New York Music Daily

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Tag: jazz

Haunting Lebanese Pianist Tarek Yamani Revisits a Classic New York Concert at Lincoln Center This Friday Night

Suppose you could see the guy who played this blog’s pick for best concert of 2014 – for free. Would you go? You have that option when Lebanese-born pianist Tarek Yamani plays this Friday, March 23 at 7:30 PM at the atrium space at Lincoln Center on Broadway just south of 63rd St.

Yamani opened a marathon evening of music from across the Middle East at Alwan for the Arts in January of 2014, officially called Maqamfest, known informally as the Alwan-a-thon. Here’s the report originally published here the following day.

“…Yamani kicked off the night with a richly eclectic mix of brooding Middle Eastern themes and blues-infused bop. While he didn’t deliberately seem to be working any kind of overtone series with the piano – it can be done, especially if you ride the pedal – he proved to be a magician with his chromatics and disquieting passing tones. Bassist Petros Klampanis supplied an elegant, terse, slowly strolling low end while drummer Colin Stranahan nimbly negotiated Yamani’s sometimes subtle, sometimes jarring rhythmic shifts. The trio wove a tapestry of gorgeous chromatic glimmer through a couple of romping postbop numbers to a haunting, starkly direct piano arrangement of a theme by Said Darwish, considered to be the father of modern Middle Eastern classical music. The trickiest number in their set was the title track to Yamani’s album Ashur (the Assyrian god of death). Stranahan got the dubious assignment of carrying its cruelly challenging, almost peevish syncopation, but he ran with it and nailed it.”

Yamani has done a lot since then, notably his 2017 Peninsular album, whose influences span from Cuba to Oman.  You can bet this blog will be in the house for the Friday, show which could rank among 2018’s best as well. And it’s free – you just have to get there a little early to get a seat.


A Thunderous, Sold-Out Party With Ageless Latin Jazz Piano Icon Eddie Palmieri at Lincoln Center

Party long enough and you get really, really good at it. Still, it’s amazing how fresh and vigorous Eddie Palmieri still is at age eighty. And much as he’s generous with solos, he didn’t let the band carry his show last evening at Lincoln Center, The atrium space was at absolute capacity for a crowd that was on the young side. Lincoln Center’s Viviana Benitez, who met the legendary latin jazz pianist during a sold-out run at the now-shuttered Subrosa, convinced him to come do a show for “The people, the music, the culture that we embrace.” And she got him. “As you can see it’s a very popular evening,” she said, working hard on trying to hold back a grin. Epic win in the booking department, epic fail at hiding raw bliss. Which mirrored how everybody in the packed house – as packed as this space has ever been, at least in the last five years – seemed to be feeling

Nobody in the world can make a simple two-chord vamp more interesting than Palmieri does. Obviously, there was a whole lot more to the show than that. The band didn’t even hit a salsa-clap rhythm until the bandleader himself lit into that familiar hip-grabbing syncopation about ten minutes into the show. The horns – trumpeter Jonathan Powell and tenor sax player Louis Fouché – would go out on a limb for what became longer and longer turns, then would converge tantalizingly, always with a new harmony that invariably took the music in a different and occasionally far darker direction.

Case in point: the closing number in the first set. Palmieri vocalizes off-mic while he plays, and that unmistakeable gruff voice wafted into the mix louder than ever as he played stabbing variations on a classic Cuban minor-key riff against the timbales. But instead of turning up the heat for the sake of the dancers, the band kept it murky, dropping to a ghostly, spare conga solo that finally picked up, Luques Curtis’ bass hinting at a psychedelic soul interlude before backing out. The horns diverged and then reconfigured, then hung back for Palmieri and the congas to channel some more black magic, deep ancient Africa via Cuba and then Spanish Harlem in the 70s.

Likewise, on the number before that, the bandleader went gritty with edgy close harmonies, counterrhythms and and a little extra growl. Powell took it to redline and stayed there, but by the end of the song, Palmieri was hitting on an unexpected minor chord, taking it out with a slightly more low-key, ominously boomy, shamanic semi-calm. There were many other interludes, none of them ever predictable, where Palmieri would shift the music into straight-ahead postbop jazz, bristling with polyrhythms, punchy dancing bass and biting chromatics.

Palmieri didn’t talk to the crowd much, dedicating a shapeshifting, hard-hitting Tito Puente number to a pal from his wayback days at the old Palladium Ballroom at 53rd and Broadway – less than ten blocks south of the site of this show.  He saluted one of his mentors, Thelonious Monk with the first tune of the second set and drove that point home with a nifty, uneasy intro before making bouncy rhumba jazz out of it with some artfully placed, thundering thumps from the percussion – Xavier Rivera on congas and Camilo Molina on timbales – and then the bass during a fat solo midway through. Then Palmieri faked out the crowd, careening back and forth between crushing, shifting lefthand rhythms, tumbling swing and Monk.

A stormy conga break echoed by Curtis’ monsoon chords gave way to a slinky lowrider theme that Palmieri never let get too hypnotic. They closed with a rapturously dynamic, singalong take of the mighty, defiant minor-key anthem La Libertad, Curtis spiraling and counterpunching between the woodblock and the timbales, the congas channeling a long series of rhythmic conspiracies. A detour into Palmieri’s classic, fearlessly populist latin soul hit Harlem River Drive was inevitable at that point. There was less dancing than usual – everybody seemed to want to get an album full of pix

The next salsa dance party in Lincoln Center’s mostly-monthly Vaya 63 latin music series at the atrium space on Broadway south of 63rd St. is by superstar oldschool Fania-era salsa percussionist Eddie Montalvo and his band on April 20 at 7:30 PM. If tonight’s show was any indication, you REALLY have to get there early to get a seat.

A Clinic in Tunesmithing and Improvisation From This Era’s Greatest Jazz Guitarist

Albums that combine state-of-the-art tunesmithing with similarly rapturous improvisation are rare. That’s what Bill Frisell does on his latest release, Music IS, a solo recording streaming at Spotify. His previous album, Small Town, was a similarly spare, low-key set, recorded live at the Village Vanguard with bassist Thomas Morgan. This one’s even more intimate, a master class from this era’s greatest jazz guitarist. Or maybe, considering that Frisell has never limited himself to jazz, it’s time to consider him as this era’s greatest guitarist, period. Americana has been an important part of his catalog for decades, but on this album it really comes to the foreground. He’s in the midst of a long stand at the Vanguard this month, with sets at 8:30 and 11. Today and tomorrow, he leads a trio with Morgan and the great Rudy Royston on drums. Then on the 20th, the three add add violist Eyvind Kang.

At a time where every six-string player with fast fingers and absolutely nothing to say seems to be going into jazz, Frisell stands out even more. He can play lickety-split when he wants, but throughout his career, his songs tend to be on the slow side. This album is a clinic in how he does it, just guitars and Frisell’s trustly loop pedal.

The songs are a mix of new ones and stripped-down versions of older material. The standout among the album’s sixteen tracks is Change in the Air, a somber, plaintive, Britfolk-tinged pavane, Frisell methodically building lingering rainy-day ambience around a simple one-five bass figure. Like most of the other tracks, it’s over in less than three minutes.

Go Happy Lucky comes across as a minimalist collage based on the old blues standard Since I Met You Baby. In Line, which could be an electrified John Fahey tune, begins with a lusciously chiming vintage soul progression, then Frisell deconstructs it using every wryly oscillating, floating or echoing patch in his pedal: is that a twelve-string effect, or the real thing? Likewise, is that an acoustic that Frisell’s playing on the subdued, spare oldtime folk-style ballads The Pioneers, or just his Tele through a pedal?

