancer Layla Isis, psychedelic oud-rocker Scott Wilson & Efendi and the stark, haunting Pontic Firebird (best bandname ever, right?) outdoors at Kehila Kedosha Janina Synagogue and Museum, 280 Broome St (Allen/Eldridge), Chinatown, B/D to Grand St

5/15, 7 PM Portuguese fado-jazz singer Sofia Ribeiro plays the album release show for her new one at Drom, $20 adv tix rec

5/15, 7 PM often haunting, tuneful, improvisational art-rock pianist Gabriel Zucker at the Red Hook Record Store on Van Brunt before you hit Pioneer; F train to Carroll, exit front of the downtown train, take First Place to when it becomes Summit, go over the footbridge, hang a u-turn at the base of the bridge, continue on Summit to the playground triangle and hang a left. It’s about 15 minutes from the train.

5/16, 5:30 PM the American Symphony Orchestra string quartet performs works by French composers including Debussy and Ravel at Bryant Park

5/16, 7:30 PM perennially vital vocal jazz legend Sheila Jordan with cinematic pianist Alan Broadbent at Mezzrow, $25 cash at the door

5/17, 5:30 PM the ASO Percussion Ensemble“combines Afro-Cuban Batá drumming and poetry with the sounds of contemporary chamber percussion, featuring Imani Winds’ oboist Toyin Spellman-Diaz in compositions by percussionist and composer Javier Diaz” at Bryant Park

5/17, 7:30 PM Romany guitarist Pedro Cortes’ Flamenco Ensemble at the Django, $25

5/17, 9:30 PM fearlessly comedic all-female brass crew the eGALitarian Brass at Drom, $10 adv tix rex

5/18, 10:30 PM haunting Elliott Smith-esque rockers No-No Boy play their song cycle about Japanese Americans in US prison camps during WWII at the downstairs room at the Rockwood, ‘$12

5/19, 6 PM  eclectic pan-latin and Middle Eastern-inflected acoustic songwriter Miriam Elhajli at Pier 3 Greenway Terrace toward the south tip of Brooklyn Bridge Park

5/19, 10:30 PN charismatic, adventurous postbop/avant garde trombonist/crooner Frank Lacy leads a quartet at Smalls, $25 cash at the door.

5/20-21, 7 PM an outrageously cool/weird noisefest at 508 Smith St, in Red Hook just across the canal, $30. Acts include “flaming harp, a fire-shooting brass band. baritone sax and motorcycle double-quartet, a balloon choir and a 500,000 watt tesla coil”

5/20, 7:30 PM the Spanish Harlem Orchestra play the album release show for their blazing new salsa jazz record at Drom, $30 adv tix rtec

5/20, 9 PM Giftshop – the missing link between Blondie and the Distillers – at Shillelagh Tavern, 47-22 30th Ave, Astoria, N/R to 46th St

5/20, 10:30 PM  badass bassist and jazz composer Endea Owens and the Cookout at the Django. $25

5/21, 3 PM an afternoon-long free music festival with short sets by Jeff Rodriguez. goofy ukulele songstress Seann Cantatore, hip-hop artists Jam Young, King ECH, and Too Dapper, scruffily psychedelic female-fronted indie band Loosie, Sara No H and Rao at the laundromat at 50-14 Roosevelt Ave in Woodside, 7 to 52nd St. It’s a clothing drive, bring stuff you don’t need, donations gratefully accepted. Free soap, free cookies while they last

5/21, 6:30 PM moody Greek-flavored jazz duo Christos Rafalides – vibraphone and Giovanni Mirabassi – piano followed by ubiquitously tuneful Spanish bassist Manel Fortia and his band and then poignant, captivating Greek singer Eleni Arapoglou and her Mediterranean band at Drom, $20 adv tix rec

5/21, 7 PM the colorful Yu Nishiyama Big Band at Culture Lab in Long Island City

5/21, 8 PM sitar and tabla – Radhakrishna T – a student of Ravi Shankar -. and Jorge Ramiro at the Chhandayan Center For Indian Music $25

5/21, 9 ish drony thrash band the Expollutants followed by intriguing retro 80s rockers Substitute – like GBH with a chorus pedal – and then the fiercely pro-immigrant, all-female Frida Kills at Our Wicked Lady, $14

