New York Music Daily

Global Music With a New York Edge

Tag: jazz

Disquieting, Translucent Noir-Tinged Tunes and a Barbes Gig From Brian Shankar Adler’s Fourth Dimension

Said it before, time to say it again: good drummers have the best address books because everybody wants to play with them. Drummer Brian Shankar Adler‘s latest album Fourth Dimension – streaming at Bandcamp – is the latest to validate that argument, a darkly syncopated collection equally informed by minimalist 20th century music, Indian sounds and noir cinematics. Chances are he’ll be airing out plenty of this material at his gig at Barbes on Feb 20 at 8 PM. The eclectic, funky Sugartone Brass Band play after at around 10.

The album opens with a minimalist indie classical-style variations on a simple 1-5-octave piano riff from Santiago Liebson. Mantra is where vibraphonist Matt Moran and guitarist Jonathan Goldberger come in: it’s a syncopated take on ominous Twin Peaks jazz, guitar in place of the faux Miles trumpet that Angelo Badalementi would undoubtedly use here.

A Goldberger drone offers a backdrop to eerily dripppy vibes and piano as Rudram coalesces, then bassist Rob Jost loops a tasty Indian-tinged chromatic riff followed by blippy exchanges among the band: Rez Abbasi‘s more concise work comes to mind.

In Pulses, Goldberger holds down the lows while Moran balances the top end and the bandleader gets blustery, up to an unexpectedly windswept, sirening outro. Windy Path is less gusty than just oddly and creepily stairstepping: a cut and pasted take on broodingly catchy Britfolk, maybe. Gowanus – for out-of-towners, that’s the stinky Brooklyn canal, reputedly home to many, many corpses – rises from an acidic pool of sounds to a hypnotic, grimly funky groove lit up by the interplay between piano and vibes.

Watertown has a suspiciously bouncy, quasi nursery rhyme theme bookending a careening guitar break. Goldberger busts out his flange for Nuearth, a lingeringly woozy pastoral tune that Adler very cleverly syncopates around an enigmatically Romantic piano interlude. Petulant polyrhythms dominate the staggered mash of ideas in Pendulum, while the similar Rise and Fall leans toward the careeningly bucolic material Tom Csatari was writing a couple of years ago.

Thw band wind up the album with Alternative Facts, another bouncy metric maze that’s too crazy to believe despite hints of calypso and a ridiculous vibraphone solo. Fans of artists as diverse as the aforementioned Mr. Badalamenti, Kneebody and Chris Dingman should check out this strange and individualistic crew.

Endea Owens Brings Her Jazz Party to Lincoln Center

Last night at Lincoln Center, bassist Endea Owens emerged from behind the audience and earned a spontantous clapalong from the crowd on a brisk version of Stevie Wonder’s Higher Ground, getting a growly, funky tone out of her shiny beige Fender Jazz model. The band simmered behind her: Jonathan Thomas on Rhodes, Shenel Johns and Jay Ward on vocals, and a three-piece horn section of Jeffrey Miller on trombone, Irwin Hall on tenor sax and Josh Evans on trumpet. What was coolest was how Owens stuck with tightly coiling riffs and steady walks instead of the slaphappy garbage some four-string people fall into when they plug in.

“The next song is an original composition called Feel Good. Before we get started, I just want to tell you why I wrote it.” The suspense was killing. “I wrote it because I wanted to feel good!” So much for awkward confessions in front of an audience.

Switching to upright, Owens gave her tune the same kind of spring-loaded, riff-driven groove, even during a long crescendoing solo, Evans choosing his spots to blast out of drummer EJ Strickland’s pummeling swing. Owens’ debut album Feel Good Music is due out later this month: truth in advertising.

Johns returned to ease her way airily into Marvin Gaye’s What’s Going On, the horns slowly rising to a jaunty series of dixieland-tinged licks. Hall matched the cheer of the original in an extended break; Miller chose his spots with a bluesy gravitas. When Johns got to “War is not the answer,” that’s where she really picked it up.

Owens is doing the same thing with soul music that the golden age jazz artists did with showtunes. “Feel good music means thinking about going back home – you’re going to hear a lot of Motown tonight,” the native Detroiter grinned. She likes Donny Hathaway: inspired by a good soundcheck, she scrapped her arrangement of Someday We’ll All Be Free for a simple, summery piano/vocal duet by Thomas and Ward.

Owens wrote For the Brothers in the wake of the murder of Trayvon Martin, but now she sees her resolutely bouncy triplet funk number as something for everybody. “A lot of my friends went through troubles with police brutality…and just being slighted in life, It takes all of us, it doesn’t just take a song, it takes effort from all of us,” she reminded. Triggered by Thomas’ gospel solo, the crowd engaged themselves again.

Owens sent the whole band away for a solo piece, Yesterdays, in D minor, her favorite key as a budding bassist. It was a knockout: gritty and spacious to begin, then a defiant strut spiced with clenched-teeth eighth-notes and an unexpectedly somber ending. The band came back up for a bluesy ba-BUMP take of Can’t Get Next to You, echoed by a Johns/Owens duet of Quincy Jones’ Celie’s Blues.

A percolating minor jump blues also sizzled with Thomas’ sabretoothed modalities and Owens’ jubilantly striding lines. Owens and Johns tried teaching the audience the electric slide, without much luck. Then she and the band ran off to Dizzy’s Club a few blocks south to play a late-night set, where she’ll be through this Saturday night, Feb 15 at 11:30 PM for a measly $10. The mostly-weekly Thursday night free concert series at the Lincoln Center atrium space on Broadway just north of 62nd St. continues on Feb 20 at 7:30 PM with a high-voltage oldschool salsa dura dance party featuring longtime Tito Puente sideman John “Dandy” Rodriguez’s Dream Team band. Get there early if you’re going.

Rapturous Violin/Tuba Rarities at Barbes

“Some of my songs are based on basslines, but some of them aren’t,” Bob Stewart said enigmatically to the crowd at Barbes a couple of Saturday nights ago.. What’s the likelihood that the guy who’s arguably the best tuba player in the history of jazz would play Brooklyn, let alone the back room at this cozy Park Slope hotspot?

It happened. A handful of New York’s best low-register musicians came out along with the cognoscenti to catch him in a spine-tingling one-off duo set with violinist Curtis Stewart. They covered all the bases, from the muddiest lows to the most ghostly, whistling high harmonics. The tuba player is a known quantity as one of this century’s great blues musicians, but the violinist distinguished himself just as much with his edgy, oldtime gospel-infused lines, broodingly resonant vistas and searingly precise riffage.

The original compositions had a lot of intertwining melody between the lows and the highs, their composer seldom employing the kind of ostentatious, upper-register extended technique that a lot of tuba players like to show off: this guy is all about the melody. He marveled at what a great bassline the gorgeously latin-tinged Frank Foster ballad Simone has – and then reveled in that slinkiness as he wound those phrases upward, adding flourishes as the energy rose. One of the last songs in the set was a minor blues by Don Cherry with an unexpectedly strange turnaround. The duo closed with a mutedly regal, slowly shuffling, distantly New Orleans-flavored original.

Barbes is a rare small club that features tuba music on a regular basis: brass band Slavic Soul Party hold down a weekly Tuesday residency that starts at about 9 PM. As far as violin music there is concerned, haunting Turkish band Dolunay, with the brilliant Eylem Basaldi, are playing on Feb 28th at 8.

Satoko Fujii Just Keeps Reinventing Herself

From this blog’s perspective, one of the great things about pianist Satoko Fujii coming to town more frequently these days is that it’s an excuse to listen to another one of her records: she puts them out at an astonishing pace matched only by the astonishingly consistent quality of the music. Her next New York gig is at 8 PM this Feb 11 at Roulette with her Kaze quartet; advance tix are $18 and available there on shownights.

Of the new albums, what’s a good one to spin in advance of the show? There are so many: she put out an album a month in 2018. Why not try Triad, her trio record with bassist Joe Fonda and soprano saxophonist Gianni Mimmo, streaming at Bandcamp

This is Fujii at her most outside-the-box: there doesn’t even seem to be a piano on the record until a couple of minutes into the airy opening number, when it becomes clear that she’s getting the strings inside it to resonate with a few deft punches as Mimmo floats and Fonda goes way up the scale for harmonics you hardly expect from a bass.

The album’s centerpiece is the forty-plus minute improvisation Birthday Girl (the album was recorded on her birthday in 2018). Mimmo gives her a lively shout-out; Fujii’s own entrance is much more austere, echoed by Fonda. With his chords and steady pulse, he holds the center as she clusters tightly, Mimmo in imperturbable good-cop role. Fujii’s icy, Messiaenic insistence, grim low-register riffage, lingering unease and momentary divergences into chaos are typical and classic for her. The hazy sax/bass duet midway through is an unexpected departure.

The remaining three tracks seem like miniatures by comparison. Accidental Partner has a similar carefree/foreboding contrast between sax and piano. No More Bugs is amusingly picturesque and aptly titled. The three close with Joe Melts the Water Boiler, Mimmo finally picking up on Fonda’s sly boogie hints as Fujii plays kitten on the keys.

Steal This Composition Book

Soul singer Zeshan B once told an audience that whenever he’s at a loss about where to go with a tune, he just rips a riff from the Indian raga repertoire. Thelonious Monk would loop a phrase and play variations on it until he found something he liked. Iggy Pop’s advice is to take three favorite songs and mash them up. Another good option for the musically stuck would be to dial up the double vinyl album Diary 2005–2015: Yuko Yamaoka Plays the Music of Satoko Fujii, which unfortunately isn’t online yet. It’s a historic release: up to now, no one has ever put out a cover album of material by Fujii, widely considered one of the greatest improvisers of our time, but also underrated (and somewhat undiscovered) as a composer.

Since the mid-90s, Fujii has released over a hundred albums of her own and played on many others: solo, with small groups and several improvising orchestras. She has a Bach-like sense of the seemingly endless permutations that can be built from a simple phrase. This album is sort of the greatest hits from her sketchbook, Some of these ideas morphed into pieces she’s released over the years, but most of them just sat in a box until her husband, trumpeter Natsuki Tamura, suggested pulling the best of them together for a record.