Sometimes Frisell’s loops are very brief; other times he’ll run a whole verse or chorus. Kentucky Derby has one of the longer ones, a very funny juxtaposition of distorted roar and flitting upper-register accents. He expands very subtly on a stately oldtime folk theme in Made to Shine, then artfully makes a forlorn, abandoned, Lynchian ballad out of a purist Jim Hall-like tune in Miss You.

Another ballad, Monica Jane is more spare and lingering, Frisell turning up the tremolo and spicing it with the occasional tritone or chromatic riff for distant menace in a Steve Ulrich vein. There’s also a punchline, a long one.

In Pretty Stars, Frisell stashes a simple, twinkling two-note riff in the pedal, then makes soulful country gospel out of it – lots of history and a little mystery at the end. Rambler follows the same formula, in this case a surreal wah-wah figure that completely changes the mood from pensive to bemused, compared to the alternate take included as a bonus track at the end of the album.

Frisell salutes iconic bassist Ron Carter with a stark, saturnine theme, part 19th century spiritual, part Wayfaring Stranger, with a little Wes Montgomery at the end. The album’s most anthemic track is Thankful: methodically crescendoing with burning, distorted, bluesy leads. it’s the closest to rocking the hell out that Frisell does here. Although the simmering miniature Think About It is pretty loud too.

The album’s most wintry number is What Do You Want, again bringing to mind Steve Ulrich and Big Lazy in pensive mode. A blues with uneasy ornamentation, Winslow Homer has a similarly surreal cinematic feel. All this is another notch on the belt for a guy who might have made more good albums than anybody else over the past thirty-five years.

Aakash Mittal at Nationa Sawdust: A Major Moment in New York Jazz This Year

Alto saxophonist Aakash Mittal’s sold-out show with his Awaz Trio at National Sawdust on the 11th of this month was as mysterious as it was mischievous – and delivered an unmistakeable message that this guy’s time has come. The obvious comparison is Rudresh Mahanthappa, another reedman who draws deeply on classic Indian melodies and modes. But Mittal doesn’t typically go for the jugular like Mahanthappa does: a more apt comparison would be visionary Iraqi-American trumpeter Amir ElSaffar, who joined Mittal onstage for the second half of the program alongside guitarist Miles Okazaki and percussionist Rajna Swaminathan, who played both the boomy mridangam as well as a small, tabla-like hand drum.

Mittal has been simmering just under the radar in New York for awhile but has been increasingly in demand over the past year, playing with both both ElSaffar’s large ensemble and Pulitzer-winning singer/composer Du Yun, who gave him a rave review for an onstage introduction. The trio of Mittal, Okazaii and Swaminathan opened with a seven-part suite of night raga themes reinvented as jazz. Mittal explained that he’d written it during his a year in Kolkata studying traditional Indian sounds, and that his purpose was to redefine the concept of a nocturne to encompass both mystery and mirth. One suspects he had an awfully good time there.

He didn’t waste any time unleashing his daunting extended technique with some uneasy riffs punctuated by otherworldly overtones and microtones, yet throughout the rest of the night he held those devices in store for where he really needed them. Likewise, he chose his moments for puckish accents and sardonic chirps that got the crowd laughing out loud; as the show went on, Okazaki and Swaminathan got in on the act as well. Which made for apt comic relief amidst the lustrous, glimmering and often sparsely plaintive phrasing that pervaded the rest of the suite and the evening as a whole.

Mittal peppered the dreamlike state with lively, often circling, edgily chromatic phrases: he likes lights in the night, but he knows the dark side of the bright lights just as well. Okazaki ranged from spare, emphatic accents, often in tandem with Swaminathan, to expansive, lingering chords, to long interludes where his spiky phrasing evoked a sarod. The evening’s biggest crescendo fell to Swaminathan, and she welcomed a chance to bring some thunder to the gathering storm.

ElSaffar joined the group for the final numbers, opening a brand-new suite – which Mittal had just finished a couple days before, based on a poems by his sister Meera Mittal – with a mesmerizing series of long tones where time practically stood still. From there he and Mittal developed an increasingly animated conversation, through alternately lush and kinetic segments underscoring the influence that the trumpeter has had on the bandleader: it was a perfect match of soloists and theme. The group closed with what Mittal offhandedly called a jam, but it quickly became much more than that, a jauntily voiced mini-raga of its own laced with both utter seriousness and unleashed good humor. Both Mittal and ElSaffar’s music is full of gravitas and sometimes an almost throttle-like focus, but each composer also has a great sense of humor, and that really came to the forefront here.

This was the final show in this spring’s series of concerts at National Sawdust programmed by Du Yun, focusing on composers of Asian heritage who may be further under the radar than they deserve to be. The next jazz show at National Sawdust – or one that at least skirts the idiom with a similar outside-the-box sensibility – is by thereminist Pamelia Stickney with Danny Tunick on vibraphone and marimba and Stuart Popejoy on keyboards on March 28 at 7 PM; advance tix are $25 and highly recommended.

The Claudia Quintet Make a Triumphant NYC Return Uptown

What’s the likelihood that a band would be better now than they were over two decades ago? The Claudia Quintet defy those odds. They didn’t invent pastoral jazz, but pretty much every rainy-sky jazz group with an accordion (who don’t play Romany guitar swing, anyway) owe a debt to drummer John Hollenbeck’s long-running ensemble. It’s been awhile since they’ve played a New York gig, let alone one at a prestige venue like the Miller Theatre, where they’ll be on March 24 at 8. Tix are as affordable as $20.

On one hand, it’s a good bet that pretty much everybody who’s a fan of the band already has their most recent album, Super Petite, streaming at Cuneiform Records. If the group are new to you, they’re a vehicle for Hollenbeck’s more concise compositions – he saves the most lavish ones for his equally tuneful and relevant Large Ensemble. This 2016 release is as good a place to start as any to get to know the band: the tunes are slightly more condensed than usual, with plenty of cinematic flair and wry humor. Beyond this one, the band’s essential album is September, ironically their most improvisational release, a brooding examination of post-9/11 shock and horror that would have been a lock for best album of 2013 had Darcy James Argue not decided to release Brooklyn Babylon that same year.

Super Petite opens with Nightbreak, an echoey nocturne fueled by Matt Moran’s summer-evening vibraphone, lingering in stereo over the bandleader’s muted, altered shuffle as Chris Speed’s clarinet and Red Wierenga’s accordion waft amid the starry ambience. There’s a Charlie Parker solo hidden deep in this night sky.

Hollenbeck’s all businesslike while Wierenga runs a wary, pulsing loop and Speed sniffs around throughout JFK Beagle, the first half of a diptych inspired by airport drug-sniffing dogs. The second, Newark Beagle begins much more carefree but then Moran takes it into the shadows: cheesy Jersey airports are where the really sketchy characters can be found. There’s more similarly purposeful, perambulating portraiture and a memorably jaunty Speed clarinet solo a bit later on in If You Seek a Fox.

Bassist Drew Gress dances through the acidically loopy, hooky ambience in A-List as the bandleader drives it forcefully: being a meme is obviously hard work. Wierenga’s swoops and dives over Moran’s high-beam gleam is one of the album’s high points. Speed takes careening flight in Philly, a wry shout-out to Philly Joe Jones and how far out a famous shuffle riff of his can be taken.

High harmonies from Wierenga and Moran take centerstage and eventually hit a very funny ending in the brisk but idyllic Peterborough, home to the MacDowell Colony, where Hollenbeck wrote it. Rose Colored Rhythm takes its inspiration from Senegalese drummer/composer Doudou N’Diaye Rose, an epic journey through haze to insistent minimalism, cartoonish riffage and wry syncopation all around.