5/22. noon new-music marching band Asphalt Orchestra play world premieres by Leila Adu-Gilmore, Jeffrey Brooks, and Kendall K. Williams, with special guest steel pan street band Pan in Motion. They will also perform a new arrangement by Tomeka Reid and Ken Thomson’s arrangement of Once in a Lifetime by the Talking Heads at Bryant Park

5/22, 5 PM elegantly lyrical Slavic jazz guitarist Martina Fiserova at the small room at the Rockwood,

5/22. 7:30 PM Canary Islands flamenco-jazz violinist Tania Mesa and band followed by Tunisian bassist Marwan Allam leading a quartet with Yacine Boulares on sax, wow, at Drom, $20 adv tix rec

5/22, 7:30/9 PM clever, purist B3 jazz organist Akiko Tsuruga leads a trio at Smalls, $25 cash at the door

5/23-24, 5:30 PM the American Symphony Orchestra: Jazz Ensemble – not an oxymoron – with Alexa Tarantino on sax play Nat Kiug Cole and Ellington tunes at Bryant Parka

5/25, 7 PM bizarre segue, good twinbill: psychedelic electric jazz keyboardist Sean Wayland followed by Americana banjo songwriter  Hilary Hawke  at the small room at the Rockwood

5/25. 7:30 PM the best singing pianist (and the best piano-playing singer) in jazz, the irrepressible Champian Fulton  followed at 10:30 (separate $25 adm) by purist jazz chanteuse Samara Joy and her octet at the Django

5/26, 7:30 PM New Bojaira play flamenco jazz  at Drom, $20 adv tix rec Followed at 9:30 (separate $15 adv adm) by pyrotechnic clarinetist Ismail Lumanovski’s ferociously kinetic NY Gypsy All-Stars

5/26, 7:30/9 PM darkly eclectic pianist and Cecile McLorin Salvant collaborator Sullivan Fortner leads a trio at Mezzrow, $25 cash at the door d

5/26, 8 PM agelessly slashing, tuneful janglerock/powerpop icon Willie Nile at City Winery $20

5/27, 6:30 PM American Wild Ensemble, a septet of winds, strings, and percussion, will perform music inspired by Olmsted-designed parks including Brooklyn’s Prospect Park and Manhattan’s Fort Tryon Park. The program includes newly commissioned works by composers Oliver Caplan, Nell Shaw Cohen, Michael-Thomas Foumai, Libby Meyer, Ayumi Okada, Justin Ralls, Christina Rusnak, and Ryan Suleiman on the lawn at Ft Tryon Park. The program repeats on 5/28 at noon at the Prospect Park boathouse, Their Boston show last month playing this material was off the hook.

5/27-28, 7:30/9 PM legendary lyrical jazz pianist Bill Mays leads a trio at Mezzrow, $25 at the door

5/28, 6:30 PM a rare chance to see popular Nordic drummer/bandleader Kresten Osgood with trumpeter Herb Robertson and tuba player Marcus Rojas at Downtown Music Gallery

5/28, 8 PM 10-piece chamber orchestra CACEnsemble and the Wendy Osserman Dance Company perform violinist/singer Concetta Abbate’s hauntingly improvisational new suite Laminaria: “fairytale meets noir meets classical music, the story of an underwater shadow ghost emerging from a kelp forest. Laminaria (the Latin word for kelp) is used medicinally to induce labor in women and serves as a metaphor for rebirth, transformation and loss,” at the Park Church Coop, 129 Russell St., Greenpoint, $20, G to Nassau Ave

5/29. 7:30/9 PM charmingly retro Americana jazz chanteuse Sasha Dobson leads a quartet with Peter Bernstein on guitar at Smalls, $25 cash at the door

5/31, 6:30 PM a cool improvisational trio: guitarist Jessica Ackerley, saxophonist Erin Rogers and drummer Henry Mermer followed by trumpeter Darren Johnston and drummer Ches Smith at Downtown Music Gallery

5/31, 8 PM first-wave dreampop legend and Throwing Muses frontwoman Kristin Hersh at City Winery, $20

5/31, 10:30 PM  rustic Cuban country music band Los Hacheros play electric island grooves at the Django

6/8. 7 PM MasterVoices and the Orchestra of St. Luke’s with Shereen Pimentel, soprano and Tariq Al-Sabir, tenor perform works by Mendelssohn, Josquin, Barber and others at Waterline Square Park on Riverside Dr (60/61)

6/11, 7:30 PM the Pan Evolution Steel Orchestra followed by veteran dancehall reggae singer Maxi Priest at Prospect Park Bandshell