Since Fujii and Tamura spend so much of their time on the road, they enlisted Yamaoka, whose background is classical music, to record them. The result is something worth…um…emulating. You can hear some of those emulatable ideas when Fujii, who’s been coming to town a lot more in recent months, plays Roulette on Feb 11 at 8 PM with her Kaze quartet; $18 advance tix are highly recommended and available at the venue on showdates.

Some of these ideas are barely twenty seconds long; others go on maybe a minute. It becomes clear early on that this is a great mind at work, and Yamaoka’s elegant phrasing does it justice. Fujii has a Pauline Oliveros-class sense of pure sound, but this is straight-up keyboard material without any of the inside-the-piano otherworldliness that Fujii inevitably brings into her live performance.

Each piece is titled by date: the darkness is pretty relentless. Among the most gorgeous are 021205, an understatedly majestic chromatic theme; the one from the next day, with its eerie belltones, is just as tantalizingly brief. A brooding waltz from December of that year could be the start of something beautiful, as could an intriguing series of interlocking phrases from the spring of 2006. A forlornly saturnine 3/4 ballad from the end of 2011 is another highlight. The most fully developed number is an allusive yet stunningly catchy quasi-bolero from 2014.

There are studies on the black keys, in whole-tone and twelve-tone scales and tense close harmonies. Contrasts abound: lively/still, low/high, spare/intricate and warm/icy. Flickers of Debussy, Stravinsky at his most phantasmagorical, Monk, Dave Brubeck, acoustic Steely Dan and Japanese folk melodies filter in and out. Fans of Bartok’s similarly fascinating and inspiring Mikrokosmos will find this a goldmine of useful ideas.

Low-Register Transcendence at Bassist Sigurd Hole’s Carnegie Hall Debut

In his Carnegie Hall debut on the third of the month, bassist Sigurd Hole played music to get absolutely lost in. From the most sepulchral, wispy high harmonics, to pitchblende lows, he used the entirety of the sonic spectrum, as is his style. Often he’d combine the two extremes at once, building keening, sometimes oscillating overtones while bowing steadily at the tailpiece. The effect was as hypnotic as it was intense. Drawing on material from his new double album Lys/Morke (Norwegian for “Light/Dark”), he transcended any concept of what solo bass can be.

Musicologists have long debated the influence of nature on traditions around the world. Hole may have recorded the album on a desolate island off the northern Norwegian coast, but his music had a windswept vastness long before he embarked on the project. There was a point midway during his first set where he built resonance to the point where his bass was literally humming with microtones, many of them no doubt beyond human hearing at both the low and the top end. In a more delicate interlude, he plucked out harmonics that evoked the ping of a West African mbira thumb piano.

Amother passage (Hole basically segued his way into everything) drew on the otherworldly oscillating folk singing known as yoiks, as did an understatedly joyous, circling dance theme. But it was his darkest, most nocturnal passages that resonated the most, a deep riverbed counterbalanced by the alternately busy and hazily lingering flickers at the surface.

David Rothenberg, who has visited that same island where Hole made the record, played in between sets, first alongside a recording of whale song, then solo on bass clarinet. At first the recorded whale seemed to be thrashing the busker, but then Rothenberg found a murky groove and hung with it throughout the mammal’s garrolous whistles and quasi-barks. As the multi-reedman explained, whale song is very poetically constructed, with A-sections, B-sections, C-sections and more.

Hole returned to join Rothenberg for a brief set of duos. It was here the two personalities contrasted the most, Rothenberg eventually switching to clarinet for some exuberant glissandoing as Hole held the center animatedly with his mutedly balletesque leaps and bounces.

A Serendipitous, High-Voltage Live Album and Crown Heights Appearance from Gerald Cleaver

A rabbi, a minister and an imam walk into a bar.

They’ve all had a bunch to drink. Jazz plays over the PA: it’s obviously a live recording, and the band are cooking. They have a loose, comfortable, solo-centric camaraderie, over a floating swing. The three holy men try to figure out who’s playing.

The trumpeter enters with a wild volley, then digs in, hard and bluesy. “Is that Woody Shaw?” the rabbi ponders. “He was Jewish, you know. Woody Schwartz!”

The rabbi is kidding. He doesn’t have a clue who this is. The sax player is more suave: at one point, the pianist goes down in the lows with a snarl to see if he’ll take the bait and get all gritty, but he doesn’t. The bass player walks the changes furiously; the drummer is colorful and has the whole kit resonating.

“This is one of those situations where we’ll never know who this was. It’s just some random night that somebody had the presence of mind to record,” the imam asserts. That’s a Muslim thing: the Prophet tells us to chill because some things are beyond our understanding.

The minister has other things in mind. He asks the bartender, who tells him that the record is Gerald Cleaver’s Violet Hour, Live at Firehouse 12 (for the sake of the story, let’s say he’s streaming the thing from Spotify). If you want to be like these three wise men of dubious sobriety but impeccable taste, you can see Cleaver lead a completely different but similarly incendiary trio with Brandon Seabrook on guitar and Brandon Lopez on bass at Bar Bayeux in Crown Heights tomorrow night, Feb 5 at 8 PM.

If you’ve scrolled down this far, you’ve figured out that this is a party record. The middle of the lineup is allstar caliber, and future Hall of Famer JD Allen, on tenor, isn’t even the cleanup hitter. That might be trumpeter Jeremy Pelt, or multi-reedman Andrew Bishop, who sizzles here. Chris Lightcap is the bass player, with Ben Waltzer on piano.

The first track, the one that the three holy men happened to walk in on, is aptly titled Pilgrim’s Progress, meant to illustrate triumph over adversity. After that, Bishop switches between genially smoky bass clarinet and some slashing moments on soprano sax over the syncopatedly dancing, allusively latin-tinged groove of The Silly One, the rest of the band following in a darker mood.

From there they segue into Tale of Bricks, a grim oldtime gospel tune cached amid a busily stairstepping drive. It’s Exodus, movement of jah people, deciding that Pharaoh was a Silicon Valley boss and that ‘s time to take their talent elsewhere. Over about twelve minutes, Pelt chooses his incisions and then wails, as Allen does later; Bishop’s bass clarinet shivers and combusts. Told you this was solo-centric.

Carla’s Day starts out with a moody, distantly Frank Foster-ish vampiness, the daily struggle making way for better times, speeding up, slowing down. It’s the album’s most contiguous number; Allen’s whirls and spirals and dissections might be its high point. The bandleader’s rumble and Lightcap’s looming chords make the bridge to the defiantly swinging, even catchier, Brubeck-tinged Detroit, a shout-out to Cleaver and Allen’s hometown, This isn’t music for people with short attention spans but it is very entertaining if you have a long one, half a dozen road warriors captured doing what they do best, in good company.

Live Music Calendar for New York City and Brooklyn for February 2020

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! This winter’s agenda is Childhood Classics: A series of three evenings featuring the music we were forced to play – music composed expressly for children, Bach to Kurtag, like it or not, and conversation about that experience, about the piano, and about ongoing musical growth…4 PM on February 16, and March 15, 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.. Brain Cloud are also playing their 10th anniversary show on Nov 22 at 9 PM at the Jalopy for $20

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 starting at 9:30 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 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 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.

Saturdays in February, 6 PM busker swing legends the Xylopholks’ vibraphonist Jonathan Singer with a motley, rotating cast at Barbes

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 in February 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.

2/1, 11:30 AM (in the morning) the Nightingale Farm – Mary Spencer Knapp as narrator and singer, Teagan Taylor on trumpet & vocals, Doug Berns on bass and vocals, Sean Salant on guitar, and Ethan Meyer on percussion.- present their original adaptations of the classic baseball poem “Casey at the Bat” by Ernest Thayer plus Wilhelmina Harper’s “The Gunniwolf.” These stories follow a family singalong. At Greenlight Bookstore: 632 Flatbush Ave, Ft. Greene, free for kids of all ages

2/1, 2:30 PM the NY Classical Players perform the Debussy String Quartet, Dvorak’s American String Quartet and the Ravel Sonata for Violin and Cello at the NYPL for the Performing Arts out back of Lincoln Center free

2/1, 4 PM cinematic, psychedelic quirk-pop keyboardist Michael Hearst presents “Curious, Unusual and Extraordinary” songs from his many bands followed at 6 by Xylopholks’ vibraphonist Jonathan Singer, at 8 by Transylvanian pianist Lucian Ban with tuba jazz legend Bob Stewart and at 10 by epic ranchera/bolero brass crew Banda de los Muertos at Barbes

2/1. 4 PM moody lo-fi keyboardist/singer Anni Rossi followed at 8 by cellist Margaret Tran at Pete’s

2/1, 7 PM hard-hitting latin jazz pianist Donald Vega leads his trio at Birdland, $20 at the bar

2/1, 7:30/9:30 PM this era’s most consistently interesting jazz pianist, Vijay Iyer and trio plus special guest Wadada Leo Smith at the Jazz Standard $30

2/1, 7 PM great doom metal triplebill: Green Dragon – evil stoner boogie/doom ban who need a singer – followed by the enveloping, slower, more unhinged Yatra and then the even sludgier Warhorse at St. Vitus $15

2/1, 7 PM the Brooklyn Conservatory Chorale sing music by French composers Fauré, Poulenc, Ravel and Boulanger, and English composers Byrd, Finzi, Howells and Tallis at Old First Reformed Church , 729 Carroll St,, Park Slope, $20

2/1, 7:30 PM ruthlessly funny, politically satirical faux-folk duo Friends Who Folk (Rachel Wenitsky and Ned Riseley) at Union Hall,702 Union St. north of 7th Ave, R to Union St and walk uphill, $10

2/1 8 PM haunting Middle Eastern guitarist Ayman Fanous at Spectrum $15

2/1, 8 PM sunny banjoist/songwriter Jenna Lindbo followed by politically aware, catchy acoustic songwriter Ruth Hill at the People’s Voice Cafe, sugg don, $20, “more if you choose; less if you can’t; no one turned away”

