New York Music Daily

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Tag: jazz

A West Village Gig and an Dark, Underrated Gem from Guitarist Cameron Mizell

This blog once called Cameron Mizell the best pastoral jazz guitarist not named Bill Frisell. But aside from last names that rhyme, the two musicians’ talents extend far beyond that demimonde. Quietly and efficiently, Mizell has put together a remarkably tuneful, eclectic, understatedly cinematic body of work. In a world overpopulated by guys who play a million notes where one would do, Mizell’s economical, purposeful style stands out even more. He’s got a new duo album with fellow six-stringer Charlie Rauh and a show coming up at Greenwich House Music School at 7:30 PM on Sept 20. Harvey Valdes, who works a more traditional postbop vein, plays the album release show for his new solo record afterward; cover is $15.

Mizell’s arguably best, most Lynchian and most relevant album so far might be Memory/Imagination (streaming at Bandcamp), a brooding, multitracked deep-sky solo record he put out about a year after the fateful 2016 Presidential election. It opens with the distantly uneasy, lingering title cut, a tone poem awash in reverb and backward masking effects: imagine Big Lazy‘s Steve Ulrich making a 1970s style ECM record.

As puckishly picturesque and Pink Floydian as the second cut, Melting is, it’s also a surreal acoustic-electric portrait of global warming. A Toast is meant to evoke a boardroom full of corporate robber barons congratulating themselves: is the loopiness a snide poke at their groupthink, maybe? Interestingly, the song has a visceral, Indian-tinged sense of longing: maybe even those who destroy the world will also miss it when it’s gone.

The Wind Will Never Blow Us Out, a more minimalist take on pensive Jim Hall-style postbop, offers a somewhat more resilient perspective. A haunting, spikily fingerpicked waltz, Vulnerabilities was inspired by a chance meeting with a homeless vet searching in vain for a power outlet to juice his electric wheelchair. Mizell’s inspiration for the hypnotically echoing The View From Above came from a NASA photo of the earth from space, which had been deleted by the time Mizell went back to try to find it again. “Maybe it made America look too small for the new administration,” he relates.

We’ll Find Our Way Out of This Mess begins as a wry study in how to construct a pretty, folksy melody out of backward masking but then takes on epic, ominous proportions. Mizell, a natire Missourian, reflects on the murder of Michael Brown and the Ferguson protests in A Turning Point, an echoey, edgy, bluesy number akin to what David Gilmour could have done if he’d played on Quincy Jones’ In the Heat of the Night soundtrack. The album comes full circle with Decisions, a brighter, more optimistic series of variations on the opening theme. It’s a great late-night listen.

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

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

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

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

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

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

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

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

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

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

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

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

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

A Vivid, Imaginative Live Album and a Jazz Gallery Show From Trumpeter Samantha Boshnack

Said it once, time to say it again: more artists should make live albums. Trumpeter Samantha Boshnack‘s richly melodic, cinematic latest release Live in Santa Monica, with her Seismic Ensemble – streaming at Bandcamp – is lush and sweeping but also bristles with the kind of energy that’s easy to capture onstage but so often gets lost in the rush to wrap up a studio session. Its loosely thematic thread relates to seismic tension in the Pacific Rim, stretching all the way from north Asia to the US Pacific coast. Boshnack is one of the great tunesmiths in jazz and has a thing for unorthodox instrumentation. She likes big, inventive arrangements that still leave plenty of room for individual contributions. She’s leading the group this Sept 9, with sets at at 7:30 PM and 9:30 PM at the Jazz Gallery, as part of this year’s Festival of New Trumpet Music. Fellow trumpeter John Raymond‘s Quartet follows on the bill; cover is $20.

Boshnack and crew open their album with a couple of long, very different, vampy numbers. The first, The Subduction Zone is an uneasily punchy, swaying tune with a catchy trumpet hook at the center, a lustrous, distantly plaintive solo from Boshnack and more of the same from the violinists – Lauren Elizabeth Baba and violinist Paris Hurley – along with some wryly vaudevillian Dan Schnelle drum breaks.

The second, Kamchatka, has terse, bitingly resonant chromatic harmonies – that’s Boshnack, the strings and tenor sax player Ryan Parrish – over an elegantly muted, rat-a-tat Balkan groove, much in the same vein as Ben Holmes’ most recent work. Bassist Nashir Janmohamed takes a purposeful, daincing solo, capped off by a flourish from pianist Paul Cornish. It’s gorgeous, and it’s the best track on the album.