6/14, 7:30 PM edgy orchestra the Knights  play a historically brilliant program: new orchestral arrangements of Beethoven’s Sonata No. 9, “Kreutzer Sonata” and Janáček’s String Quartet No. 1, “Kreutzer Sonata”, at the Naumburg Bandshell in Central Park

6/14. 8 PM the NY Philharmonic plays Wagner’s Prelude to Act I of Die Meistersinger, Bruch’s Violin Concerto No. 1 with Bomsori Kim as soloist, Dvořák’s Symphony No. 7, and works by young composers in Van Cortlandt Park in the Bronx. The program repeats on the Great Lawn in Central Park on 6/15, in Cunningham Park, Queens on 6/16 and Prospect Park on 6/17

6/24, 7:30 PM oldschool Colombian gangsta sounds with La Cumbiamba eNeYé followed by Colombian vallenato crooner Fonseca at Prospect Park Bandshell

6/25, 4 PM firebrand Guinean feminist rocker Natu Camara followed by Guinean acrobatic troupe Cirque Kalabanté at Prospect Park Bandshell

6/28. 7:30 PM the Handel and Haydn Society, led by violinist Aisslinn Nosky play works by Corelli, Vivaldi, Geminiani, Handel and Charles Avison at the Naumburg Bandshell in Central Park

7/12, 7:30 PM  A Far Cry  play an innovative program of string arrangements of Bartok miniatures plus works by Franghiz Ali-Zadeh, Dvorak, Beethoven and Karl Doty at the Naumburg Bandshell in Central Park

7/14, 7:30 PM imaginative indie classical choir Roomful of Teeth followed by a live interview with avant garde legends the Kronos Quartet at Prospect Park Bandshell

7/16, 8:30 PM slinky soul-influenced psychedelic band Chicano Batman at Prospect Park Bandshell

7/26, 7:30 PM edgy orchestra the Knights & Lara St. John, violin soloist play Mendelssohn’s Scottish Symphony plus works by Avner Dorman at the Naumburg Bandshell in Central Park

8/2, 7:30 PM  lush, majestic string ensemble the East Coast Chamber Orchestra play works by Adolphus Hailstork, Maureen Nelson and Schubert’s String Quartet No. 14 in D minor, D 810, ‘Death and the Maiden’ at the Naumburg Bandshell in Central Park

Live Music Calendar for New York City and Brooklyn For April and May 2022

Slowly, venues are wising up to the fact that crowds aren’t going to put up with restrictions. Right now it’s mostly jazz clubs who are leading the way, but this calendar continues to grow, slowly: if you’re thinking of going out, you might even want to bookmark this page as there will be additions throughout the month and hopefully beyond.

Mondays at the Django 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.

Thursdays at 7 PM Afro-Cuban percussion legend Pedrito Martinez leads his rumbling, jazz-tinged salsa project at Drom, $20 adv tix rec

4/1 and 4/22 at 7 PM, 4/7 at 10, and 4/16 at 7 PM tenor saxophonist Ken Fowser leads his band at the Django. Jukebox jazz in a JD Allen vein but not as dark and more straight-ahead/groove-oriented: as postbop party music goes, nobody’s writing better than this guy right now, $25

4/1-2, 7:30/9 PM Orbits 4 with pianist Rachel Z, Steve Wilson on alto sax, Jonathan Toscano on bass and Ben Perowsky on drums, wow, at Smalls, $25 cash at the door

4/1, 8 PM ubiquitous, moodily lyrical, politically savvy Irish folk-rocker Niall Connolly at the small room at the Rockwood

4/1, 10 PM tenor saxophonist Wayne Escoffery leads a quintet celebrating the Mingus centennial at the Django, $25

4/2, 7 PM  ambient guitarist and Bowie collaborator Gerry Leonard a.k.a. Spooky Ghost at the basement room at the Rockwood, $15

4/2. 10:30 PM tenor saxophonist Stacy Dillard leads at quartet at Smalls, $25 cash at the door. He’s back here on 4/16

4/2, 7:30 PM Club d’Elf with John Medeski play ramshackle gnawa-funk at Drom, $20 adv tix rec

4/3, 7:15 PM a benefit for Ukrainian refugees on the roof at Our Wicked Lady with short sets by pensive jazz-folk singer Lou Apollon, performance artist Charlotte Righetti, and psychedelic Greek surf rockers the Byzantones, cover is in the neighborhood of $25