2/1, 8 PM visionary violinist/social critic Laurie Anderson at Happy Lucky No. 1 Gallery, no joke, $20

2/1, 8 PM duos Double Standard (Jennifer Gersten, violin; Laura Davey, piano) and hear|say (Iva Casián-Lakoš, cello; John Ling, percussion) “suspend their historic rivalry in the interest of mutual music-mongering. Music by Sky Macklay and Sarah Hennies, as well as premieres by Erika Dohi, John Ling, and Ed RosenBerg II” at Arete Gallery, $15

2/1, 8:30 PM darkly tuneful pianist Kris Davis spars with her tenor sax bud Ingrid Laubrock at the Stone at the New School, $20

2/1, 9 PM sharply literary, ten-piece country/carnivalesque/acoustic rock powerhouse M Shanghai String Band at the Jalopy, $10. 2/6 at 7 they’re at Shapeshifter Lab, $tba

2/1, 9ish badass drummer Rachel Housle‘s bday bash with lots of soul, rock, maybe mass free jazz improvisation at the Jalopy Tavern

2/1, Unsteady Freddie‘s monthly surf rock extravaganza at Otto’s begins at 10 PM with the eclectically cinematic Cameramen and the similarly cinematic, more dramatic TarantinosNYC and at around midnight Brooklyn cover crew Band of Others

2/1, 10 PM Elliott Smith-esque chamber-pop band the Morning Sea at the small room at the Rockwood

2/2, 1 PM pianist Jiayang Jin with Bangjun Xia, violin play music of Bach, Bacewicz, Schumann, Brahms, Scriabin, and Chopin at the 92nd St. Y, free

2/2, 4 PM fiery, deviously fun oldtimey swing guitarist/crooner Seth Kessel at Skinny Demis. He’s also here on 2/15 at 4 and 2/27 at 10

2/2, 5:30 PM the New Alchemy Jazz Orchestra with powerhouse soul belter Nicole Zuraitis at Birdland $25 at the bar. Followed at 8:30 ($30 separate adm) by mighty latin jazzz pianist Arturo O’Farrill‘s Octet. 2/13 at 7 Zuraitis leads her own band at 55 Bar

2/2, 7 PM cellist Jakob Kullberg plays solo works by Per Nørgård, Kaija Saariaho, and Bent Sørensen at National Sawduwt $30 adv tix rec

2/2, 8 PM multi-instrumentalist Brian Carpenter’s noir, cinematic, epic Ghost Train Orchestra with special guest crooners Theo Bleckmann, JG Thirlwell and others at the Poisson Rouge, $15 adv tix rec

2/3, 6 PM the improvisationally-inclined Osso String Quartet followed at 8 by sweeping, swinging vibraphone jazz with Behn Gillece and his band at the Fat Cat

2/3. 7:30 PM pianist Joanne Polk leads a trio playing a program of all female composers: Amy Beach, Cecile Chaminade, Louise Farrenc, Clara Schumann and Judith Zaimont at Greenfield Hall at Manhattan School of Music, 130 Claremont Ave north of 122nd st , free

2/3. 8ish largescale improvisational ensemble Pedestrian conducted by Will Shore feat: Kenny Wollesen, Jason Nazary, Michael Kiaer, Jessica Lurie, Briggan Kraus, Mike Irwin, Christof Knoche, Emilie Webel, Adam Brisbin, Michael Coleman, Ava Mendoza, Aument at Holo, $10

2/3, 9 PM deviously clever drummer Jochen Reuckert leads his trio with Mark Turner on tenor and Matt Penman on bass at Bar Lunatico

2/3, 9:30ish Gato Loco bass saxophone monster Stefan Zeniuk’s new slightly less crazy band Green Mambo – a Perez Prado tribute – at Barbes

2/4, 6 PM rousing, anthemic janglerock/Americana band the Hawthorns at the small room at the Rockwood

2/4, 730 PM pianist Do-hyun Kim plays works by Mozart, Chopin, Bartok at Merkin Concert Hall, $10 tix avail

2/4-9, 7:30/9:30 PM alto powerhouse Ravi Coltrane leads his quartet at the Jazz Standard $30

2/4, 8 PM drummer Kate Gentile‘s Find Letter X followed by trombonist Kalia Vandever leading her trio at Seeds

2/4, 8 PM vocalist/composer Charmaine Lee and clarinetist Carol McGonnel perform original works plus pieces by Schoenberg and Erin Gee at Arete Gallery, $15. They’re at the Austrian Cultural Center the next night, 2/5 for free, rsvp reqd

2/4, 8 PM darkly lyrical psychedelic pop songwriter Jennifer Hall at the Parkside

2/4-9, 8:30/10 PM lyrical jazz piano icon Fred Hersch leads his trio at the Vanguard

2/4-8, 8:30 PM fascinatingly lyrical, individualistic pianist Sylvie Courvoisier leads a series of groups at the New School, $20. Choice pick: closing night in a trio with Wadada Leo Smith!

2/4, 9 PM intense janglerock/Americana/soul songwriter Matt Keating and guitarist Steve Mayone’s catchy project theBastards of Fine Arts at 11th St. Bar

2/4, 10 PM ferocious art-rock jamband Planta at Terraza 7, $10

2/4, 10:30 PM charismatic, adventurous postbop/avant garde trombonist/crooner Frank Lacy leads his group at Smalls

2/4, 10 PM the majestic, titanically kinetic NYChillharmonic– a mighty art-rock band with jazz instrumentation – at the Poisson Rouge, $15 adv tix rec

2/5, 1 PM cellist Sophia Bacelar, with intutive, eclectic pianist Alexandra Joan play works by Tschaikovsky, Kapustin and Rachmaninoff at the Greene Space, free, rsvp req

2/5. 7 PM the String Orchestra of NY plays music by Swiss composers at Symphony Space, $15 adv tix rec

2/5, 7:30 PM tuneful postbop pianist Jim Ridl with Tim Armacost (tenor sax), Jay Anderson (bass) at Mezzrow, $20. 2/10 at 7 Ridl’s at 55 Bar

2/5-6, 7:30 PM, repeating 2/8 at 8 and 2/11 at 7:30 PM the NY Philharmonic play Haydn’s Cello Concerto No. 1, Mozart’s solemn “Great” Mass and a Nina C. Young world premiere. $35 tix avail

2/5, 8 PM hypnotically emveloping, atmospheric guitarist/soundscaper Rafiq Bhatia plays the album release show for his new one with Vuyo Sotashe, Nina Moffitt, Jack Hill, Ian Chang, & Chris Pattishall at National Sawdust, $20 adtv tix rec

2/5, 7:30 PM lyrical latin jazz pianist Manuel Valera‘s new Cuban Express big band at the Django

2/5, 8 PM cinematic noir soul instrumentalists the Ghost Funk Orchestra at the Sultan Room, $10

2/5, 9ish Radiohead soundalikes and “post-Americana” chamber rock ensemble Briars of North America at the Owl

2/5, 8 PM drummer Gerald Cleaver leads an incendiary trio with Brandon Seabrook on guitar and Brandon Lopez on bass at Bar Bayeaux

2/5, 8 PM indie classical chamber orchestra Darmstadt Ensemble play Terry Riley’s In C at the Poisson Rouge, $20 adv tix rec

2/5, 8ish sardonically catchy powerpop/janglerockers the Hell Yeah Babies at Our Wicked Lady, $10

2/5,8:30 PM Dervisi feat. psychedelic guitarist George Sempepos play “exotic Greek gangsta blues” and Middle Eastern flavored hash smoking anthems at Troost

2/5, 9ish bass sax powerhouse Colin Stetson’s trippy, darkly loopy postrock/soundscape band Ex Eye at St. Vitus,, $15

2/5, 10 PM wryly psychedelic cinematic Italophile instrumentalists/parodists Tredici Bacci at Baby’s All Right, $12

2/6, 5:30 PM trumpeter Rachel Therrien leads a killer, lyrical quintet with Caroline Davis – alto sax; Marta Sanchez – piano; Rick Rosato – bass; Jay Sawyer – drums at Birdland. $25 at the bar

2/6, 7 PM fearlessly woke hip-hop with Rebel Diaz w special guests Julianno Sosa, Nani Castle, Immortal Technique & A Desalambrar in solildarity w/ Chile at SOB’s, $20

2/6, 7 PM poignant, nuanced jazz singer Amy Cervini leads her quartet at 55 Bar

2/6, 7:30 PM the Telegraph Quartet play a program tba at the Lincoln Center Atrium, free, early arrival advised

2/6, 7:30 PM lyrical pianist Chris Pattishall with Barry Stephenson (bass), TJ Reddick (drums) at Mezzrow, $20

2/6, 8 PM the the Attacca Quartet, So Percussion and badass indie classical violinist/singer Caroline Shaw sing/play her work at the Miller Theatre, $20 tix avail

2/6, 8:30 PM cutting-edge new klezmer sounds with Radiant Others w/Dan Blacksberg & guitarist Nick Millevoi at Town & Village Social Hall, 334 E 14th St.(between 1st & 2nd Ave.), $15

2/6, 9ish fearlessly political, funny acoustic punk siren Jeanie Skelly at Whiskey Bar 28-48 31st St, Astoria, N to Astoria Blvd

2/6, 9 PM high-voltage honkytonk guitar monster Wayne Hancock at the Knitting Facgory, $15

2/6, 9ish fiery oldtimey string band the Four O’Clock Flowers at Sunny’s

2/6, 10ish explosive, creepy, colorful psychedelic rembetiko metal band Greek Judas at Niagara, Ave A/7th St

2/6, 10 PM dynamic, subtle all-female klezmer band Tsibele at Barbes

2/6, 10 PM the great unsung NYC hero of darkly purposeful, noir-tinged jazz guitar,Saul Rubin leads his Zebtet at the Fat Cat. He’s also here on 2/11 and 2/18 at 7