Pure Poem, which draws on knotty numerical sequences from the work of Japanese poet Shigeru Matsui, has hints of bhangra jabbing through Hollenbeck’s boisterous pointillisms. The album concludes with Mangold, a shout to his favorite Austrian vegetarian restaurant (such things exist – there’s hope for the world!). With sax and vibraphone joining for a belltone attack, it’s unexpectedly moody. Heartwarming to see a band who’ve been around for as long as these guys still as fresh and indomitable as ever.

Stephanie Chou’s Chinese Jazz Shifts the Paradigm at Lincoln Center

Lincoln Center booked Stephanie Chou and her quartet to celebrate International Women’s Day. They couldn’t have made a more imaginative choice. Chou is a strong singer with an unadorned mezzo-soprano, a strong saxophonist and a brilliantly individualistic composer who’s shifting the paradigm, blending Chinese themes from over the centuries with jazz, classical and more than a little rock in places. Her show last night drew heavily from her latest, innovative album, Asymptote. Her music is relevant, and lyrical, and amazingly eclectic, typical of the programming here lately.

The concert began with Isamu McGregor’s pointillistic, twinkling upper-register piano, joined by Andy Lin’s stark erhu fiddle. Then in a split second he picked up his viola and plucked out a spiky pizzicato riff before returning to the erhu as In the Moon You’ll See My Heart, a new version of the famous 1970s Teresa Teng Chinese pop hit, picked up steam.

Chou picked up her alto sax for General’s Command, reinventing an old Fujianese zither song as hard-hitting, kinetic postbop with more than a hint of gospel, Lin’s violin adding shivery ambience behind Chou’s calm, resolute melody.

“We’re gonna switch gears a little bit,” the college math major and bandleader explained, introducing the lustrous title cut from the new album. “The more you look the less you really see,” she sang: the enveloping, enigmatic sweep of the sax, viola, piano and drummer Vinnie Sperrazza’s muted mallets on the toms dovetailed with the philosophical paradox it alludes to, two lines converging infinitely but never reaching the same point.

Quiet Night Thought – a tropically-tinged setting of a Li Bai poem – followed a similarly lush, distantly brooding nocturnal tangent, Chou singing in Chinese. Then they switched gears again: Lin’ s solo version of an old folk song about birds flutttered, and chirped ,and soared, but with a fluidity that would make any feathered friend jealous.

Chou illustrated Odysseus’ arduous journey home to his true love with Penelope, a haunting, crescendoing backbeat rock ballad fueled by Lin’s aching viola and a spiraling, smoky sax solo. It would have been a huge radio hit for an artsy band like the Alan Parsons Project thirty years ago.

Chou returned to Chinese with her vocals in Making Tofu – inspired by a funny proverb about an only slightly less arduous process – a moody jazz waltz with a gorgeous, sternly crescendoing meteor shower of a piano solo and ominously modal sax work. Who knew so much energy was required to make those innocuous little cubes!

She led the crowd in a Chinese tongue-twister – the gist of it was, “If you eat grapes you spit out the peel, if you don’t eat grapes then you don’t” – then scatted it as Sperrazza rattled his toms and woodblock. She got serious again with the somberly verdant, astringently crescendoing tonalities of In the Forest, inspired by Johann Stolting, a 19th scientist turned hermit and something of a tragic character in her Irvington, New York hometown

Chou’s latest project explores the struggles of the women forced into prostitution by the Japanese in World War II. The world premiere of Manchurian Girl, a reworking of a 1938 Chinese pop song, had a sardonic martial beat: the longing and disillusion in Chou’s voice was visceral and transcended any linguistic limitations. She followed with a dramatic ballad, McGregor’s lingering glitter contrasting with Lin’s insistent attack and closed with a brief tone poem of sorts, part Debussy and part stately Chinese folk.

The next jazz show at Lincoln Center the atrium space on Broadway just north of 62nd St. is an especially amazing one, with ageless latin jazz piano icon Eddie Palmieri and his band on March 16 at 7:30 PM The show is free so get there early or else.

Irrepressible Trumpeter Steven Bernstein Brings His Two Hottest Bands to the Jazz Standard This Week

Sexmob – trumpeter Steven Bernstein, saxophonist Briggan Krauss, bassist Tony Scherr and drummer Kenny Wollesen – have been making magically surreal, darkly cinematic sounds since the late 90s. As you will see below, good things happen when they turn up. They’re at the Jazz Standard tomorrow, March 8 and Friday, March 9 with sets at 7:30 and 9:30 PM; $30 cover isn’t too bad considering that the club has no minimums (but good food, incidentally).

Then Bernstein leads his historically-infused, hard-swinging Millennial Territory Orchestra – whose reinventions of Sly Stone songs are a real trip –  there on the 10th and 11th. Check out this lineup: Charlie Burnham on violin; Curtis Fowlkes on trombone; Doug Wieselman on clarinet; Peter Apfelbaum on tenor sax; Erik Lawrence on baritone sax; Matt Munisteri on guitar; Ben Allison on bass; and Ben Perowsky on drums. It’s as if legendary Lower East Side hotspot Tonic – where an empty “luxury” condo now stands – was still open.

Here’s what Sexmob sounded like last July in Prospect Park:

“…a wickedly amusing, entertaining score to the 1925 Italian silent film Maciste All’Inferno…it’s amazing what an epic sound trumpeter/bandleader Steven Bernstein manages to evince from the four voices in his long-running quartet…part of the equation is long, desolate sustained tones; part is echo effects and the rest of it is the reverb on Wollesen’s drums, gongs and assorted percussive implements. On one hand, much of this score seemed like a remake of the band’s 2015 cult classic album Cinema, Circus & Spaghetti: Sexmob Plays Nino Rota, especially the brooding opening sequence. With a very close resemblance to Bernstein’s reinvention of the Amarcord main title theme, the band went slinking along on the moody but trebly pulse of Scherr’s incisive bass and Wollesen’s ominously muted and-four-and tom-tom hits.

Yet as much as the rest of this new score followed the same sonic formula (or tried to – as usual this year, the sound mix here was atrocious, bass and drums way too high in the mix), the themes were more playful than that album’s relentless noir ambience. At the same time, Bernstein’s uneasy but earthily rooted dynamics added a welcome gravitas to the movie’s vaudevillian charm. In brief (you can get the whole thing at IMDB): strongman Maciste, stalked by the devil, ends up in hell, fends off all sorts of cartoonish human/orc types and ends up having a potentially deadly flirtation. All the while, he’s missing his true love and family topside. Will he finally vanquish the hordes of tortured souls hell-bent into making him one of their own?

Wollesen built one of his typical, mystical temple-garden-in-the-mist tableaux with his gongs, and cymbals, and finally his toms, to open the score. It’s a catchy one, and the hooks were as hummable as the two main themes were expansive. In addition to the many variations on the title one, there was also a funky bass octave riff that subtly pushed the music into a similarly hummable uh-oh interlude and then back, spiced here and there with screaming unison riffs from the horns and one achingly menacing spot where Krauss mimicked guitar feedback. But the scrambling and scampering ultimately took a backseat to gloom. For this band, hell is more of a lake of ice than fire.”

They’re saving the fire for the Jazz Standard gigs.

Jazz Piano Icon Satoko Fujii Launches Her Ambitious 2018 Album-a-Month Project

What Wadada Leo Smith is to the trumpet, Satoko Fujii is to the piano: one of the most riveting improvisers to ever play the instrument. Like Smith, her themes can be epic and ambitious to the nth degree, yet her playing is meticulous and nuanced. Where a lot of musicians think in short phrases, Fujii thinks in paragraphs. Her most recent big band album, the harrowingly relevant Fukushima suite, topped the Best Albums of 2017 list here. Her latest project is to release an album a month this year to celebrate her sixtieth birthday. In person, beyond the sheer depth of her music, her indomitable joie de vivre, sense of wonder and daunting chops transcend preconceptions about age. The first release in the series is simply titled Satoko Fujii Solo.