4/5, 6:30 PM Nick Panoutsos solo on bass followed by the improvisational sax-drums duo of Colin Fisher and Kyle Hutchins at Downtown Music Gallery, free

4/6, 7 PM the reliably innovative S.E.M Ensemble perform works for ensembles including string quartet, double bass, percussion, and marimba by Morton Feldman, Frederic Rzewski, Alvin Lucier,Petr Kotik, Ana Sokolovic, and Jordan Dykstra, and a premiere by Daniel O’Connor at Willow Place Auditorium, 26 Willow Place (Joralemon/State), downtown Brooklyn, any train to Borough Hall

4/6, 8 PM Melissa Gordon of Melissa & the Mannequins, one of the best purist janglerock songwriters in NYC, at the small room at the Rockwood

4/7. 9ish drony, jangly female-fronted post-Velvets duo Shadow Monster at Our Wicked Lady, $12

4/8, 7 PM haunting folk noir/Americana songwriter Emily Frembgen at the basement room at the Rockwood, $10

4/7, 7 PM vibraphone monster Simon Moullier at the Django, $25. This guy is all about adrenaline – those mallets fly fast and furious.

4/7, 7 PM  tenor saxophonist Tim Ries‘ nonet the Universal Spirits Ensemble = not to be confused with his other band the Rolling Stones – at Drom, $25

4/8, half past noon a celebration of Scottish bagpipe music with Gleadhraich frontman Craig Weir, the Highland Divas and Noisemaker at Bryant Park

4/8, 7 PM haunting folk noir/Americana songwriter Emily Frembgen at the downstairs room at the Rockwood, $10

4/9 starting at 10:30 in the morning Scottish pipe-and-drum bands including the Theater School of Scotland’s band at Bryant Park

4/9, 7 PM trumpeter Alex Norris leads a quintet celebrating the Mingus centennial at the Django, $25. Followed at 10 (separate $25 admission) by bassist Boris Kozlov’s “Electric Mingus Project” with Johnathan Blake on drums which could be truly electiic, or a disaster.

4/9, 10:30 PM feral tenor saxophonist Eric Wyatt and band at Smalls, $25 cash at the door.

4/10, half past noon Scottish bagpipe acts including Whiskey Kiss, New York Brogue and others at Bryant Park

4/10, 7 PM Chontadelia play a wildly energetic marimba-driven take on coastal Colombian folk tunes at Drom, $20

4/10, 7 PM darkly torchy southwestern gothic/Europolitan songwriter/guitarist Miwa Gemini a at the basement room at the Rockwood, $10

4/10, 7:30/9 PM soulful pan-Latin jazz chanteuse Claudia Acuña  leads a trio at Mezzrow, $25 cash at the door

4/11, 7 PM funk-jazz crew the Silver Arrow Band at Drom, free. They’re also here on 4/26 at 8

4/12, 6:30 PM dueling baritone saxes with Jamison Williams and Danny Kamins at Downtown Music Gallery, free

4/13, 8:30 PM a bluegrass summit with Michael Daves and Andy Statman at the big room at the Rockwood, $20

4/13, 9ish drifting, female-fronted dreampop band Punchlove at Our Wicked Lady, $12

4/14, 7 PM lyrical pianist David Kikoski leads a trio with Boris Kozlov on bass and Ari Hoenig on drums celebrating the Mingus centennial at the Django, $25. Followed at 10 (separate $25 adm) by trombonist Conrad Herwig‘s latin/Mingus septet, Herwig is back the next night, 4/15 at 7.

4/14, a good punk and punk-adjacent quadruplebill: 8 PM ish catchy female-fronted powerpop/punk band the Rizzos, the louder and more snide Duke of Vandals, the fiercely pro-immigrant Frida Kill and kinetic no-wavers Weeping Icon at Our Wicked Lady, $12

4/14, 10:30 PM  tuneful oldschool soul/jazz trombonist Dave Gibson leads his quintet at Smalls, $25

4/15, 10 PM cantante MV Caldera sings her high-voltage blend of calypso and tambor at Drom, $20 adv tix rec

4/16, 7 PM trumpeter Philip Harper leads a quintet celebrating the Mingus centennial at the Django, $25

4/17, 7 PM a low-register subset of intricately orchestrated psycho mambo crew Gato Locoat the big room at the Rockwood, $10