2/7, 7 PM Iceland’s adventurous Nordic Affect period-instrument ensemble at Spectrum, $15

2/7, 7 PM the MSM Symphony Orchestra play works by Beethoven, Schoenberg, and Scriabin at Niedorf Hall at Manhattan School of Music, 130 Claremont Ave north of 122nd St., free

2/7, 7:30 PM the Brooklyn Art Song Society perform works by Bartok, Kodaly, and Janacek at the Brooklyn Historical Society 128 Pierrepont St, downtown Brooklyn, 2/3 to Clark St., $25/$15 stud/srs

2/7, 8 PM John McCowen plays solo contrabass clarinet at Issue Prject Room, sug don

2/7, 8 PM tunefully ubiquitous downtown jazz reedman Marty Ehrlich with Michael Formanek on bass and Tomas Fujiwara on drums at Happy Lucky No. 1 Gallery, $20. He’s back the following night 2/8 same time with pianist Kris Davis

2/7, 8 PM the NY Chamber Players perform Beethoven: Piano Concerto no.1 in C Maj; Schubert: Rondo for Violin and Strings and Beethoven: Romance for Violin and Orchestra in F Maj. at the diMenna Center, free

2/7, 8 PM playfully literate superduo Kill Henry Sugar– guitar/banjo mastermind Erik Della Penna and drummer Dean Sharenow – followed at 10 by followed at 10 by brilliant Americana/jazz/cinematic violinist Skye Steele’s Glorious Sunshine band at Barbes

2/7, 9 PM Brass Against – sort of like revolutionary postrock soul band Algiers with a big brass section – at the Poisson Rouge, $20

2/7, 9 PM violinist Alexi Kenney plays works by Enescu, Bach, Kurtag, Saariaho and others at the 92nd St Y, $25

2/7, 9 PM edgy, politically-fueled, tuneful powerpop/folk-pop songwriter Niall Connolly followed by the enigmatically psychedelic All Night Chemists at the small room at the Rockwood

2/7. 9:30 PM a really quiet band for Lucky 13 Saloon: Bajo Pression‘s psychedelic Mexican soul, $7

2/7, 10:30 PM tuneful oldschool soul/jazz trombonist Dave Gibson leads his quintet at the Fat Cat

2/7, 11:30 PM Changing Modes– NYC’s funnest, most unpredictable, sharply lyrical new wave art-rock band – at the Gutter, $7

2/8, 4 PM best bill of the year so far:  the Erik Satie Quartet – Ron Hay (trombone), Max Seigel (bass trombone),Ben Holmes (trumpet), and Andrew Hadro (bari sax) –reinvent classic and obscure Satie chamber pieces as well as rare compositions by his obscure contemporaries, followed at 6 by busker swing legends the Xylopholks’ vibraphonist Jonathan Singer, at 8 by intense, lyrical jazz bassist/composer Pedro Giraudo leading hisTango Quartet and at 10 by Super Yamba playing their psychedelic Afrobeat jams at Barbes

2/8, 2 and 7:30 PM the NJ Symphony Orchestra performs John Williams’ score to accompany a screening of the Star Wars classic Return of the Jedi at NJPAC in Newark, $26 tix avail

2/8, 7:30 PM pianist Ivan Gusev plays works of C.P.E. Bach, Beethoven, and Chopin at the Tenri institute, $20

2/8, 9ish perennially entertaining, funny, politically spot-on Rod MacDonald at the People’s Voice Cafe, sugg don, $20, “more if you choose; less if you can’t; no one turned away”

2/8, 10 PM Bolivian cumbia legends Los Hijos Del Sol at Cub Bonafide, $25 – they seem to be doing an acoustic thing now

2/8, 10 PM sizzling electric bluegrass and C&W with Demolition String Band at Skinny Dennis

2/8, midnight unpredictably fun, funny art-rock/psychedelic soul band the Academy Blues Project at the small room at the Rockwood. 2/21 at 10 they’re at Silvana

2/9, 3 PM improvisational choir Constellation Chor at Spectrum, $15

2/9, 3 PM the Greenwich Village Orchestra play Stravinsky’s Pulcinella Suite plus Sibelius’ Symphony No. 5 at All Saints Church, 230 E 60th St (2/3rd Aves) $25 sug don

2/9, 4 PM Ayane Kozasa and Melissa Reardon, violas and Raman Ramakrishnan and Paul Wiancko, cellos, perform bustling, cinematic works by Wiancko and others at the Dreck Center at the Brooklyn Public Library, free, no under-sixes.

2/9, 5 PM, repeating 2/12 at 6:30 PM the G# duo – Emilie-Anne Gendron, violin and Yelena Grinberg, piano play works by Mozart, Mendelssohn and Schubert at Grinberg’s upper westside piano salon, reception to follow, $35, close to the 1/2/3 train at 96th St.,deets here

2/9, 5 PM the Atlantic Chamber Players play several wind quintets and other chamber works by Schchedrin, David Amram, Eric Ewazen and others at Our Savior’s Atonement, 178 Bennett Avenue (one block west of Broadway at 189th Street), free

2/9, 5 PM the Sometime Boys’ riveting, powerful, theatrical frontwoman Sarah Mucho sings dark cabaret and rock tunes at Freddy’s

2/9, 5:30 PM darkly sweeping, cinematic singer/composer Jihye Lee and her Orchestra at Birdland $25 at the bar. mighty latin jazzz pianist Arturo O’Farrill‘s Afro-Latin Jazz Orchestra are there at 8:30 and 11 after for $30 separate adm. O’Farrill’s big unit is also there on 2/16 and 2/23

2/9, 6 PM Guillermo Gregorio on clarinet, Ivan Barenboim on contralto clarinet and Nick Jozwiak on cello jam out the lows followed by baritone sax monster Dave Sewelson with Ras Moshe and Leonid Galaganov at Downtown Music Gallery, free

2/9, 6 PM noir guitar legend Jim Campilongo and Luca Benedetti, followed at 9 by Adam Klipple’s Hammond organ extravaganza at 55 Bar

2/9, 7:30 PM imaginative, purist baritone saxophonist Claire Daly leads her quartet at Smalls

2/10, 6 PM the Greenpoint Songwriters Exchange – a diverse bunch playing everything from folk noir to Costelloesque, literary rock to Indian ragas and oldschool soul – at Pete’s

2/10, 7:30 PM the Juilliard Orchestra play Bach – Brandenburg Concerto No. 3 in G Major; Stravinsky – Pulcinella Suite and Concerto in E-flat, “Dumbarton Oaks” at Alice Tully Hall, $20

2/10, 10ish the NYC Gaita Club – a Bulla en el Barrio spinoff – play rustically pounding Afro-Colombian trance-dance music at Barbes

2/11, 7 PM the Underground Spiritual Ground, a new supergroup and Anbessa Orchestra spinoff exploring the connection between African-American spirituals, Ethiopian and Caribbean music followed at 9 by clever, fiery, eclectic ten-piece Balkan/hip-hop/funk brass maniacs Slavic Soul Party at Barbes

2/11, 7 PM eclectic, hard-hitting, lyrical composer/tenor saxophonist Stan Killian and band; at 10 acerbic alto saxophonist David Binney leads his quartet at 55 Bar

2/11, 7:30/9:30 PM the haunting, smokily atmospheric Michael Leonhart Orchestra at the Jazz Standard, $30

2/11, 8 PM arguably the foremost piano improviser alive (and a hell of a composer too), Satoko Fujii‘s Kaze quartet at Roulette, $18 adv tix rec

2/11-15, 8:30 PM unstoppably edgy, deservedly iconic, fearlessly political downtown guitarist Marc Ribot leads a series of ensembles at the Stone., $20 Choice pick: opening night with Greg Lewis (organ) Gerald Cleaver (drums)

2/11-16, 8:30/10 PM the Vanguard Jazz Orchestra– composer Jim McNeely’s reliably good big band vehicle – play their annual weeklong stand on their home turf

2/11, 9ish intense, multistylistic blues guitarist/singer Will Scott at Sunny’s

2/11, 9:30 edgy lead guitarist Damian Quinones and his psychedelic latin soul band at Pete’s. 2/13 at 9 he’s at Bar Chords

2/11-15, 11:30 PM rising star bassist Endea Owens and the Cookout at Dizzy’s Club, $5

2/12, 7 PM Brasbrook: (Brassens/Brooklyn) Georges Brassens, anarchist, provocateur and French poet, gets his repertoire re-arranged for a Nigerian-influenced quartet. With Francis Jacob – guitar, Vocals; Bennett Paster – keyboard; Derek Nievergelt – bass and AJ Olusegun – congas at Barbes

2/12-13, 7 PM the best singing pianist (and the best piano-playing singer) in jazz, Champian Fulton at Birdland, $20 at the bar

2/12, 7 PM the southern gothic of Dolly Parton comes to life! Nath Ann Carrera sings “an evening of the most extreme sensationalistic story songs written by Dolly Parton from all eras of her career, featuring her decades-spanning canon of cautionary tales about why you shouldn’t trust men, have children, or get married, in any context whatsoever!” at Joe’s Pub, $18 gen adm

2/12, 7:30 PM darkly eclectic pianist and Cecile McLorin Salvant collaborator Sullivan Fortner solo at Mezzrow, $20

2/12, 7:30/9:30 PM Middle Eastern-tinged tenor saxophonist Oded Tzur with Nitai Hershkovits – piano; Petros Klampanis – bass; Johnathan Blake – drums at the Jazz Standard, $30

2/12, 8 PM the DaCapo Chamber Players perform music of African-American composers George Walker and Wendell Logan at Merkin Concert Hall, $20

2/12, 8 PM trumpet powerhouse Jeremy Pelt leads a quartet with Stacy Dillard, Clovis Nicolas and Diego Ramirez at Bar Bayeux

2/11, 8 PM classical Iraqi repertoire by Nazim El Ghazali, Afifa Iskanar, and Wahida Khalil sung by Iraqi vocalist Zahra Zubaidi at Sisters Brooklyn, 900 Fulton St at Washington, C to Clinton-Washington, sug don