Parrish switches to baritone on Tectonic Plates, following the bandleader’s clear, soaring solo with gritty contrasts over staggered, quasi West African syncopation and jaunty pizzicato from the strings. Cornish’s puckish stairstepping after that completely flips the script as the band blusters and tumbles behind him.

Summer That Never Came opens with a similar smoky/airy dynamic between baritone and strings, then the band rises to a harried canaval-esque intensity before decaying to a wounded, resonant Boshnack solo as the rhythm drops out and then returns, halfspeed.

Convection Current has lush tropical allusions, a buoyant Parrish alto solo, a tightly winding piano solo and lusciously jagged violin over a staggered clave. In the next track, Choro, Schnelle brings back the Balkan flair with his rimshots and tunbles as the bandleader bobs and weaves over the strings’ acidity and smoke from the baritone.

The album’s most epic number, Fuji rises over an allusive Asian theme to towering heights, decays to a spacious and then frenetic piano solo, and finally wistfully incisive solo bass. The stomp afterward has the kind of deviously noisy humor that Boshnack made a name for herself with her B’Shnorkestra large ensemble. The group wind up the album with Submarine Volcano, its series of round-robin conversations, triumphant trumpet and sax. There’s an awful lot going on here, and the fun is contagious.

A Starkly Relevant New Album and a Governors Island Show by the Very Serious Sirius Quartet

The album cover illustration for the Sirius Quartet‘s latest release, New World – streaming at Spotify – has the Statue of Liberty front and center, against a backdrop that could be a sunset with stormclouds overhead…or smoke from a conflagration. She’s wearing a veil. The record’s centerpiece, New World, Nov. 9, 2016 won the Grand Prize in the the New York Philharmonic’s New World Initiative composition competition a couple of years ago. The message could not be more clear. It’s no wonder why the group are so troubled by the events since then: both of their violinists are immigrants.

They’re playing a free concert featuring their own materal plus original arrangements of Radiohead and the Beatles this Sept 7 at the park in the middle of Governors Island, with sets at 1 and 3 PM. You can catch the ferry from either the old Staten Island Ferry terminal at the Battery – to the east of the new one – or from the Brooklyn landing where Bergen Street meets the river.

Violinist Fung Chern Hwei’s Beside the Point opens the album. In between a wistful, trip hop-flavored theme, the group chop their way through a staccato thicket capped off by a big cadenza where the violin finally breaks free, in a depiction of the struggle against discrimination.

Currents, a tone poem by cellist Jeremy Harman has stark, resonant echoes of Irish music and the blues: it could be a shout out to two communities who’ve had to battle bigotry here. The epic title track sarcastically juxtaposes contrasting references to Dvorak’s New World Symphony and Shostakovich’s harrowing String Quartet No. 8: look how far we haven’t come, violinist/composer Gregor Huebner seems to say.

Still, another Huebner composition, is based on Strange Fruit, the grisly chronicle of a lynching and a big Billie Holiday hit. Ron Lawrence’s viola chops at the air along with the cello over an uneasily crescendoing violin haze, the group coalescing somberly up to a horrified, insistent coda. Their version of Eleanor Rigby has a bittersweet, baroque introductory paraphrase and some bluesy soloing, finally hitting the original melody over a propulsive, funky beat. As covers of the song go, it’s one of the few actually listenable ones.

The album’s second epic, More Than We Are rises slowly through allusions to Indian music to a persistently wary, chromatic pulse fueled by Harman’s bassline: you could call parts of it Messiaenic cello metal. To a New Day is even more somber, flickering pizzicato passages alternating with a brooding sway grounded by a hypnotically precise, stabbing rhythm.

The Chinese-inflected 30th Night has a dramatic vocal interlude amid quavering cadenzas as well as phrasing that mimics the warpy tones of a pipa. The album’s second cover, Radiohead’s Knives Out is louder and more jagged than Sybarite5‘s lush take on the Thom Yorke catalog. The group return to the neo-baroque with the album’s rather sentimental closing cut, simply titled Cavatina. Contemporary classical protest music doesn’t get more interesting or hauntingly diverse than this.

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

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

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

If you don’t recognize a venue where a particular act is playing, check the comprehensive, recently updated list of over 200 New York City music venues at New York Music Daily’s sister blog Lucid Culture.

This is not a list of every show in town – it’s a carefully handpicked selection. If this calendar seems short on praise for bands and artists, it’s because every act here is recommended if you like their particular kind of music. Many different styles to choose from.