4/19, 6:30 PM: a killer free jazz twinbill with trumpeter Thomas Heberer, bassist Joe Fonda and drummer Joe Hertenstein followed at 7:30 by singers Joan Sue and Isabel Crespo with bassists Nick Dunston and Henry Fraser at Downtown Music Gallery, free

4/21, 7 PM Mike LeDonne takes a relatively rare turn on piano  at the Django followed at 10 (separate $25 adm) by purist postbop guitarist Mark Whitfield

4/21, 7 PM pianist Simon Mulligan and cellist Dan Barrett lead a chamber ensemble playing new works at by Catherine Neville, Paul Aljian, Simona Smirnova, David Mecionis, Madelyn Byrne, Eric Heilner, Patricia Leonard, Christopher Sahar, and Anton Rovner’s Mysterious Star, a song cycle on poems by Edgar Allan Poe at the Church of the Transfiguration, 1 E 29th St. $20

4/21, 9ish heavy psych/hard funk trio King Crash at Our Wicked Lady, $12

4/22, 9ish darkly drifting keyboardist/chanteuse Lizzie Loveless and catchy Americana/pop songstress Denitia at Our Wicked Lady, $12

4/22, midnight Elefantkiller – fearless, venomous, politically spot-on New York punks who deserve to be mentioned in the same sentence as the Dead Kennedys – at Otto’s

4/23, from noon to 5 PM reggae soundsystens Soul Supreme, Nexxt Level, Super Force, Federation Sound, and Empress Breeze live and in-person at the VP Records store, 170-19 Jamaica Ave., Jamaica, Queens, A to 169th St. Video Music Box legend Ralph McDaniels will also be there doing his thing with special guests including Kool DJ Red Alert and other figures from hip-hop’s golden age.

4/23, 7 PM  iconic low register reedman Scott Robinsonn leads a quartet with Miki Yamanaka on piano celebrating the Mingus centennial at the Django, $25. melodic rising star bassist Endea Owens & the Cookout follow on the bill at 10 (separate $25 adm)

4/24, 7:30/9 PM  the best singing pianist (and the best piano-playing singer) in jazz, the irrepressible Champian Fulton at Mezzrow, $25

4/24, 9ish hard-hitting stoner boogie band Slomo Sapiens at Our Wicked Lady, $14

4/25, 7 PM noir guitar legend Jim Campilongo  at the big room at the Rockwood $15. Downstairs funky Milwaukee new wavers the Violet Hour play at the same time for $10, take your pick

4/26, 6:30 PM a free jazz twinbill: saxophonist Ayumi Ishito with Damien Olson and Nebula the Velvet Queen on theremin, followed by Aaron Edgcomb on percussion, Priya Carlberg on vocals and David Leon on sax at Downtown Music Gallery, free

4/26, 7 PM catchy female-fronted punk band the Neighborhood Brats at Our Wicked Lady, $15

4/26. 10 PM  rustic Cuban country music band Los Hacheros play ancient island grooves at the Django, $25

4/27, 7:30/9 PM imaginative, tuneful bassist Joris Teepe with Leo Genovest on piano and Matt Wilson on drums at Mezzrow, $25

4/28, 7 PM lyrical latin-inflected pianist Helen Sung leads a quartet celebrating the Mingus centennial at the Django, $25

4/28, 7 PM Cuban groovmeister Carlitos Padron & Rumberos Del Callejon play oldschool salsa dura at Drom, $20 adv tix rec

4/28, 7:30/9 PM colorful,  eclectic, paradigm-shifting B3 jazz organist Brian Charette leads a trio at Mezzrow, $25

4/28, 8 PM intense, charismatic oldschool soul belter Sami Stevens at the small room at the Rockwood

4/28, 9 PM ferocious, smartly lyrical soul-rockers No Ice at Our Wicked Lady, $14. Avoid the Nazi opening band The Road to Ruin at all costs: how did they get on the bill?

4/29, 8ish reliably slashing noiserockers Bugs in the Dark at Our Wicked Lady, $14

4/29, 10 PM at Otto’s, a tuneful, oldschool style punk bill: the OC Rippers, a promising new band who remind you of the Dead Boys, at 11 San Diego’s solid, tuneful Slaughter Boys and the more postpunk/hardcoreish No-Heads headlining.