2/12 ,8 PM Yooni Choi on vocals with lyrical pianist Jacob Sacks at I-beam, $15

2/12, 8:30 PM original honkytonk band Sarah Durning and the Fun Sisters at Freddy’s

2/12, 8:30 PM rising star trumpeter Adam O’Farrill‘s Stranger Days Quartet at Seeds

2/12, 9 PM sardonically relevant, guitar-fueled female-fronted Americana punks Spanking Charlene play the album release show for their new one at Bowery Electric, $12

2/12, 9ish new Brooklyn honkytonk band Lissy & the Jacks at the Jalopy Tavern

2/13, 7:309:30 PM Wet Ink Ensemble play duo compositions: pianist Eric Wubbels and singer Charmaine Lee, cellist Mariel Roberts and violinist Josh Modney at Scholes St Studios, $10, stud free

2/13, 7:30/9:30 PM an all-star big band including but not limited to tenor player Ben Kono and a large cast play new big band works by Sam Blakeslee, Elijah Shiffer, Ines Velasco at the Jazz Gallery, $15

2/13, 7:30 PM pianist Melaine Daulbert plays original works plus pieces by Anastassis Philippakopoulos, Sébastien Roux and Michael Vincent Waller at Arete Gallery, $15

2/13,7:30 PM Austin soul powerhouse Tameca Jones and band at Symphony Space, $20 for 30 and under, $30 otherwise

2/13 ,7:30 PM hotshot, purist bassist Endea Owens leads her band at the Lincoln Center Atrium, free, early arrival advised

2/13, 8 PM 8 PM plush, balmy, oldtimey uke swing band Daria Grace & the Pre-War Ponies followed at 10 by drummer Arthur Vint & Associates reinventing classic Morricone spaghetti western soundtracks at Barbes

2/13, 8 PM punk classical vocal jams with Odeya Nini plus the Chutneys feat Gelsey Bell, guitarist Chris Cochrane, and percussionist and composer Fast Forward. at Roulette, $18 adv tix rec

2/13, 8 PM pianist Simone Dinnerstein plays Bach’s Branderburg Concerto No. 5 and other Bch works at the Miller Theatre, $30 tix avail

2/13, 8:30ish psychedelic supergroup the Elgin Marbles feat. members of Love Camp 7, Dervisi and Peter Stampfel’s jug band at Troost

2/13, 8:30 PM multi-reedman Sam Sadigursky’s klezmer project “The Solomon Diaries” feat accordionist Nathan Koci at Town & Village Social Hall, 334 E 14th St.(between 1st & 2nd Ave.), $15

2/13, 9 PM 20s hot jazz revivalists Cait and the Critters at Radegast Hall

2/14, 6 PM crystalline-voiced, noir-tinged third-stream jazz chanteuse Tessa Souter at 55 Bar

2/14, 7ish entertainingly shuffling, harmony-driven jug band the Salt Cracker Crazies at Terra Blues

2/14-15, 7:30 PM cleverly lyrical, darkly klezmer-tinged pianist Uri Caine leads his trio at Smalls. 2/28-29 at 8 PM he’s at Happy Lucky No. 1 Gallery, $20

2/14-16, 730/9:30 PM the Mingus Big Band’s annual weekend stand at the Jazz Standard. $30

2/14, 8 PM dark cabaret legend Sanda Weigl and her Romany-flavored band followed  at 10 by amazingly fun, noirish, psychedelic surf/cinematic  trio Hearing Things at Barbes

2/14, 8 PM catchy, jangly desert rock band Pistolera at Flushing Town Hall, free, tix req

2/14, 8 PM latin-tinged hard funk band Shelley Nicole’s Blackbushe at the Tribeca Performing Arts Center (the BMCC auditorium on Chambers St), $25

2/14, 8 PM night one of the annual jug band festival at the Jalopy with Piedmont Bluz – Eli Smith – Old Scratch Sallies – Fatboy Wilson & Old Viejo Bones – Morgan O’Kane & Ezekiel Healy, $15 each night or $20 for both

2/14, 8 PM Norah Jones’ edgy, perennially popular oldschool C&W/soul band Puss N Boots at Rough Trade,$25 gen adm. The next night 2/15 they’re at Bowery Ballroom, same deal

2/14, 9 PM feral cellist Jay Campbell and pianist Conor Hanick play works by John Zorn, Natacha Diels and others at the 92nd St Y, $25

2/14, 10:30 PM hilarious, smartly political faux-French retro 60s psych-pop band les Sans Culottes at Freddy’s

2/15, 2 PM the brand new Subtle Cheetah Brass Quintet at Scholes St Studios,

2/15, 4 PM the Harlem Chamber Players perform rare works by African-American composers including Coleridge-Taylor, Perkinson, Margaret Bonds, William Grant Still, and David Baker at Harlem School for the Arts, 649 Saint Nicholas Avenue at 141st $10

2/15, 4 PM the Erik Satie Quartet – Ron Hay (trombone), Max Seigel (bass trombone),Ben Holmes(trumpet), and Andrew Hadro (bari sax) –reinvent classic and obscure Satie chamber pieces as well as rare compositions by his obscure contemporaries,followed at 6 by busker cartoon swing legends the Xylopholks’ vibraphonist Jonathan Singer, at 8 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 – and at 10 by singer Carolina Oliveros’ mighty 13-piece Afro-Colombian trance/dance choir Bulla en el Barrio at Barbes. Bulla are also here on 2/24 at 10ish

2/15, 4 PM ICE founder and flute luminary Claire Chase, avant art-song maven Iva Bittová  and Sonic Mud (Julia Elsas & Kenny Wollesen Group) at Luisa Muhr’s monthly Women Between Arts show – NYC’s only multidisciplinary series focusing exclusively on woman performers at the Glass Box Theatre at the New School, 55 W 13th St, $20, “no one turned away for lack of funds”

2/15, 7:15 ish dark psychedelic, ferociously entertaining acoustic blues/klezmer/reggae/soca jamband Hazmat Modine at Terra Blues.. Theyre lso here on 2/29

2/15, 8ish stoner boogie/heavy psych band Grimm Jack, and punkish metal band Ferrettt at Lucky 13 Saloon, $10

2/15, 8 PM edgy wind-centric chember ensemble Quintilia at Scholes St Studios

2/15, 6 PM oldschool-style high plains C&W singer Hope Debates & North 40 at 55 Bar

2/15, 7 PM wild klezmer clarinetist Zisl Slepovitch and trio at the Empty Circle, 499 3rd Ave, Gowanus, $!5 incl open red wine bar, R/F to 4th Ave/9th St.

2/15, 7:30 PM a Middle Eastern fretburner summit: elegantly ferocious tar lute star Sahba Motallebi & virtuoso oudist/composer Rahim AlHaj at Merkin Concert Hall, expesive, $35, but what a twinbill

2/15, 8:30 night two of the Jalopy’s annual jugband festival with Ever Lovin’ Jug Band short film – Bill Carney’s Jug Addicts – Miss Maybell & the Rag Pickers – Homestead Street Band – Brotherhood of the Jug Band Blues. $15 each night or $20 for both

2/15, 9 PM slashing, desert rock-tinged Austin surf band the Boss Jaguars at Otto’s

2/15, 9 PM whirlwind B3 jazz organist Pat Bianchi leads his trio at Bar Lunatico

2/15, 10:30 PM fiery, incisive postbop pianist John Chin solo at Mezzrow, $20

2/15, 11 PM explosively intense, psychedelically bluesy oldschool soul/roadhouse jamband Lizzie & the Makers at the small room at the Rockwood

2/16, 3 PM pianist Jerome Rosen plays Beethoven Piano trios including Variations on a Waltz of Diabelli at Christ & St. Stephen’s Church, 122 W. 69th St, $15; at 730 PM the St. Cecilia Chamber Ensemble play works by Beethoven, Richard Strauss and DuParc there for $10

2/16, 4 PM the Orchestra Now play popular favorites by Ravel, Debussy, Messiaen, and Stravinsky at Symphony space, free, rsvp sugg

2/16, 7 PM 8 PM accordion genius Shoko Nagai’s haunting Tokala Silk Road/klezmer mashup project followed at 9:30ish by paradigm-shifting Romany jazz/psychedelic rock guitar mastermind Stephane Wrembel and his band at Barbes

2/16. 7 PM Kyle Motl plays new music for solo contrabass, featuring works by Caroline Louise Miller, Anqi Liu, Jessie Cox, and himself at Spectrum $15

2/16, 7 PM Jump Off This Bridge play improvisational soundscapes followed by violinist/composer Ben Sutin‘s quintet – who’re moving away from the klezmer toward a more strsight-up postbop vein lately – at Scholes St Studios

2/16, 7 PM circus rock pioneer Sxip Shirey with special guest violinists Rima Fand, Sarah Alden and others at National Sawdust, $25 adv tix rec

2/16, 8 PM cleverly lyrical, edgily funny, spine-tingling powerpop/acoustic rock singerTamara Hey followed eventually at midnight by lyrically-fueled electric folk noir band Leland Sundries at the small room at the Rockwood

2/16, half past midnight (actually wee hours of 2/13) catchy, cinematic, noir-inclined saxophonist/composer Nick Hempton leads his band at Smalls

2/17, 6:30 PM Lisa Hoppe on bass with Joanna Mattrey on viola and Lukas Akintaya on drums at the Bar Next Door

2/17, 7 PM catchy, anthemic, female-fronted janglerock band the Belle Curves followed by lyrically-fueled electric folk noir band Leland Sundries at LIC Bar

2/17, 7:30 PM vocal and piano group Mirror Visions Ensemble “explores The Disappearing Art of Letter Writing: letters of love and vengeance, reports from the North Pole, missives asking for money or forgiveness, including correspondence of Abraham Lincoln, Emily Dickinson, Edna St. Vincent Millay, Gertrude Stein, and Sullivan Ballou. Tom Cipullo provides indispensable instruction with a newly commissioned Guide to Letter Writing, along with works by Gwyneth Walker, Cole Porter, Wolfgang Erich Korngold, Dominick Argento, Richard Pearson Thomas and Christopher Berg” at the Sheen Center, $25/$15 for students