Full disclosure: many of these albums seem to already be in the can. This first one was recorded live in concert in the fall of last year in Yawatahama, Japan. From the first magnificent, moody neoromantic chords of her eight-minute opening number, Inori, the way she distills them down to a simple, catchy three-chord riff and variations is a clinic in tunesmithing. Fujii is also a very site-specific pianist: she feels the room, figures out how long the reverb lasts,  then makes it an integral part of the music. She does that here with stabbing chords that build to a series of leaps and bounds. then a starlit outro. Chopin probably worked up a lot of his material this way.

This is a very otherworldly record, bristling with uneasy, insistently modal tangents. Don’t be fooled by the high drone that opens the second number, Geradeaus. That’s not a defect – that’s Fujii bowing and rustling around inside the piano. She finds a low pedal note, expands around it in an emphatic Keith Jarrett way, goes back inside and adjusts the timbre ever so slightly, then lightens a bit and dances around with uneasy chromatics. The few carefree flourishes turn out to be a red herring as this mood piece turns more savage and enigmatic.

As the twelve-minute Ninepin gets underway, Fujii juxtaposes muted gamelanesque taps on the strings…and what sounds like an electric sander on them. Slowly and methodically, she develops what could be a misterioso Indian wee-hours raga…but cuts off the pedal on each phrase suddenly – wherever this is going, we’re not there yet.  Some of it could be Satie, or Lennie Tristano, severity balanced against tongue-in-cheek humor.

The even longer Spring Storm is all about foreshadowing: stygian low torrents rise and then subside, give way to hints of a clearing, but that big black cloud is going to hang awhile! It’s Debussy’s garden in the hailstorm, but feeling the force of the elements row by row instead of the cloudburst simply shredding everything in its path.

In Gen Himmel, Fujii lets her Mompou-esque belltones linger, flits around under the lid, and cuts off phrases sharply, Intimations of gospel enter the picture, only to be elbowed out by funereal motives and restless close harmonies. The wryly titled Up Down Left Right begins as a funny study in how gremlins can pop up all over the keyboard, then morphs into twisted, bellicose quasi-boogie-woogie  Fujii closes the show by reinventing  Jimmy Giuffre’s Moonlight as a distantly menacing, saturnine elegy. “The stars settle slowly, in loneliness they lie,” Phil Ochs sang. Boy, do they ever.

Where does this rank in the immense Fujii catalog (over eighty albums)? Probably in the top ten, alongside her magical, mordant duo album with fellow pianist Myra Melford, for example.

Now where can you find this magical album…other than a Soundcloud page? Stay tuned!

Live Music Calendar for New York City and Brooklyn for March and April 2018

Daily updates: if you go out a lot, bookmark this page and check back for the latest.

Free and cheap concerts in just about every neighborhood. If you’re leaving your hood, make sure you check for service changes considering how the trains are at night and on the weekend.

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

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

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

On select Wednesdays and Sundays, an intimate, growing piano music salon on the Upper West Side featuring iconoclastically insightful, lyrical pianist Nancy Garniez – a cult favorite with an extraordinarily fluid, singing, legato style – exploring the delicious minutiae of works from across the centuries. Next up: 2/14 at 7 PM, 2/18 at 4 PM Haydn, Clementi and Chopin. beverages and lively conversation included! email for info/location.

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

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

Also Monday and Tuesday nights Vince Giordano’s Nighthawks, a boisterous horn-driven 11-piece 1920s/early 30’s band play Iguana, 240 W. 54th St ( Broadway/8th Ave) , 3 sets from 8 to 11, surprisingly cheap $15 cover plus $15 minimum considering what you’re getting. Even before the Flying Neutrinos or the Moonlighters, multi-instrumentalist Giordano was pioneering the oldtimey sound in New York; his long-running residency at the old Cajun on lower 8th Ave. is legendary. He also gets a ton of film work (Giordano wrote the satirical number that Willie Nelson famously sang in Wag the Dog).

Mondays at the Vanguard the Vanguard Jazz Orchestra – composer Jim McNeely’s reliably good big band vehicle – plays 9/11 PM, $30 per set plus drink minimum.

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

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

Wednesdays in March, 8 PM the Binky Griptite Orchestra (formerly Sharon Jones’ brilliant oldschool soul backing band) at Threes Brewing Outpost, 113 Franklin St (Greenpoint/Kent Aves) in Greenpoint, free

Thursdays at 8 in March 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 in March, 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.

Free classical concerts return on Saturdays at 4 PM in March 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.

Saturdays in March, 6 PM bassist Simon Hanes plays with his many groups at Barbes. The leader of cinematic Italophile instrumentalists Tredici Bacci has a sardonic sense of humor and chops that lend themselves to all kinds of different projects, as good bassists typically are prone to. 

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

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

Sundays in March, at sometime past noon at Hank’s, Nashville gothic crooner Sean Kershaw‘s legendary honkytonk brunch is back; special guests from his wide circle of NYC Americana acts keep the afternoon going until about 7. It’s just like 1999 again -at least until the bar closes sometime this year. Phil Gammage plays his dark Americana and blues there this month at 6 PM every Sunday this month as well.

3/1, 7:30 PM longtime Gil Scott-Heron collaborator and electric pianist Brian Jackson at Minton’s, $15

3/1, 7:30 PM an all-star 30-piece orchestra propelled by dreampop/noiserockers Gold Dime’s drummer Andrya Ambro play Terry Riley’s In C at the Poisson Rouge, $20 adv tix rec

3/1, 7:30 PM, repeating 3/2-3 at 8the NY Philharmonic with Jaap van Zweden on the podium and violinist Yuja Wang perform  Brahms’s First Piano Concerto and Prokofiev’s Fifth Symphony  at Avery Fisher Halll, $35 tix avail

3/1, 7:30/9:30 PM cornetist Taylor Ho Bynum’s 9-Tette with Mary Halvorson on guitar and Tomeika Reid on cello at the Jazz Gallery, $20$10 stud. Could be seriously epic.

3/1, 7:30 PM the Ladies Day Jazz Quartet – MJ Territo – vocals; Linda Presgrave – piano; Iris Ornig – bass; and Barbara Merjan – drums – play material by women jazz composers including Mary Lou Williams, Marian McPartland, Peggy Lee, Abbey Lincoln, Patricia Barber,  at Club Bonafide,$tba. That’s a hell of a rhythm section.  

3/1, 8 PM pyrotechnic Balkan multi-reedman Greg Squared‘s Great (and ever-expanding) Circle at Barbes. A vehicle for his most lavish compositions and not to be missed if Balkan or Middle Eastern music are your thing. 