4/29, 10 PM energetic purist tenor saxophonist Craig Handy & Second Line Smith at the Django, $25

4/30. starting at 2 PM in reverse order at Otto’s, an eclectic benefit for the citizens of Ukraine, all donations to benefit Razom for Ukraine, beginning with the acoustic acts and moving on to the bands: headliners Giftshop – the missing link between Blondie and the Distillers – preceded by long-running, wickedly jangly, tuneful Americana rockers the Sloe Guns, Stephanie Marie and Friends, Krispy DeRato, Gary Edward Kiyan, Raising Daughters, Xavier Moll, Lo, Sean Listro, Kassaye Selassie, Adam Najemian, Jason Inyoung Lee, Max Lombardo, Harrison Dolan, and others.

4/30, 3 PM the Bang on a Can avant garde organization returns to NYC with a multi-ensemble mini-marathon outdoors at 300 Ashland Place just downhill from BAM. Among them: epic ranchera/bolero brass crew Banda de los Muertos  at 3  and at 7 Kendall K. Williams‘ steel pan orchestra\

4/30, 7 PM are you hungry for orchestral music but locked out of Lincoln Center and Carnegie Hall? Here’s a great evening of symphonic sounds with the Modus Opera Orchestra playing works by Rossini, Bach, Morricone, a world premiere by Guido López-Gavilán, plus Tschaikovsky’s Symphony No. 5 at St. Mary’s Church, 1008 49th Ave, Long Island City, just up the block from the Vernon-Jackson stop on the 7 train, $25

4/30. 7 PM mighty Brazilian drumline street band BatalaNYC celebrate 10 years of banging around thunderously at Drom, $12 adv tix rec

4/30, 9 PM ferocious two-guitar oldschool powerpop band Ratstar at the Delancey, $10

4/30. 10:30 PM downtown jazz guitar icon Elliott Sharp leads a trio at the downstairs room at the Rockwood, $20

5/3, 6:30 PM guitarist Federico Balducci leads an improvisational trio with bassist Brian Kastan and drummer Mike Pride followed at 7:30 by Alix Tucci solo on bass trombone at Downtown Music Gallery, free

5/4, 8 PM Jambalaya brass band NOTUS march into Drom, $10 adv tix rec

5/10, 6:30 PM Symbiotique with guitarist Michael Eaton, Seth Andrew Davis, Cheryl Pyle and Kule Quass followed at 7:30 by violinist/singer Kate Birch with guitarist Tal Yahalom and then at 8:30 PM guitarist Chris Pitsiokos and Kevin Murray at Downtown Music Gallery, free

5/15, noon the annual Greek Jewish Festival opens with the bouncy Elias Ladino Ensemble, followed by the Greek American Folklore Society, the Noga Group featuring oud sorcerer Avram Pengas, captivating bellydancer Layla Isis, psychedelic oud-rocker Scott Wilson & Efendi and the stark, haunting Pontic Firebird (best bandname ever, right?) outdoors at Kehila Kedosha Janina Synagogue and Museum, 280 Broome St (Allen/Eldridge), Chinatown, B/D to Grand St\

5/20, 9 PM Giftshop – the missing link between Blondie and the Distillers – at Shillelagh Tavern, 47-22 30th Ave, Astoria, N/R to 46th St

It might seem premature to include concerts as far away as this summer, but these are outdoors. so even if the dying Kathy Hochul regime tries to bring the lockdown back from the dead, these will probably go on as planned:

6/14, 7:30 PM edgy orchestra the Knights  play a historically brilliant program: new orchestral arrangements of Beethoven’s Sonata No. 9, “Kreutzer Sonata” and Janáček’s String Quartet No. 1, “Kreutzer Sonata”, at the Naumburg Bandshell in Central Park

6/28. 7:30 PM the Handel and Haydn Society, led by violinist Aisslinn Nosky play works by Corelli, Vivaldi, Geminiani, Handel and Charles Avison at the Naumburg Bandshell in Central Park

7/12, 7:30 PM  A Far Cry  play an innovative program of string arrangements of Bartok miniatures plus works by Franghiz Ali-Zadeh, Dvorak, Beethoven and Karl Doty at the Naumburg Bandshell in Central Park

7/26, 7:30 PM edgy orchestra the Knights & Lara St. John, violin soloist play Mendelssohn’s Scottish Symphony plus works by Avner Dorman at the Naumburg Bandshell in Central Park

8/2, 7:30 PM  lush, majestic string ensemble the East Coast Chamber Orchestra play works by Adolphus Hailstork, Maureen Nelson and Schubert’s String Quartet No. 14 in D minor, D 810, ‘Death and the Maiden’ at the Naumburg Bandshell in Central Park

A Horrifying Audio Memoir of the Kosovo War

The new compilation A Lifetime Isn’t Long Enough, by the War Women of Kosovo – streaming at Bandcamp – might be one of the most chilling albums ever made. It’s a recording of several Croatian women speaking and occasionally singing, anonymously, about the atrocities they survived during the war in Kosovo in the 1990s. Author Ian Brennan and filmmaker Marilena Umuhoza Delli produced this spare, stark album.