2/17, 730 PM dark, sardonic, brilliantly tuneful jazz pianist Danny Fox and his Trio at Mezzrow, $20

2/17, 8:30 PM deviously fun cabaret/chamber pop chanteuse Grace McLean at the basement room at the Rockwood, 412

2/17, 9 PM legendary dual-reedman George Braith– who can play two saxes at once better than most guys can play one – leads his quartet at the Fat Cat

2/17, 9;30ish ex-Chicha Libre keyboard sorcerer Josh Camp’s wryly psychedelic cumbia/tropicalia/dub band Locobeach at Barbes

2/18, 6:30 PM Helena Kay on saxophone with Kaisa Maensivu on bass and Angus Mason on drums at the Bar Next Door

2/18, 7 PM trumpeter Sonny Singh’s “revolutionary devotional Sikh music” project followed by clever, fiery, eclectic ten-piece Balkan/hip-hop/funk brass maniacs Slavic Soul Party at Barbes

2/18, 7 PM a Mannes College ensemble play works by Amy Beach, Florence Price, Ruth Crawford-Seeger, Johanna Beyer, Rachel J. Peters, Joan Tower, Missy Mazzoli, Caroline Shaw, Valerie Coleman and Melba Liston at the first-floor New School auditorium at 63 5th Ave, free

2/18, 7 PM irrepressible bassist Moppa Elliott does triple duty: with gamely satirical faux-soul band Advancing on a Wild Pitch, then with the large improvisational ensemble Acceleration Due to Gravity and finally his aptly titled Unspeakable Garbage 80s cover band, apparent heirs to the Mostly Other People Do the Killing satire-jazz throne at Shapeshifter Lab, $10

2/18, 7:30/9:30 PM sax-and-organ grooves with Craig Handy & 2nd Line Smith at the Jazz Standard $30

2/18, 7:30 PM violinist Mayuki Fukuhara leads a string quintet playing works by Mozart and Beethoven at at Christ & St. Stephen’s Church, 122 W. 69th St, free

2/18-22, 8:30 PM darkly colorful, perennially interesting bassist Linda May Han Oh leads a series of ensembles at the Stone., $20 Choice pick: the 2/21 set with her quintet with Sara Serpa (voice) Jeremy Viner (tenor sax) Fabian Almazan (piano) Tom Rainey (drums)

2/19, noon up-and-coming pianist Nathan Lee plays works by Beethoven, Chris Rogrerson and Schumann at the Morgan Library, $25

2/19, 7 PM sharply lyrical southwestern gothic/Americana songwriter Tom Shaner at LIC Bar

2/19 7:30 PM the Dance Clarinets big band led by JD Parran performs works by tuba cult hero Joseph Daley at Greenwich House Music School $15

2/19, 8 PM tenor sax improv titan George Garzone leads a sextet at Bar Bayeaux

2/19, 10 PM creepy noir chamber pop/murder ballad duo Charming Disaster at Pete’s

2/20, 1 PM Trio Entartete celebrate classical music suppressed by the Nazis, program tba at Elebash Hall, free

2/20, 7 PM high-voltage Texas Americana multi-instrumentalist Molly Venter and Goodnight Moonshine (from Red Molly) at the basement room at the Rockwood, $20

2/20, 7 PM drummer Bobby Previte, keyboardist Jamie Saft, iconic noise/jazz guitarist Nels Cline play the album release show for their new one at Nublu 151, $20

2/20-23, 7:30;/9:30 PM postbop sax vet Oliver Lake’s Trio 3 with a special guest each night at the Jazz Standard $30 . Choice picks: opening night with Vijay Iyer, closing night with Jason Moran

2/20, 7:30 PM high-voltage oldschool salsa dura with longtime Tito Puente sideman John “Dandy” Rodriguez’s “Dream Team” at the Lincoln Center Atrium, free, early arrival advised

2/20, 7:30 PM state-of-the-art postbop alto saxophonist Jaleel Shaw leads his band at Drom, $15 adv tix rec

2/20, 8 PM drummer Brian Shankar Adler‘s Fourth Dimension with Jonathan Goldberger: guitar, Santiago Leibson: piano, Rob Jost: bass followed by the funky, eclectic Sugartone Brass Band at Barbes

2/20, 8 PM pianist Bong-A Jung plays Moussorgsky’s Pictures at an Exhibition plus works by Beethoven and Kapustin at Weill Hall at Carnegie Hall, $25

2/20, 8:30 PM Mad Larry (formerly of the psychedelic, energetic Bogmen) at 11th St Bar

2/20, 8 PM Sloan – the Canadian Guided by Voices – at Bowery Ballroom, $25 gen adm

2/20, 8 PM indie classical ensemble Alarm Will Sound and special guests play a “composer portrait” of Oscar Bettison at the Miller Theatre, $20 tix avail

2/20. 830 PM a klezmer dance party with Lauren Brody,clarinetist Ken Maltz & ace drummer Aaron Alexander at Town & Village Social Hall, 334 E 14th St.(between 1st & 2nd Ave.), $15

2/21, 7:15 (not 7:30 PM, mind you) microtonal, magical African guitar-and-drums jamband 75 Dollar Bill followed by ageless mostly-female CB’s era funk-punk/postrockers the Bush Tetras at the Poisson Rouge, $20 adv tic rec

2/21, 7:30 PM flute-violin/piano trio Sheng-Ching Hsu, Yueh-Tzu Lin, Mohamed Shams play works by Debussy, Shostakovich, Nino Rota and others at Scholes St Studios, $10

2/21 8 PM dusky, rustic Brazilian jungle guitar-and-accordion sounds with Regional de NY followed by Rana Santacruz– the Mexican Shane MacGowan, but without the booze if you can imagine that – at Barbes

2/21, 8 PM John Zorn’s noisy, hard-rocking Simulacrum at the Sultan Room. $20

2/21, 8 PM violin virtuoso Joshua Bell with the Academy of St Martin in the Fields play Beethoven: Overture to Coriolanus, Op. 62; Paganini: Violin Concerto No. 1; Brahms: Symphony No. 4 at NJPAC in Newark, $30 tix avail

2/21, 8 PM Sexmob alto player Briggan Krauss with Keiskue Matsuno and Eli Rojas at Happy Lucky No. 1 Gallery, $20

2/21, 8 PM SaWee – violinist Sita Chay and percussionist Jihye Kim play their New Ritual project which “strives to embrace the wounds of current society and heal through ritualistic performance, incorporating Korean shaman rhythm, Korean mask dance movements, and contemporary languages created through violin,” at Flushing Town Hall, $18/$12 stud

2/21, 8ish atmospherically anthemic Indian-influenced spacerock band Humeysha at Elsewhere, $12. Wish they hadn’t autotuned the vocals on that record.

2/21, 8 PM a strangely excellent improvisational twinbill: bassist/multi-instrumentalist Shahzad Ismaily and uneasy female-fronted psychedelic abstract rock band Gold Dime at Roulette, $18 adv tix rec

2/21-22, 8 PM cellist Charles Curtis and wind ensemble play a hypnotically circling Alvin Lucier world premiere with choreography from Abigail Levine at Issue Project Room, $25

2/21, 8:30 PM mixed metal: punkmetal band Thanatotic Desire, sludgily evil lo-fi instrumentalists Concrete Dream, then a pop band posing as metal and finally the ornately orchestral Deadly Nights at Lucky 13 Saloon ,$10

2/21, 8:30ish maybe the best twinbill ever at the Market Hotel: Monograms– who do as good a mid-80s Cure impression as any band alive – and ageless, gritty 90s sci-fi surf instrumentalists Man or Astroman, $20

2/21, midnight wild Mardi Gras Indian funk band  Cha Wa at Drom, $20 adv tix rec

2/22, 6 PM busker cartoon swing legends the Xylopholks’ vibraphonist Jonathan Singer followed at 8 by trumpeter Ben Holmes’ broodingly Middle Eastern/klezmer-tinged Naked Lore trio followed at 10 by ferocious, creepily enveloping, kinetic psychedelic tropicalia band Yotoco at Barbes

2/22, 7:30 PM legendary, risque, politically spot-on calypso icon the Mighty Sparrow at Ginny’s Supper Club, $30

2/23, 5 PM the Fair Trade Trio play works by Faure, Schnittke and Jessica Meyer at Our Savior’s Atonement, 178 Bennett Avenue (one block west of Broadway at 189th Street), free

2/22, 7:30 PM trumpet powerhouse Jeremy Pelt  and the best singing pianist (and the best piano-playing singer) in jazz, Champian Fulton in a rare duo performance, wow, at Mezzrow, $20

2/22 7:30 PM violin/piano duo Paul and Helen Huang play works by Mendelssohn, Brahms, Ysaye and Saint-Saens iat Irving Auditorium, Irving Pl/17th St., $17

2/22. 8 PM popular, tuneful, lyrical Americana rockers Good Luck Mountain at Pete’s

2/22, 8 PM otherworldly, powerful Irish singer Clare Horgan at the People’s Voice Cafe, sugg don, $20, “more if you choose; less if you can’t; no one turned away”

2/22, 9 PM honkytonk guitarslinger Danny Weiss and charming singer Mary Olive Smith’s oldschool C&W band Stillhouse Serenade at the Jalopy Tavern

2/22, 9 PM irrepressible multi-instrumentalist Joanna Sternberg and thoughtful, latin-inspired, occasionally political acoustic songwriter Miriam Elhajli at the Owl

2/22, 8 PM  Du.O – violinists Aimée Niemann and Charlotte Munn-Wood – play works by Scott Wollschleger, Emily Praetorius and Leah Asher at the Tenri Cultural Institute, $20

2/22, 10ish perennially entertaining first wave-style punks the Car Bomb Parade at the Cobra Club $10