3/1, 8 PM International Contemporary Ensemble with the spectacular Peter Evans on trumpet play a “composer portrait” of Irish contemporary composer Ann Cleare at the Miller Theatre, $20 tix avail

3/1, 8 PM dark latin/Russian ska/tropicalia band Karikatura at the big room at the Rockwood

3/1-3, 8:30 ambitious, tuneful trumpeter Jonathan Finlayson leads a series of ensembles at the Stone, $20. Choice pick: 3/2 with Sicilian Defense feat. Matt Mitchell on piano

3/1, 9 PM adventurous effects-fueled guitarist Xander Naylor followed by D. Treut‘s wild stoner soul/psychedelia/improvisation at C’Mon Everybody, $12

3/2, 5:30 PM irrepressible multi-instrumentalist Joanna Sternberg does her charming, oldschool Americana songwriter thing at the American Folk Art Museum

3/2, 6 PM oldschool-style high plains C&W singer Hope Debates & North 40 at 55 Bar

3/2, 6 PM charmingly inscrutable Parisienne chanteuse Chloe & the French Heart Jazz Band at Club Bonafide, $20

3/2, 7 PM slinky cumbia/ghoulabilly/ranchera band Jenny & the Mexicats at the big room at the Rockwood, $20

3/2, 7 PM guitarist/songwriter Alicyn Yaffee -the rare artist who successfully bridges the gap between lyrically-fueled chamber pop and jazz – at Shrine

3/2, 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

3/2, 7 PM rising star trumpeter Adam O’Farrill leads a septet at Spectrum $15

3/2, 7 PM violist Aundrey Mitchell & pianist Tim McCullough trace the development of viola music from the classical era to the mid 20th century with a program tba at Bloomingdale School of Music, 323 W 108th St (off of Broadway), free

3/2, 7:30 PM perennially brooding folk noir/dark psychedelic songwriter Richard Buckner at Union Hall, $15

 3/2, 8 PM trumpeter Ben Holmes and accordionist Patrick Farrell – two thirds of the fiery Yiddish Art Trio – play new compositions followed at 10 by Yotoco, the “bastard child of Umoja Orchestra, Bio Ritmo, and Cumbiagra playing a melange of salsa, Afro-Cuban rumba, boleros, and cumbia” at Barbes. Yotoco are also at the Owl on 3/24 at 8 for $10.

3/2, 8 PM drummer Bobby Previte’s Rhapsody Band with Nels Cline, Zeena Parkins, Jen Shyu and others perform Rhapsody, his new travel-themed song cycle at Roulette, $20 adv tix rec

3/2, 8 PM overlapping improvisations between computer music pioneer Carl Stone, esteemed multi-reedman Ned Rothenberg, and Tokyo-based vocalist and cross-media artist Ami Yamasaki at Issue Project Room, $15/$12 stud

3/2-3, 8 PM an intimate piano/drums gig by the smartly lyrical Danny Grissett with EJ Strickland at Mezzrow, $20 at the bar

3/2, 8 PM high-voltage Neapolitan/Romany string band Newpoli at Flushing Town Hall, $16

3/2-3, 8:30 PM ambitious, tuneful trumpeter Jonathan Finlayson with Steve Lehman on alto sax at the New School’s Glass Box Performance Space, 55 W 13th St, $20. 3/3 Finlayson brings his Sicilian Defense band

3/2, 9ish the intoxicatingly clattering, sintir bass lute fueled Moroccan trance grooves of Innov Gnawa at the Owl, $10

3/2, 9:30 PM intricately orchestrated, low register-loving psycho mambo crew Gato Loco and searing, theatrical Romany/Balkan punk rockers Bad Buka at Brooklyn Bazaar, $10

3/2, 10ish murderous, wild, Middle Eastern-tinged surf Beninghove’s Hangmen at FM Jersey City, 340 3rd St, Jersey City, free, Path train to Grove St. and about a 5-block walk

3/2, 10 PM LES punk/surf guitar legend Simon Chardiet’s Rooftoppers – who give him a chance to show off his prowess with jazz, proto-rock and western swing – at Sunny’s

3/3, 2 PM artist Julie Klear leads a “protest animal” workshop for children: “kids are invited to create their own animal and choose an emotion, a protest, and to voice an opinion,” at FIAF Tinker Auditorium, 55 E 59th Street (between Park and Madison Avenue), free w/rsvp  

3/3, 4 PM cinematic, psychedelic quirk-pop keyboardist Michael Hearst presents “Curious, Unusual and Extraordinary” songs from his many bands followed eventually at 6 by intense, charismatic singer Sami Stevens’ oldschool soul group and then at 10 by epic ranchera/bolero brass crew Banda de los Muertos at Barbes

3/3, 7 PM jazz sax icon Miguel Zenón, with Bang on a Can clarinetist Evan Ziporyn lead an ensemble playing a benefit for Puerto Rico at Silberman School of Social Work Auditorium, 2180 Third Ave, $20

3/3, 7:30 PM enchanting Indian carnatic singer Mitali Bhawmik with tabla player Amod Dandawate at the Chhandayan Center For Indian Music $20add

3/3, 8/10:30 PM haunting, extraordinary Palestinian microtonal trumpeter Ibrahim Maalouf leads an improvising ensemble at Drom $25 adv tix rec

 3/3, 8 PM lyrical Cuban jazz pianist/composer Alfredo Rodriguez leads his trio at the Miller Theatre, $20 tix avail

3/3, 8 PM bassist Mark Wade leads his lyrical, cinematic piano trio at Club Bonafide, $15

3/3, 9ish activist community chorus Grassroots Harmony at the People’s Voice Cafe, sugg don, $20, “more if you choose; less if you can’t; no one turned away”

3/3, 9 PM fiery, guitar-fueled female-fronted Americana punks Spanking Charlene at Sidewalk.

3/3, 9 PM moodily lyrical, politically savvy Irish folk-rocker Niall Connolly at the small room at the Rockwood. He’s also here on 3/9 and 3/17

3/4, 2 PM pianist Lise de la Salle plays works by Roussel, Liszt and Bach at the Town Hall, $15

3/4, 2:30 PM the lavish, meticulous, thrilling Greenwich Village Orchestra play play the Poulenc Organ Concerto, the Hummel Trumpet Concerto and Saint-Saëns Symphony No. 3, “Organ Symphony” at Church of the Incarnation, 209 Madison Ave at 35th St. $20 sugg don, reception to follow. Wow. 

3/4, 2:30 PM the Apple Hill String Quartet play a program TBA at St. Bartholomew’s Church, 325 Park Ave at 51st, $25/$15 stud/srs

3/4, 3 PM Nanci Belmont, bassoon; Rosie Gallagher, flute; Stuart Breczinski, oboe; Bixby Kennedy, clarinet; Patrick Jankowski, horn play works by Joan Tower, Tania Leon, Ligeti and others at Concerts on the Slope, St. John’s Episcopal Church, 139 St. John’s Place downhill from 7th Ave, sugg don

3/4, 4 PM conductor Lidiya Yankovskaya’s  Refugee Orchestra Project play a program of female composers TBA at National Sawdust, $30 adv tix rec

 3/4, 4 PM lyrical, haunting Bulgarian chanteuse/bandleader Vlada Tomova & Young Bulgarian Voices at Drom, $10. Followed at 8 (separate $10 cover) by fado and piano with singer Patricia Teixeira

3/4, 4 PM pianist Steven Masi continues his Beethoven sonata cycle at the Dreck Center at the Brooklyn Public Library, free, no under-sixes.

3/4, 6 PM Raf Vertessen/Keisuke Matsuno/Hans Tammen improvising on drums, guitar and rare vintage Buchla synth followed by Jim Denley solo on bass flute – ?!? – at Downtown Music Gallery

3/4, 10:30 PM tuneful soul-jazz trombonist Dave Gibson leads his quintet at Smalls

3/5, 7 PM the all-female Resistance Revival Chorus sing epic, inspiring populist gospel tunes and anti-trumpie broadsides with special guests at Joe’s Pub, $15

3/5, 7:30 PM  Musicians from Marlboro play Boccherini’s String Quintet in E Major, Op. 11, No. 5; Bartók’s String Quartet No. 2; and Ravel’s Piano Trio in A Minor at Weill Hall at Carnegie Hall, $10 with discount code HCC10

3/5, 7:30 PM the Manhattan Chamber Players with guest cellist Marcy Rosen perform Schubert’s Quartettsatz plus string quartets by Mozart and Brahms at Holy Trinity Lutheran Church, 3 W. 65th St., $20, students/kids free

3/5, 8 PM boisterously funny oldschool 60s C&W and brooding southwestern gothic with the Jack Grace Band at Hanks. 3/13 at 9 he’s at Bar Chord solo