Showtimes listed here are set times, not the time doors open – if a listing says something like “9ish,” that means it’ll probably start later than advertised. If you see a show listed without the start time, that’s because either the artist, their publicist or the venue in question sent incomplete info – those acts are usually listed last on a particular date.  Always best to check with the venue for the latest information on set times and door charges, since that information is often published here weeks in advance.

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

Weekly events first followed by the daily calendar:

On select Wednesdays and Sundays, an intimate, growing piano music salon on the Upper West Side featuring iconoclastically insightful, lyrical pianist Nancy Garniez – a cult favorite with an extraordinarily fluid, singing, legato style – exploring the delicious minutiae of works from across the centuries, beverages and lively conversation included! sug don, email for details/address

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

Mondays at the Jazz Standard it’s all Mingus, whether with the Mingus Orchestra, Big Band or Mingus Dynasty: as jazz goes, it’s arguably the most exhilarating show of the week, every week. The first-rate players always rise to the level of the material. Sets 7:30/9:30 PM, $25 and worth it.

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

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

Mondays starting at around 10:45 PM Rev. Vince Anderson and his band play two sets at Union Pool. The Rev. is one of the great keyboardists around, equally thrilling on organ or electric piano, an expert at Billy Preston style funk, honkytonk, gospel and blues. He writes very funny, very politically woke, sexy original songs and is one of the most charismatic, intense live performers of our time. It’s a crazy dance party. Paula Henderson from Burnt Sugar is the usual lead soloist on baritone sax, with frequent special guests. Sizzling guitarist Binky Griptite – Sharon Jones’ lead player – is also often there.

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

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

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

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

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

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

Three Saturdays in September: 9/7, 9/14 and 9/28 at 4 PM free concerts at Bargemusic;  usually solo piano or small chamber ensembles. If you get lucky, you’ll catch pyrotechnic violinist/music director Mark Peskanov and/or the many members of his circle. Early arrival advised.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

9/21, 9ish punchy noiserockers Big Bliss and

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Daniel Bennett and Mark Cocheo Play the Funniest Weekly Jazz Residency in Town

The wryly entertaining, irrepressibly catchy new album We Are the Orchestra, credited to the Daniel Bennett Group and streaming at Bandcamp, is actually the work of just two guys in the studio. Bandleader Bennett, who plays a small orchestra’s worth of reeds along with piano and percussion, admits that the idea was pretty crazy. But he and guitarist/banjo player Mark Cocheo pulled this eclectic, pastoral theme and variations together with boundless energy and an unstoppable sense of humor.

Bennett came up with the idea after arranging several Verdi opera themes for small ensemble for a Whitney Museum exhibition. The record is a mix of some of those numbers mingled with Bennett’s witty originalsf you have to pin a label on it, you might call it it film music: it’s rooted in jazz, but bustles with catchy rock hooks and is more than a little cartoonish in places. He and Cocheo have an ongoing weekly Tuesday night 7:30 PM residency at an unexpected and easy-to-get-to spot, the hideaway third-floor Residence Inn bar at 1033 6th Ave., a block south of Bryant Park on the west side of the street. Until word gets out about how much fun Bennett and Cocheo are having with it, you may have the place to yourself.

The new album’s first track is Loose Fitting Spare Tire, a briskly strolling highway theme assembled from crisp Cocheo guitar multitracks and some breezy alto sax from Bennett. It comes across as a more tightly wound take on Bill Frisell. Cocheo breaks out his banjo for a long, spiky solo over the changes in I’m Not Nancy, Bennett switching to flute.

Gold Star Mufflers is a twistedly surreal, uneasily psychedelic detour, banjo mingling with the piano. The first of the Verdi variations, Theme From Ernani is recast as a bittersweet, bossa-tinged tune with a warm, Memphis-flavored soul solo from Cocheo. Refinancing for Elephants – which wasn’t written by Verdi – brings in unexpected Irish flavor via Bennett’s tricky flute work.

Inside Our Pizza Oven, a real showstopper live, presumably could have been written by Verdi but also wasn’t. It’s got some absolutely gorgeous, Balkan-flavored microtonal, melismatic work from Bennett over a hypnotically strummy backdrop. Theme from Il Trovatore – which wasn’t written by Bennett – works much better as waltzing spaghetti western jazz than you might imagine. Carl Finds His Way – which was – brings the album full circle, Cocheo hitting his distortion pedal for extra edge and bite as Bennett swirls overhead.

Blissing Out With Fabian Almazan at the Jazz Standard

This past evening at the Jazz Standard, pianist Fabian Almazan and his trio played a lustrous, glimmering set of nocturnes with the same epic gravitas as his larger-ensemble work. It was a show to get lost in.