2/22, 10ish oldschool late 70sish metal band Last Pharaoh at Lucky 13 Saloon, $10

2/22, 10:30 PM propulsive, jazz-tinged dreampop band the Mattson 2 at Rough Trade, $17

2/23, 3 PM fiery klezmer fiddler and brilliant composer Alicia Svigals and pianist Donald Sosin play a live score to the 1923 silent film The Ancient Law, “ about a rabbi’s son who runs away to become an actor and is disowned by his father. Digitally restored in 2017, it paints a complex portrait of the tension between tradition and modernity, and is an outstanding example of the creativity of Jewish filmmakers in 1920s Germany,” at Temple Ansche Chesed, 251 W 100th St, free, res req

2/23, 3 PM indie classical ensemble Sandbox Percussion play works by Natalie Dietterich, Steve Reich, Juri Seo, Brendan Randall – Myers and Amy Beth Kirsten at Concerts on the Slope, St. John’s Episcopal Church, 139 St. John’s Place downhill from 7th Ave, Park Slope, any train to Grand Army Plz, sugg don

2/23, 5 PM Kemp Jernigan, oboe; Remy Taghavi, bassoon; Yelena Grinberg, piano play works by Beethoven, Schumann, Saint-Saens and Poulenc at Grinberg’s upper westside piano salon, reception to follow, $35, close to the 1/2/3 train at 96th St.,deets here

2/23, 6 PM creepy, wickedly lyrical, harmony-driven noir chamber pop/murder ballad duo Charming Disaster at a secret Staten Island house concert, email for deets/location

2/23, 6ish haunting folk noir/Americana songwriter Emily Frembgen at LIC Bar

2/23, 7 PM singers Lucy Dhegrae and Ariadne Greif premiere new work from Sheree Clement with “one foot in contemporary music and the other in performance art” at Flushing Town Hall, free w/rsvp

2/23, 8 PM brilliant keyboardist Dov Manski and singer Kristen Slipp (Dirty Projectors) plus Wendy Eisenberg’s hardcore trio Editrix at Brooklyn Conservatory of Music, $15/$10 stud

2/23, 8:30 PM eclectic, pensive, purposeful original acoustic Americana songwriter Ruby Landen at Pete’s

2/24, 6 PM crystalline-voiced, vivid, Tom Waits-influenced acoustic storyteller Lara Ewen at the small room at the Rockwood

2/24, 7:30 PM Americana violin luminary Mark O’Connor and the Publiquartet play improvisations on Dvořák – String Quartet No. 12 in F Major (“American”) and O’Connor – Selections from String Quartet No. 3 (“Old Time”) at Music Mondays, Advent Church, northwest corner of 93rd and Broadway, free

2/24-25, 8:30 PM Ana Popovic – the Serbian Stevie Ray Vaughan – at Iridium, $30 seats avail

2/24, 9 PM lyrical, latin-tinged pianist Helen Sung leads her trio at Bar Lunatico

2/25, drinks at 5:30 PM, show at 6, violinist Austin Wulliman & pianist Conrad Tao at the Miller Theatre, free

2/25. 6 PM a Mannes College ensemble plays works by Beethoven, Minjoo Kim, Jihwan Yoon, Scott Fish and Adam Shirkin at the German UN Consulate, 871 UN Plaza, free, ID REQUIRED,security is very tight

2/25-26, 7:30/9:30 PM one of this era’s most vividly bustling, entertaining big bands, Miho Hazama & M-Unit at the Jazz Standard, $30

2/25, 7:30 PM the Vienna Piano Trio play Beethoven’s Archduke Trio plus works by Haydn and Brahms at the 92nd St Y, $35

2/25, 7:30 PM this era’s most fearlessly relevant, hard-hitting tenor saxophonist, JD Allen leads his trio followed at 10:30 by postbop trumpeter Josh Evans leading his quartet at Smalls

2/25, 8 PM the Choir of St. Ignatius Loyola performs a cappella choral music by Verdi, Rossini, Palestrina, and Ildebrando Pizzetti, at the Church of St. Ignatius Loyola (980 Park Ave), $25 tix aail

2/25 8 PM Palestinian kanun virtuoso & composer Firas Zreik at Sisters Brooklyn, 900 Fulton St at Washington, C to Clinton-Washington, sug don

2/25-3/1, 8:30/10 PM darkly visionary jazz chanteuse/composer Cecile McLorin Salvant leads her quintet at the Vanguard, $35

2/25, 8:30 PM lyrically intense avant garde chanteuse Jane LeCroy‘s cello rock band the Icebergs at Pete’s

2/25-28, 8:30 PM transgressively funny postbop saxophonist Jon Irabagon leads a series of ensembles at the Stone., $20 Choice pick: opening night with his expaned 3Dom Quartet: Tim Hagans (trumpet) Joe Fonda (bass) Mark Helias (bass, clarinet) Barry Altschul (drums) Uri Caine (piano)

2/25, 9 PM boisterously funny oldschool 60s C&W and brooding southwestern gothic with the Jack Grace Band at Skinny Dennis. 2/29 ostensibly at 11 AM they’re at at Bar Chord

2/26-27. 7:30/9:30 PM a rare NYC performance by Buenos Aires’ Tango Jazz Quartet at Minton’s, $20 at the bar

2/26, 8 PM singer Dida Pelled salutes obscure and cult favorite women songwriters including Connie Converse, Elizabeth Cotten, Molly Drake, Vashti Bunyan and Norma Tanega at Barbes

2/26, 8 PM poignantly lyrical, eclectic pianist Marta Sanchez leads her quintet at Bar Bayeaux

2/26, 8 PM multidisciplinary singer Mary Prescott‘s Loup Lunaire project explores the wolf mother archetype at Roulette, $18 adv tix rec

2/26, 8ish first-rate purist honkytonk crooner/bandleader Cliff Westfall and his killer band at Berlin $tba

2/26, 8ish Dana Schechter’s hauntingly cinematic slowcore/art-rock project Insect Ark play the album release show for their new one at St. Vitus, $10

2/27, 7 PM prime territory for deep listening; Shots perform their ‘” amalgam of barely-there object rustling—clanging metal, broken glass, running water, tempered feedback, timid drumming and strumming—could be mistaken for distracted dishwashing, a rusted fence squeaking in the wind, a raccoon in your shed” at Blank Forms, 468 Grand Ave. #3D, Ft. Greene, C to Clinton-Washington,, $15

2/27, 7:30 PM, repeating 2/29 at 8 the NY Philharmonic play Strauss’ Domestic Symphony plus the US premiere of Jörg Widmann’s dystopic Babylon Suite, $32 tix avail

2/27, 7ish sprawling, psychedelic abstract rock band Loosie followed by snidely satirical new wave/80s rock spoofers Office Culture at the Sultan Room, $10

2/27, 7:30 PM intense, atmospheric chanteuse Imani Uzuri and ensemble “share an intimate chamber concert of compositions from her various works for voice, strings, flute and piano” at the Lincoln Center Atrium, free, early arrival advised

2/27, 7:30 PM pianist Per Tengstrand and Opus 21 play the Grieg Piano Concerto at Scandinavia House,, $25

2/27, 7:30/9:30 PM cutting-edge, fearlessly woke postbop jazz powerhouse the Curtis Bros. at the Jazz Gallery, $20

2/27, 7:30 PM wild Irish acoustic jamband Jigjam at Symphony Space, $20 for 30 and under, $30 otherwise

2/27, 7:30 PM Popebama (saxophonists Erin Rogers and Dennis Sullivan) followed by eclectic indie classical piano trio Bearthoven playing a program tba at the Poisson rouge, $15 adv tix rec

2/27, 8 PM saxophonist Chris Pitsiokos‘s “ever-evolving and mind-frying CP Unit” at Roulette, $18 adv tix rec

2/27,. 8 PM multistylistic, lyrical, improvisational cellist Rufus Cappodocia solo at Barbes

2/27, 8 PM violinist Claudia Chopek’s playfully eclectic art-rock instrumental band Echo of the Ghost and high-voltage, violin-driven art-rock/metal band Stratospheerius at Arene’s, $10

2/27. 8 PM drummer Chase Kuesel and bassist Hannah Marks play their tunes on a split bill. Chase’s trio features Glenn Zaleski on piano. Hannah’s group has Lex Korten on the 88s, at Scholes St Studios,

2/27, 8:30 PM edgy Middle Eastern-inspired alto saxophonist Uri Gurvich with Ed Perez on bass and Francisco Mela on drums at the Bar Next Door, $12

2/27, 8:30 PM klezmer party time: the New York Simcha Heritage Ensemble w/ trumpter Jordan Hirsch at Town & Village Social Hall, 334 E 14th St.(between 1st & 2nd Ave.), $15

2/27, 9 PM the world’s creepiest, slinkiest, most psychedelic crime jazz/film noir band, Big Lazy at Bar Lunatico

2/27, 9:30ish Lutkie plays her disoriently pulsing electronic noise/soundscapes followed by noisy, unpredictably intense female-fronted guitar/drums/organ band Parlor Walls playing the album release show for their new one at uinon Pool, $10

2/28, 5:30 PM tuneful original delta blues and acoustic Americana from guitarist Jon LaDeau at the American Folk Art Museum

2/28, 7 PM cellist Steven Isserlis and ensemble play a program tba at the Greene Space, $25

2/28, 7:30 PM the fantastic Palestinian-based Western-Eastern Divan Orchestra play works by Mendelssohn, Schubert, Brahms and Abraham Attahir at Zankel Hall at Carnegie Hall, expensive, $38 tix avail but could be worth it

2/28 7;30 PM the Pathos Trio – percussion and piano – play works by Alison Yun-Fei Jiang, Finola Merivale, Evan Chapman, Alyssa Weinberg and Alan Hankers at Arete Gallery, $15

2/28, 8 PM Balkan chanteuse Jenny Luna‘s haunting, traditional Turkish band Dolunay followed at 10 by slinky, hypnotic percussive Moroccan trance band Innov Gnawa at Barbes