3/5, 9:30ish Dilemastronauta Y Los Sabrosos Cosmicos play their cumbia-inspired stoner dub jams at Barbes

3/6, 5:30 PM percussion/ piano quartet Yarn/Wire  play Catherine Lamb’s titanic, 45-minute Curvo Totalitas at the Miller Theatre, free

3/6, 7:30 PM the show by Juilliard’s Ensemble Connect with Messiaen’s Quartet for the End of Time at Paul Hall at Juilliard is SOLD OUT

3/6, 7:30/930 PM tuneful postbop alto saxophonist Logan Richardson leads his quintet at the Jazz Standard, $25

3/6-11, 8:30/11 PM lyrical jazz piano icon Fred Hersch leads a trio at the Vanguard, $30

3/7, 9ish wildly eclectic circus rock/folk noir/jazz/cinematic composer Gina Leishman at the Owl, $10

3/7, 9 PM guitarslinger Phil Gammage plays his dark Americana and blues at Silvana

3/7, 9ish Dervisi feat. guitar god Steve Antonakos play “exotic Greek gangsta blues” at Troost

3/8, 7 PM soaringly explosive jazz composer/torch singer Nicole Zuraitis at 55 Bar

3/8, 7:30 PM genre-smashing avant-jazz saxophonist/singer Stephanie Chou with Andy Li on erhu and viola and Kenny Wollesen on drums at the Lincoln Center Atrium, free, early arrival advised

3/8, 8 PM the year’s best Americana triplebill so far: purist honkytonk crooner/bandleader Clifford Westfall, Lakeside Lounge honcho and guitar icon Eric Ambel, and fiery, lyrical Steve Earle-ish songwriter Kasey Anderson at Hank’s, $10

3/8, 8 PM plush, balmy, oldtimey uke swing band Daria Grace & the Pre-War Ponies at Barbes

3/8, 8 PM flamenco guitarist Andreas Arnold followed by oudist Kane Mathis leading his high-voltage power trio at the Owl, $10. Mathis is also at Spectrum the following night, 3/9 at 6:30 PM with his more cinematic Orakel duo, $15

3/8, 8:30 PM bansuri flutist Rasika Shekar leads her trio at the Jalopy, $15

3/8, 8:30 PM wild, spiraling, rare rustic minor-key Polesian klezmer dances and grooves with Litvakus at Funky Joe’s, 455 W.56th St., $15

3/8, 8:30 PM the Actual Septet: Andrew D’Angelo, Jessica Jones, Claire Daily (saxophones) John Schott, Will Bernard (guitars) Dan Seamans (bass) John Hanes (drums) at the New School’s Glass Box Performance Space, 55 W 13th St, $20

3/8, 9 PM 20s hot jazz revivalists Cait and the Critters at Radegast Hall. They’re also there on 3/28

3/8, 10:30 PM sweeping, swinging vibraphonist Behn Gillece leads his quintet at Smalls

3/8, 10 PM feral psychedelic guitarslinger Debra Devi and her power trio at FM Jersey City, 340 3rd St, Jersey City, Path train to Grove St. and about a 5-block walk

3/9, 7:30 PM New York’s most charismatic, darkly compelling lyrical songwriter/storyteller/keyboard genius Rachelle Garniez at Pangea

3/9, 7:30 PM one of the original global jazz-oriented string ensembles, the Turtle Island String Quartet at the Cutting Room, $20

3/9. 8 PM playfully lyrical, fearlessly political superduo Kill Henry Sugar – guitar/banjo mastermind Erik Della Penna and drummer Dean Sharenow –followed at 10 by accordionist/sitarist Kamala Sankaram’s hot surfy Bollywood/cumbia/psychedelic rock project Bombay Rickey – a launching pad for her spellbinding four-octave voice –  at Barbes

3/9, 8 PM Zikrayat play slinky, cinematic classics from the golden age of Arabic song at Alwan for the Arts, $20/$15 stud/srs

3/9, 9 PM Mediterranean chanteuse Zana plays “gypsy pop” followed by Mar Salá playing her acoustic flamenco rock at Shrine

3/9, 9ish the irrepressible Ellia Bisker’s explosive Balkan/New Orleans flavored Funkrust Brass Band at Caveat, 21A Clinton St. $12. Caveat: there are a bunch of “comedians” also on the bill

3/9, 10 PM high-voltage, soul-infused Americana rockers the Woes at Sunny’s

3/9, 9 PM the British Pogues: Skinny Lister at the Knitting Factory, $15 adv tix rec

3/9, 7 PM NYC’s own rippling, hypnotic, epic Javanese gamelan, Gamelan Dharma Swara at National Sawdust, $30 adv tix rec . Followed at 10 PM (separate $30 adv tix adm) by fearless singer/composer Du Yun with her amazing chamber rock band: Nich Olas Farrell, guitars; Zhou Yi, pipa/ ruan / qin; Aakash Mittal, sax / clarinet

3/9, 7:30 PM chamber sextet Philosonia play works by Britten & Shostakovich at the Old Stone House, $25/$10 stud/srs

3/9, 10 PM a cool, eclectic surf twinbill: the majestic, cinematic TarantinosNYC  followed by the exotic vibraphone-driven Vibro-jets at Sidewalk. The Vibro-Jets are also at Troost on 3/16 at 9

3/9, 10 PM duskily  Leonard Cohen-influenced janglers the Low Anthem at Bowery Ballroom, $20 adv tix rec

3/9, 10:30 PM funny, explosive oldschool style punk rockers the Live Ones at Hank’s , They’re also here in 3/23

3/10, 4 PM the Erik Satie Quartet, a stately wind ensemble who reinvent Satie material as well as obscurities by his contemporaries,  followed at 6 by quirky Tredici Bacci bassist Simon Hanes’ Dressage organ trio, at 8 by dark urbane Romany song maven (and Berthold Brecht descendant) Sanda Weigl singing Kurt Weill with Lucian Ban, piano & Mat Maneri, viola, and at 10 by wryly funny, psychedelic covers of 60s Russian pop with the Eastern Blokhedz – who specialize in the catalog of legendary Polish singer Edita Piaha – at Barbes

3/10, 7:30 PM hauntingly atmospheric Persian trance band Niyaz at the Schimmel Center at Pace University on Spruce St. in the financial district, $30 tix avail

3/10, 8 PM slinky and explosive Indian sounds: the self-explanatory Women’s Raga Massive followed by live bhangra powerhouse Red Baraat at Highline Ballroom, $20 adv tix rec

3/10, 8 PM Punjabtronix – a more eclectic, less brassy version of Red Baraat – at Flushing Town Hall, $16

3/10, 9 PM enigmatic cello rocker Leah Coloff,f erociously lyrical, Macbeth-inspired art-rock/psychedelic songwriter Rose Thomas Bannister and cult favorite tunesmith Franklin Bruno & the Human Hands at Wonders of Nature, $5

3/10, 9ish rapturously hypnotic Indian improvisation with A Circle Has No Beginning: Sameer Gupta – drums/tabla; Pawan Benjamin – tenor sax; Arun Ramamurthy – violin; Rashaan Carter – Bass at I-Beam, $15

3/10, 9 PM Unsteady Freddie‘s monthly surf rock extravaganza at Otto’s begins with classic cover band Anything But Surf, at 10 catchy reverbtoned trio the Killers from Space, at 11 Link Wray cover band the WrayCyclers and at midnight sick Richard Cheese-style instrumental parodists LoungeZotica 3000

3/10, 9:30 PM the Space Merchants – the missing link between the Stooges and X – at Hank’s, $8

3/10, 10 PM fiery electric bluegrass and C&W with Demolition String Band at Skinny Dennis

3/10, 10 PM haunting cello-driven dissident compositions: Matt Haimovitz and Frances-Marie Uitti, joined by a Bhutanese ensemble playing works by Isang Yun at National Sawdust, $30 adv tix rc

3/11, 3 PM Japanese/Peruvian violinist Pauchi Sasaki  with flutist Claire Chase, playing their gamelanesque, politically-fueled Trade Routes suite at National Sawdust, $30 adv tix rc

3/11, 3 PM a John Zorn matinee with John Zorn (sax) Jim Staley (trombone) Marc Ribot (guitar) Mary Halvorson (guitar) Ikue Mori (electronics) Christian McBride (bass) Kenny Wolleson (drums) Ches Smith (drums) at the Vanguard, $30

3/11, 4 PM WQXR’s Terrance McKnight leads a conversation with veteran Civil Rights-era artists and activists Emmett Wigglesworth and Otto Neals on how art and politics can intersect, in the context of their exhibition at FiveMyles, 558 St Johns Pl, Bed-Stuy, free, 4/5 to Franklin Ave.