Almazan’s lefthand attack can have every bit as much intricacy and nimble glisten as his whirlwind righthand, but the material in this set – comprising much of his latest, lavishly gorgeous, ecologically-themed album The World Abounds with Life – was typically anchored by sometimes fiery, sometimes broodingly resonant pools of chords or hypnotically circling, trickily percussive lefthand riffs.

More often than not, bassist Linda May Han Oh – Almazan’s significant other – would double those riffs, or at least the rhythm, although she took one of the night’s most unselfconsciously plaintive solos, bowing up to an angst-fueled peak in what could have been the show’s most emblenatic number, Drummer Henry Cole opened that one solo with a steady, elegantly tumbling stroll, finally hinting at a famously canine Led Zep groove. Were the band going to go there? As it turns out, no, Almazan following what would become a familiar pattern, circling staccato phrases lightly enhanced by an echo effect, bookending expansive, lush cascades and long, neoromantic chordal brescendos over a shapeshifting beat.

They opened the night with Benjamin – named after the cynical donkey in George Orwell’s Animal Farm – following a similar pattern. The fluttery electronics, which Almazan would typically set a quarter note behind the beat, added textures that during the sparest passages were surreal, and when the notes flying from Almazan’s fingers grew torrential, created a parallel storm. Sometimes this echoed Ikue Mori’s live sampling with artists like Satoko Fujii. The challenge to the rhythm section to stay undistracted must have been considerable but Oh and Cole didn’t waver.

The highlight of the night was The Everglades, an epic salute to Almazan’s refuge as an angst-ridden Cuban immigrant growing up in Florida. Building an increasingly stormy upward drive out of the murk, then going fullscale orchestral with the electronics, Almazan finally brought it down to a long, hushed, tender calm, a moody salute to an imperiled old haunt. The rest of the set was more kinetic, but the rapturous effect lingered: after awhile, it seemed like one long symphony, warmly enveloping passages alternating with frenetically circling interludes.

Almazan’s going to be on the road, in both the US and Europe, for awhile; his next gig is with trumpeter Terence Blanchard’s Art Blakey project at the Detroit Jazz Festival on Sept 1.

Epic Bustle and Thump and Entertainment From the Uncategorizably Fun NYChillharmonic at Joe’s Pub

Was it worth leaving this year’s Charlie Parker Festival early to catch the NYChillharmonic last night at Joe’s Pub? Absolutely. Who knows, maybe someday singer/keyboardist Sara McDonald’s lavish eighteen-piece big band will play the festival – although the lineup that day will have to be a lot more forward-looking than it was yesterday evening.

McDonald’s music is easy to trace back to the wildly syncopated early 70s art-rock of bands like Genesis, although her compositions also draw on classical music, big band jazz, Radiohead and lately, classic soul music and even disco. Huddled together on the cabaret-sized stage, the mighty group were tight as a drum throughout a pummeling, nonstop performance heavy on the beat.

The staggered, staccato pulse of the opening number set the tone and was the most evocative of 70s psychedelia. Like the rest of the songs on the bill, it was pretty much through-composed, reaching a white-knuckle intensity with a series of rhythmic shrieks toward the end. McDonald typically finds more surprising places to take an audience – and her bandmates – than simply coming back to land on a verse or a chorus. Often but not always, the band would bring starkly moody intros full circle to close a tune, whether voice and keys, voice and guitar, or even voice and tuba.

With a vocal delivery that came across as more chirpy and biting than it’s been in recent months, McDonald sang resonantly while spiraling through tightly wound arpeggios on a mini-synth. Then she’d spin and conduct the ensemble, then return to the mic and keys, and made it look easy.

She explained that she’d written the night’s second number, Living Room, after quitting her shitty dayjob. Maybe some organization like Chamber Music America can step in and help her stay away from shitty dayjobs so she can concentrate on what she does best.

That particular number began as a restlessly propulsive soul anthem bulked up to orchestral proportions, with unexpectedly hushed, halfspeed interludes and a similarly sepulcutral outro, flitting out on the wings of the group’s string section. With the next tune, Ambedo, the band mashed up classic 70s disco and 50s Mingus urban noir bustle, punctuated by a series of almost vexing interruptions and a wry, woozy, Bernie Worrell-style bass synth solo.