2/28, 8:30 PM pensive rainy-day gothic chamber pop cult faves the Ocean Blue at the Bell House, $20 gen adm

2/29 Hayes Carll at City Vineyard is sold out – no surprise

2/29 6 PM busker swing legends the Xylopholks’ vibraphonist Jonathan Singer followed at 8 by Spanglish Fly celebrating 10 years of latin soul madness at Barbes

2/29, 6 PM charming retro swing harmony women the New York Nightingales & the New Retro Orchestra at Club Bonafide ,$20

2/29, 7 PM ballet score pianist Cristina Spinei leads a chamber qjintet at National Sawdust, $25 adv tix rec

2/29, 7:30 PM a rare twinbill of two of the greatest composer-keyboardists of this century: hauntingly cinematic Kelly Moran and the even darker Missy Mazzoli. “Missy will perform her own works solo and with violinist Olivia De Prato, and Kelly will perform a solo set of songs from her recent album Ultraviolet.” at Merkin Concert Hall, $25

2/29, 8 PM the New York City Master Chorale sing David Lang’s Little Match Girl Passion and other works at Church of the Holy Apostles (296 9th Ave south of 29th), $25/18 and under free

2/29, 8 PM intense avant garde singer Holland Andrews leads a vocal-clarinet duo at Issue Projet Room, sug don

2/29, 8 PM amusingly satirical folksinger Barry Oreck followed by bluesily populist, plainspoken songwriter Judy Gorman at the People’s Voice Cafe, sugg don, $20, “more if you choose; less if you can’t; no one turned away”

2/29. 8 PM pyrotechnic klezmer clarinetist and Dave Tarras protege Michael Winograd and band and hypnotically percussive Afro-Colombian trance/dance bandleader Betsayda Machado y Parranda El Clavo at Flushing Town Hal, $18/$12 stud/free for 19 and under w/NYC school ID

2/29 8:30 PM the Brooklyn Wind Quintet: Michel Gentile (flute) Katie Scheele (oboe) Mike McGinnis (clarinet) Sara Schoenbeck (bassoon) Nathan Koci (french horn) at the Stone at the New School, $20

2/29, 9 PM  one of the great saxophonists in the history of ska, Dave Hillyard and his quintet with the ferociously good Steve Antonakos on guitar at An Beal Bocht Cafe, 445 West 238th St, 5 blocks from the 1 train at 238th St.

2/29, 9 PM ageless indie powerpop icons the Figgs at Berlin, $15

2/29, 9 PM haunting French-Tunisian saxophonist Yacine Boulares’ Ajoyo project with singer Sarah E. Charles at Bar Lunatico

2/29, 11 PM playful, kinetic parlor pop band Orly Bendavid & the Mona Dahls at Pete’s

3/5, 7:30 PM the Argus Quartet play a program tba at the Lincoln Center Atrium, free, early arrival advised

3/5, 8 PM the Orchestra of St. Luke”s play a lavish, all-Beethoven program: Leonore Overture No. 2; Meeresstille und glückliche Fahrt (Calm Sea and Prosperous Voyage), Op. 112; the Choral Fantasy, Op. 80; Mass in C Major, Op. 86at Stern Auditorium at Carnegie Hall, $30 seats avail, wow

3/7, 8 PM darkly lyrical psychedelic pop songwriter Jennifer Hall at Petes

3/11-12, 8 PM first-wave British new wave band Wire at the Music Hll of Williamsburg, $30 gen adm but will sell out

3/14, 7 PM organist Gail Archer plays works by women composers Joan Tower, Mary Howe, Jennifer Higdon, Nadia Boulanger at St. John Nepomucene Church, 411 E 69th St, (1st/York), free

3/17, 7 PM the Ekstasis Duo – cellist Natasha Farni and pianist Eliran Avni – play a program tba at Revelation Gallery, 224 Waverly Pl, $20

3/19, 7:30 PM lyrically provocative mashups of Ethiopiques, parlor pop, hard funk and psychedelia with Meklit at the Lincoln Center Atrium, free, early arrival advised

3/20, 7:30 PM salsa flutist Andrea Brachfeld y Su Charanga at the Lincoln Center Atrium, free, early arrival advised

3/28, 8 PM flamenco crooner Rancapino Chico – “torchbearer of flamenco puro and heir to the cantes of Cadiz” – at Roulette, $30

3/31, drinks at 5:30 PM, show at 6, the new generation’s most eclectic jazz harpist, Brandee Younger & bassist Dezron Douglas at the Miller Theatre, free

4/2, 7:30 PM pianist Gabriele Baldocci plays a program tba at St. Johns Church, 218 W 11th St.,

4/4 8 PM Yemeni oudist Abdulrahman Al-Akhfash with mesmerizing Omani oudist/singer Amal Waqar and multi-instrumentalist Zafer Tawil at Roulette, $30

4/13. 7;30 PM pianist Vasily Primakov plays sonatas by Franck and Chopin at St. Johns Church, 218 W 11th St.,

4/14 drinks at 5:30 PM, show at 6, indie classical supergroup the Hands Free – James Moore, guitar & banjo; Caroline Shaw, violin Eleonore Oppenheim, bass; Nathan Koci, accordionat the Miller Theatre, free

4/18, 8 PM haunting tanbour virtuoso Ali Akbar Moradi with ubiquitous Iranian percussionist Pejman Hadadi, the innovative at Roulette, $30

4/24, 8 PM Debapriya Adhikary and Samanwaya Sarkar play a rare duet with vocal and sitar at Roulette, $30

4/25, 8 PM oudist Brahim Frigbane and sintir player Hassan Hakmoun duel it out at Roulette, $30

4/28, 7 PM violinist Asi Matathias and pianist Matthew Graybil play works by Vitali, Beethoven and Saint-Saens at Revelation Gallery, 224 Waverly Pl, $20

5/19. 7 PM pianist Asiya Korepanova leads a trio playing works by Tschaikovskky and a trio version of Beethoven’s Symphony No. 2 at Revelation Gallery, 224 Waverly Pl, $20

Symphonic Lushness and Edgy Intensity from Wildly Eclectic Accordionist Simone Baron

Accordionist Simone Baron‘s debut album The Space Between Disguises, with her group Arco Belo – streaming at Bandcamp – has the lushness and epic sweep of classical music, the edge of the Balkans, the rhythmic complexity of jazz and the vividness of a film score. Just when you think it couldn’t get more eclectic,  she throws in brief interludes with loops and snippets of found sound in between songs. There are thousands of bands across Europe who mash up all these styles, but few here in the US.

The lush string overture introducing the album’s opening cut, Post Edit Delete, alludes to a famously overcast weekend song made famous by Billie Holiday. Then the group tipetoe through a Balkan-tinged violin theme. Baron plays piano on this particular number, dancing through the moody mist.

With its hazy swells and a coy bass/violin conversation, Angle of Incidence is more astringent, Baron’s accordion doubling bassist Mike Pope’s bubbly lines midway through. Who Cares is a gorgeously dark pastoral jazz vignette fueled by banjo player Mark Schatz’s enigmatic frailing. Dramatically incisive low-register piano, biting violin, austerely swirling strings, a bit of funk and warily unsettled accordion percolate throughout the epic mini-suite Passive Puppeteer.

The melancholic, singing quality of the strings and acccordion as the album’s title track gets underway is stunning; then all of a sudden it’s a loopy, marionettish dance that grows more haunting and lush. Baron reinvents Walter Bishop, Jr.’s Those Who Chant with an elegant gallop, then takes her time with the sweepingly plaintive Valsa, by Brazilian accordionist Tibor Fittel. The album’s concluding diptych, Buciumeana/Kadynja juxtaposes a gorgeous, klezmerish Moldovan theme with a Romanian folk dance appropriated by Bartók, complete with creepy music box-like piano and a killer handoff from accordion to violin.

A tour de force from a group that also includes drummer Lucas Ashby and the strings of Aaron Malone on violin and viola, Bill Neri on viola, Peter Kibbe on cello, plus violinists Nelson Moneo, Laura Colgate and Ellen McSweeney.

Top-Quality, Sonically Pristine, Previously Unreleased John Coltrane

Here’s a special treat: the new John Coltrane record. That’s kind of a joke: over the years, there have been many “new” John Coltrane records, most of them field recordings of varying quality, some where the iconic saxophonist was little more than a special guest. But Blue World – streaming at Spotify – is the real deal, the classic quartet with McCoy Tyner on piano, Jimmy Garrison on bass and Elvin Jones on drums laying down tracks for a 1964 Canadian film soundtrack that ended up never being used. The sound quality is excellent, heavy on the reverb. Although there’s nothing earth-shattering or new here, the performance is every bit what you would expect.

Trane plays exclusively tenor on this album. As with so many rare archival recordings from jazz’s golden age, there are multiple takes of the same song here. Is it worth sticking with three different versions of Village Blues? The band’s uncanny tightness reveals itself in the fact that each is almost identical in length. The variations in Jones’ deviously counterintuitive offbeats are as delicious as usual, the bandleader taking his time in purist blues mode. The first time around, with Tyner launching into a more majestically relaxed approach, Jones implying rather than shuffling the tune’s 6/8 groove, seems to be the charm. Still, it’s a lot of fun to see how these guys would tweak the material.

There are also two takes of Naima. Both are absolutely gorgeous; the second one’s more dynamic. The exchanges of roles between bandmates, from timekeeper to colorist, are a clinic in teamwork. The album’s tersely modal “title track” is so tight that it ticks; the bandleader is smokier and everybody cuts loose more, maybe because that’s what you have to do to keep what’s more or less a one-chord jam interesting. Jones’ thunderous rolls at the end are the funnest part of the record.

Like Sonny is a bossa-tinged platform for Trane’s playful Sonny Rollins-ish, mordent-like riffage. Garrison’s jaunty, solo second-line bubbles and chords introduce Traneing In, Tyner instantly turning it more circumspect and ambiguous as the band comes in, the bandleader’s uneasy blues and biting intensity reaffirming that almost sixty years later, these guys are still the gold standard.