3/11, 6 PM noir guitar legend Jim Campilongo leads his trio at 55 Bar

3/11, 6 PM Sean Ali and Ayoko Kanda play bass/vocal duos followed at 7 by guitar/bass duos by Nico Soffiato and Zach Swanson and at 8 by the noir-inspired Ben Goldberg on clarinet with drummer Tom Rainey at Downtown Music Gallery

3/11, 7 PM the rapturous, haunting all-female Yale Slavic Chorus followed at 9:30  by Romany jazz/psychedelic rock guitar mastermind Stephane Wrembel at Barbes

3/11, 7:30 PM pioneering alto saxophonist Aakash Mittal leads his trio with Miles Okazaki (guitar), and Rajna Swaminathan (mridangam) slice and dice rarely heard Indian nocturnal raga themes at National Sawdust, $30 adv tix rec. A rare artist who can blend jazz with elegant traditional Indian improvisation and make it all seem perfectly natural. 

3/11, 9:30 PM ferociously dynamic, tuneful, female-fronted power trio Castle Black at Bowery Electric, $10

3/12-14, 8/10 PM  ageless, perennially hard-hitting jazz piano sage and ex-Coltrane bandmate McCoy Tyner at the Blue Note, $30 standing room avail.

3/12, 9:30 PM horn-driven psychedelic band Los Cumpleanos at Barbes

3/13, 7 PM eclectic, hard-hitting, lyrical composer/tenor saxophonist Stan Killian  leads his quintet at 55 Bar

3/13, 7:30 PM indie classical violin star Olivia De Prato of the Mivos Quartet plays the album release show for her edgy new solo album at the second floor space at 1 Rivington St at Bowery, $20

3/13, 8 PM the North/South Chamber Orchestra play Robert Martin’s Wind Quintets at Christ & St. Stephen’s Church, 122 W. 69th St. free

3/13, 8:30 PM ex-October Project bandleader and art-rock chanteuse Mary Fahl at City Vineyard, $20

3/13-17, 8:30 PM subtle, coloristic drummer Ben Perowsky leads a series of ensembles at the New School’s Glass Box Performance Space, 55 W 13th St, $20. Choice pick: 3/14 with the Moodswing Orchestra and Elysian Fields singer Jennifer Charles

3/13, 9:30 PM the Bronx Conexion play their mighty salsa big band jazz at the Nuyorican Poets Cafe

3/13, 8:30/11 PM this era’s greatest jazz guitarist, Bill Frisell leads a trio with Thomas Morgan on bass and Rudy Royston on drums at the Vanguard. Then 3/19-25 the trio adds Eyvind Kang on viola

3/14, 6 PM koto and shamisen player Kento Iwasaki at the  Rubin Museum of Art, free w/museum adm

3/14, 7 PM Colin Stokes, cello and Sophie Zhang, piano play works by Goleminov, Stravinsky, Poulenc and Bridge at the Bulgarian Consulate, 121 E 62nd St, free, res req 

3/14, 7 PM wild psychedelic lapsteel player Myk Freedman & the MykFreedmans followed by improvisational trombone icon Steve Swell leading a trio at Happy Lucky No. 1 Gallery

3/14, 7  PM fearless, fiery blues-punk songwriter Molly Ruth – a real force of nature – followed by the darkly eclectic, enigmatic Lorraine Leckie  – equally adept at Slavic and Americana noir and dark cabaret – playing the album release show for her wildly psychedelic new album Live at Mercury Lounge at…the Mercury, where else, $tba. Leckie is also at Pine Box Rock Shop solo acoustic on 3/31 at 9:30 PM.

3/14, 9 PM boisterously funny oldschool 60s C&W and brooding southwestern gothic with the Jack Grace Band and special guest Eric Ambel on guitar at Hill Country. Lots of good duels, probably.

3/15, 7 PM composer/sound artist Zosha di Castri (piano), indie classical icon Missy Mazzoli (synthesizer) and others premiere new solo works at National Sawdust, $30 adv tix rec

 3/15, 7 PM bittersweet, high-lonesome oldtime Americana trio the Night Kitchen with Gene Yelin – guitar & vocals; Trip Henderson – harmonica; Joanna Sternberg – bass and vocals at Barbes

3/15, 7:30 PMlatin jazz piano titan Arturo O’Farrill leads his quintet at Minton’s, $15

3/15, 8ish new works by violinist Maya Bennardo

, who’s ioned by cellist Zan Berry and pianist Karl Larson a the Owl, $10

3/15-18, 8/10 PM ageless jazz drum legend Roy Haynes celebrate his 93rd bday at the Blue Note, $30 standing room avail

3/15, 8;30 PM a wild klezmer dance party with Steven Weintraub and the all-female Tsibele (Yiddish for “onion”) at Funky Joe’s, 455 W.56th St.

3/15, 8:30 PM star south Indian sitarist Alif Laila at the Jalopy, $15

3/15, 10:30 PM River Cult play their ferocious, feral, cinematically psychedelic doom metal/postrock at Sunnyvale $10

3/16, 5:30 PM multi-instrumentalist Bassam Saba & guests from the NY Arabic Orchestra play a kid-friendly introduction to the magical microtone of the Middle East for zgess 4-up at the Cultural Services of the French Embassy, 972 Fifth Avenue (at 79th Street), free

3/16, 6:30 PM a night of mysterious, otherworldly, ecstatic Georgian traditional music with Dancing Crane Company at the Kaye Playhouse at Hunter College, 695 Park Ave, $30. Mens and women’s choirs, string bands, lots of dancing, the works.

3/16, 7 PM Betsayda Machado y La Parranda – “the voice of Venezuela” – sing raucous, catchy Afro-Venezuelan tambor beach party dance tunes at Elebash Hall, 365 5th Ave north of 34th St., $25

3/16, 7:30 PM perennially vital latin jazz piano sage Eddie Palmieri at the Lincoln Center Atrium, free, early arrival advised

3/16, 7:30/9:30 PM terse, purposeful guitarist Miles Okazaki’s quartet with Matt Mitchell on piano at the Jazz Gallery, $25

3/16, 8 PM Middle Eastern jazz sorcery with oudiste Tom Chess‘ Strange Ornament Quartet at Alwan for the Arts, $20/$15 stud/srs

3/16, 8 PM oldschool garage-punks Mala Vista, the Up Up Ups – the female NY Dolls –  the Carvels – who sound a lot like the Dickies – and second-save garage legend Johnny Chan at Sunnyvale, $10

3/16, 8 PM pyrotechnic, charismatic Argentine bandoneonist and composer JP Jofre backed by the New Asia Chamber Music Society at Symphony Space, $22 adv tix rec

3/16, 8 PM rustic Brazilian jungle guitar-and-accordion sounds with Regional de NY followed at 10 by psychedelic salsa bandleader Zemog El Galle Bueno at Barbes

3/17, 1 PM a “Poetry as Protest” workshop for kids with Amélie Gaulier: “kids are encouraged to create their own slogan, protest poster, catchphrase, or mantra,” at FIAF Tinker Auditorium, 55 E 59th St

3/17, 4 PM new klezmer tunes by clarinet sorcerer Michael Winograd,and lustrous trumpeter Ben Holmes followed at 6 by the deviously eclectic, psychedelic Tredici Bacci jamming out original psychedelic instrumentals inspired by Italian film themes from the 60s and 70s,  at 8 by eclectic, lyrical jazz bassist/composer Pedro Giraudo leading his Tango Quartet, and at 10 by the intoxicatingly clattering, sintir bass lute fueled Moroccan trance grooves of Innov Gnawa at Barbes

3/17, 6 PM ferociously lyrical populist rockers LJ Murphy & the Accomplices – the closest thing to Elvis Costello & the Attractions this city’s ever produced – with special guest Walter Ego on bass at Bar 9

3/17, 7 PM careening, charismatic, lyrically-fueled soul-rockers No Ice – arguably Brooklyn’s best band – at the Delancey, $8. Get in, get out before the amateurs show up.