The night’s darkest and most bracing song, Wicker – which McDonald dedicated to “Ugly patio furniture everywhere” – had looming, ominous chromatics and 21st century Balkan jazz allusions, along with a deliciously jagged guitar solo and more P-Funk keyboard buffoonery. Zephyr has been considerably beefed up since the last time the group played the piece here, its chattering, uneasy intro more of a contrast with its relentlessly syncopated upward drive. It was the closest thing to orchestral Radiohead on the bill.

Easy Comes the Ghost began with circus-rock piano phantasmagoria, shifting through a polyrhythmic maze to a determined disco strut that ended sudden and cold. The group closed the show with another mashup of Radiohead, dancefloor thud and Darcy James Argue-style big band minimalism. Like Missy Mazzoli, McDonald manages to write torrential melodies without cluttering them.

Time was short, so there were no band intros. It would have been fun to have been able to stick around for brass quartet the Westerlies with crooner Theo Bleckmann, but sometimes life takes you elsewhere…humming riffs from this shapeshifting crew which this time included Alden Helmuth on alto sax, Jasper Dutz and Jared Yee on tenor, Drew Vanderwinckel on baritone, Ben Seacrist and Michael Sarian on trumpets, Nick Grinder and Nathan Wood on trombones, Jennifer Wharton on tuba, Kiho Yutaka and Dorothy Kim on violin, Will Marshall on viola, Sasha Ono on cello, Eitan Kenner on electric piano, Steven Rogers on guitar, Adam Neely on bass and Dani Danor on drums.

A Curmudgeonly View of This Year’s Charlie Parker Festival

Why did the final day of this year’s Charlie Parker Festival at Tompkins Square Park feel so tired? For one, because the order of bands was ass-backwards. Alto saxophonist Lakecia Benjamin, who opened, should have headlined: she and her quartet built an energy that, for many reasons, none of the other acts matched.

The relatively small size of the crowd was also a factor. Sure, there were a lot of people gathered down front, but there was never a problem finding space on the lawn, and the perimeter was deserted. To the west, a homeless guy with wireless speakers was blasting the Carpenters. To the east, a strolling brass band had conveniently picked the afternoon of the festival to compete with Benjamin’s all-Coltrane set during the quietest moments. If Kenny G had been onstage, that interference would have been welcome. But he wasn’t. How classless and uncool!

And as a rock musician would say, other than pianist Fred Hersch, everybody else was playing covers.

Drummer Carl Allen can bring the highest echelon talent wherever he wants, considering the size of his address book.. But the potential fireworks between trumpeter Jeremy Pelt and tenor saxophonist JD Allen never materialized, each reading charts throughout a wide-ranging set of material associated with Art Blakey. Allen was more chill behind the kit than Blakey ever was, and the horns (and spring-loaded bassist Peter Washington, and pianist Eric Reed) went for cruise-control rather than friendly sparring – or otherwise. It was lovely – and it sounded as old as it was.

Ageless tenor saxophonist George Coleman thrilled the crowd with a viscerally breathtaking display of circular breathing throughout one persistently uneasy modal interlude, leading an organ jazz quartet. In another moment, he and his alto player conjured up the aching microtonal acidity of Turkish zurlas. Organist Brian Charette was having a great time bubbling and cascading while the bandleader’s son shuffled and swung and shimmered on his cymbals. But as much veteran talent was on display here, it was mostly Charlie Parker covers.

Benjamin has a bright, brassy, Jackie McLean-esque tone on her horn and a killer band. Pianist Sharp Radway is both sharp and way rad: with his crushing low-register chords, endlessly vortical pools of sound and modal mastery, he was the highlight of the festival. Bassist Lonnie Plaxico walked briskly and pedaled and eventually went to the deepest part of the pocket and stayed there while drummer Darrell Green played much more chill than Elvin Jones ever did with Trane’s band. Benjamin’s decision to work her way up from brooding chromatics and modes all the way to a hypnotically swaying A Love Supreme – with guest vocalist Jazzmeia Horn – was also smart programming. Spiraling and bobbing and weaving, her homage to every saxophonist’s big influence (and sometimes bête noire) was heartfelt and affecting. It also would have been fun to have heard some of her own material: she’s a very eclectic writer and a good singer too.

Maybe the sound guy expected Hersch to savage the keys like Radway did, but he didn’t, and for that reason a lot of his signature subtlety got lost in the mix. Bassist John Hebert’s mutedly terse pulse was often considerably higher, and drummer Eric McPherson – one of the great kings of subtlety – was sometimes almost inaudible. Attack aside, Hersch’s signature mix of neoromantic glimmer, wry humor and gravitas is actually a lot closer to Radway’s style than might seem apparent. Hersch deserved more attention, so that we could have given it back to him more than it seems we did.