One of the spoken-word clips is titled I Was Twelve Years Old When They Raped Me (I Was Covered in Blood). In the space of a few, brief, haggard, microtonal bars of what seems to be a completely improvised melody, a woman explains how “I Searched the Prisons for My Husband for Two Years After the War.” That theme could have been sung by millions of women throughout history. For that matter, the same could be said for I Was Already Pregnant When I Was Raped (They Killed My Family Before I Fled).

There are no shrieks of anguish and few sobs in these brief accounts. They are all the more harrowing for being so straightforward, especially since some of the recordings were made in the survivors’ homes, where they were attacked and still reside. Some of them strum on an acoustic guitar, a couple others tap out a beat. None of them are professional musicians; it’s likely that few if any are performers. Although the audience for this will no doubt be limited to Croatian speakers, the historical value is incalculable.

Where was the United Nations while all this was going on? Raping and pillaging along with the Serbian invaders. And also working with the administration of Bill Clinton – a World Economic Forum collaborator – to bomb Serbian civilians with tons of depleted uranium. Times may change, but genocidal sociopaths remain until they’re stopped.

A Playlist Inspired by and in Support of the Freedom Convoy

The Freedom Convoy to our north has triggered more than just a global revolution. There’s also been an explosion of genuine folk music in support of the heroic Canadian truckers. As just one example, give a listen to Daisy Moses Friends & Kin doing Keep On’ Truckin’ Against Tyranny. Just a family sitting around somebody’s phone, everybody joining in, somebody playing the melody to Neil Young’s Heart of Gold on an acoustic guitar. This is the future of music.

Somebody else who’s looking to the future while looking back is dancehall reggae artist Remeece, who has lyrical skills to match his political fearlessness. And his videos can be pricelessly funny. Watch him as he fires off the lyrics to Don’t Tek Di Vaccine while completely unmuzzled on the London tube, right in the face of a bunch of muzzled passengers. Now, they might be actors, but you have to admit it’s a beautiful image.

Remeece has more than just one pro-freedom song, too:

Big Pharma dem a thief and government are losers
Kick Pfizer in de batty with size 17 boota…
Babylonian play tricks, remove them from your playlist

That’s from the song Boosta. The third and final song on this video page is Choose Your Side: “Goodbye to de billionaires queues yeah, Bill Gates don’t get it confused yeah, we’re coming for you and your crew yeah.”

The truckers’ theme song is We Drive, by Larry Beckstead. It’s a CW McCall style country anthem:

It was jab or job that in was their log on the day it all began
When those diesel dudes had a change of mood and drew a deep line in the sand

Download it here; thanks to novelist and freedom fighter John C.A. Manley for passing it along

Aussie exile singer Paul Seils’ Hold the Line echoes that fearlessness: “Never to be enslaved again, billions of us rising, united to the very end.” The video is awesome.

Penny Little of the Away Team was inspired to record her solo anthem Stand Up for Freedom, which also has an inspiring and spot-on video pastiche. “It’s a slippery slope and we can’t go back, we’re the tip of the iceberg I’m telling you that.” Thanks to the irreplaceable Mark Crispin Miller for passing this one along, along with the Remeece and Daisy Moses clips. His daily News From Underground listserv has been a useful and often prophetic source for years, but in the past several weeks it’s become a second New York Music Daily. If you like what’s on this page, you may want to subscribe to his.

Let’s end today’s playlist with a somber, twelve-minute dirge to remind us that our job is not over yet and that we still have grim realities to confront. Eight Bells’ The Well is twelve minutes of otherworldly, close-harmonied vocals over a backdrop that sounds like the Cure circa Pornography with more of a metal influence and a woman out front

In an amusing and unexpectedly heartwarming development, an “unacceptable” Canadian judge ordered the Ottawa police to return the cache of fuel they’d stolen from the convoy on Tuesday night.

High-Voltage Catalan Dances and Party Tunes From Fenya Rai

Fenya Rai play high-voltage Catalan folk and Romany dance tunes with a rock rhythm section. Their sound is more unscripted and less flamenco-oriented than the Gipsy Kings, less self-referential than Gogol Bordello, although in their own irrepressible way they’re every bit as punk. Their latest album Placa Major – meaning “town square” – is streaming at Spotify. It’s a party in a box. Jordi Jubany plays guitar, with Jaume Martínez on accordion, David Tudela on bass and on Roger Montalà on drums

The opening number, Pastor Cabrer is a gruffly bouncy, upbeat tune that could be the Pogues singing in Catalan – or a bluegrass tune, for that matter. Sometimes party music sounds a lot alike no matter where it comes from. Joan Reig is the boisterous guest vocalist.

Jaume Arnella sings the similarly upbeat Les Rondes del Vi with a gruff, wintry delivery, in contrast to the spritely acoustic guitar. Francesc Ribera a.k.a Titot takes over the mic on La Fonda de Cal Xai, a briskly pulsing minor-key Romany tune. He returns a bit later to sing El Rector de Collbató, a klezmer-tinged tune with moody, resonant clarinet from Aura Roca along with stabbing accordion. Playing electric guitar, Albert Ibarra trades off some biting riffage of his own.

Bat de Sol is where the flamenco comes simmering in, with the expressive Arturo Gaya on vocals and Clara Colom on diatonic accordion. Adrià Dilmé joins the vocal harmonies in the cheery, pastoral cumbia El Vi de la Terra. Ibarra’s spiky guitar adds a wild psychedelic tinge to Quin Enrenou, another cumbia bounce.

Baixeu al Carrer, a swaying accordion tune, has sly guy/girl harmonies: it could be the roots of a Venezuelan cumbia hit from the 60s. The band pick up the pace even more with Els Tres Xicots, a big scampering banjo anthem.

There are mariachi horns on El Gall Negre, which could be a Mexican banda hit with a lickety-split sprint out at the end. The band go back to cumbia for album’s final track, El Tiexidor, a singalong drinking song.

Poignant, Gorgeous New Songs For Viola Da Gamba on Almalé’s New Album

Pilar Almalé’s axe is the viola da gamba. It’s an unusual choice for an original songwriter, especially since most of the repertoire for the instrument is from the baroque era and before . Almalé has an expressive voice, uses the gamba for both cello-like sustain and basslines, writes strong melodies and reinvents older material with considerable flair. Her new album, Hixa Mia (My Daughter), released under her last name, is streaming at Spotify. She has a fantastic, similarly adventurous band. Violinist Thomas Kretszchmar and guitarist Alex Comín blend terse, imaginative jazz and Romany influences without cluttering the sound, percussionist Fran Gazol adding flamenco and Middle Eastern grooves.

Almalé opens the album with the title track, a catchy, Andalucian-flavored, poignant minor-key anthem with a swaying, levantine-tinged groove and a stark, jazz-inflected violin solo. You could call this folk-rock, or Romany music, or something fresh and new. The string harmonies on the slow, gently syncopated second track, simply titled Passacalle, are stark, rich and reedlike, a close approximation of an accordion. Comín bobs and weaves and chooses his spots, whether with feathery tremolo-picking, big lush chords or carefree single-note jazz lines.

She opens A la Luna, a gorgeously slinky, trickily rhythmic Turkish-inspired number, with a broodingly bowed solo, bringing a visceral sense of longing to the lyrics. Kretszchmar subtly builds his solo to a searing peak.

Pianist Lucas Delgado plays carefully articulated, somber lines in Flow My Tears, a moody, klezmer-esque ballad which Almalé sings in low-key, cadenced English. The group veer between brisk Romany-flavored jazz, a moody ballad and the baroque in the instrumental Blue Lamento. It makes a good bridge to Folias Gallegas, an upbeat, Celtic-tinged circle dance with an austere, baroque-flavored solo gamba break midway through.

La Patetica, a solo gamba piece, comes across as a stormy mashup of Tschaikovsky and a Bach cello suite. Almalé launches a-cappella into the album’s final cut, Los Guisados, a rousing, rustically waltzing anthem that rises out of an unexpected lull to a tantalizing white-knuckle restraint. It’s unlike anything else released in the last several months. Fans of music from the Straits of Gibraltar to the Black Sea will love this stuff.