3/17, 7:30 PM sarodist Ranajit Sengupta at the Chhandayan Center For Indian Music, $20

3/17, 7:30 PM ace drummer Bobby Sanabria and the MultiVerse Big Band play latin jazz versions of Leonard Bernstein’s West Side Story score at the Hostos Center,  450 Grand Concourse (at 149th St in the Bronx, $25 tix avail

3/17, 8 PM Super Yamba play their psychedelic Afrobeat jams followed by high-voltage psychedelic cumbia band MAKU Soundsystem – whose latest album takes a detour toward Caribbean and African sounds – at C’Mon Everybody, $12

3/17, 8 PM a night of magical duo improvisations: James Moore & Andie Springer on resonator guitar, violin and voices; violin duo Leah Asher & Natalia Steinbach; the Berrow Duo (Thea Merisow & Leia Slosberg) on cello & flute; and Sleepalk (Steinbach and drummer David Grollman) at Bushwick Community Darkroom, 110 Troutman St, (Evergreen/Central), J to Central Ave, $10

3/17, 8 PM banjo player/singer Alison Kelley of the New York Packet (South Street Seaport’s official maritime music group) and DK and the Joy Machine – songwriter Dian Killian and her Appalachian Mountain dulcimer at the People’s Voice Cafe, sugg don, $20; “more if you choose; less if you can’t; no one turned away”

3/17, 8ish Jake Sherman, the Real Vocal String Quartet’s Dina Macabee and NYC underground rock legend Ed Pastorini at the Owl, $10

3/17, 8 PM haunting, dynamic oudist Simon Shaheen’s Qantara with special guest group the Qantara Berklee Ensemble play iconic themes from Arabic cinema across the decades at Roulette, $30

3/17, 10 PM amateur-free St. Paddy’s Day with ferociously dynamic, tuneful, female-fronted power trio Castle Black at the Gutter, $5

3/18, 2 PM amazing sounds at Musical Armenia 2018: pianist Timo Andres and chamber ensemble Hotel Elefant play new works by ambitious, sweeping, politically fearless composer Mary Kouyoumdjian plus pianist Hrant Bahgrazyan plays works by Babajanian, Ravel and Bach at Weill Hall at Carnegie Hall, $25

3/18, 2  PM the amazingly eclectic Musical Chairs Chamber Ensemble play Paul Salerni – Two Partita; Dusan Bogdanovic – Quatre piéces intimes for cello and guitar; Franz Schubert – Quartet for flute, viola, cello and guitar; Kreutzer – Trio for flute, viola and guitar; Tina Kenny Jones – Making Monster at the S. I. Museum,1000 Richmond Terrace, Building “A”, Staten Island, $15.  

3/18, 4 PM legendary Dominican crooner/guitarist Joan Soriano “El Duque de la Bachata” at Flushing Town Hall, $16

3/18, 5 PM up-and-coming new music ensemble Face the Music play large ensemble jazz pieces  by Rudresh Mahanthappa, John Zorn, Mary Halvorson and Steve Lehman at the Jazz Gallery, $15

 3/18, 7 PM Exotic Flora play edgy, intense new jazz: Slavic Soul Party‘s Chris Stromquist – drums; Stephen Moses – trombone and Sean Moran – guitar, followed at 9:30  by Romany jazz/psychedelic rock guitar mastermind Stephane Wrembel at Barbes

3/18, 9ish recently revitalized, careening ten-piece Balkan brass crew Veveritse at Starr Bar, $8

3/18, 9 PM lyrical trumpet powerhouse Nadje Noordhuis leads a quartet including James Shipp on percussion and synths at 55 Bar

3/19, 7:30 PM chamber ensemble Kaleidoscope play a Harlem Renaissance-themed program TBA at the Lincoln Center Atrium, free, early arrival advised

3/19 ,9:30 PM ex-Chicha Libre keyboard sorcerer Josh Camp’s wryly psychedelic cumbia/tropicalia/dub band Locobeach at Barbes

3/20, 5:30 PM up-and-coming early music ensemble Juilliard415 play works by medieval composers Handel, Porpora, Leclair and Boismortier at the Miller Theatre, free

3/20, 6:30 PM baritone John Brancy and pianist Peter Dugan perform a program of WWI songs and laments about veterans returning from war plus antiwar classics by Schubert and Rachmaninoff at the Museum of the City of NY, $15/$12 stud.srs

3/20, 7 PM acerbic, intense jazz cellist Hank Roberts leads his quintet followed at 9ish by clever, fiery, eclectic ten-piece Balkan/hip-hop/funk brass maniacs Slavic Soul Party  at Barbes

3/20, 7 PM rising star jazz harpist Brandee Younger  plays her own tunes plus material by Dorothy Ashby at the National Jazz Museum in Harlem, $10

3/20, 7:30/9:30 PM Camille Bertault – who rocketed to youtube virality with her spot-on vocalizations of famous jazz solos – with her similarly playful group at the Jazz Standard, $25

3/20. 7:30 PM pianist Zhenni Li plays works by Schumann, Lourie, and Bartók at Zankel Hall at Carnegie Halll, $25 tix avail

3/20, 9 PM cinematic, politically fearless guitarist Demir Demirkan at the Knitting Factory, $10

3/21, 6 PM sitarist Anjana Roy with percussionist Polash Gomes at the Rubin Museum of Art, free w/museum adm

3/21, 7:30 PM a rare bass-fronted large jazz ensemble (just like Mingus), the Ross Kratter Jazz Orchestra at Club Bonafide, $15

3/21, 8 PM pianist Jacob Sacks leads his trio  at Happy Lucky No. 1 Gallery

3/21, 9 PM oldschool-style high plains C&W singer Hope Debates & North 40 at Bar Chord

3/21, 9:30 PM soul-jazz saxophonist Lakecia Benjamin and her band play the album release show for her new one Rise Up at Joe’s Pub, $25

3/22, 7 PM magical carnatic singer Mitali Bhawmik with Shree Suresh Benegal on harmonium and Dibyarka Chatterjee on tabla at the Mercy Home for Children, 273 Willoughby Ave, Ft. Greene, $20, G to Classon Ave

3/22, 7 PM a sax summit: the PRISM Quartet, Dave Liebman, Rudresh Mahanthappa, Tim Ries, and Miguel Zenón, wow, at Symphony Space, $23/$15 srs/$8 stud

3/22, 7:30 PM Swedish pianist Per Tengstrand plays Beethoven’s Hammarklavier sonata at Scandinavia House, $25. He’s also here on 3/29 playing  Beethoven’s three last sonatas,

3/22, 7:30 PM the Heath Quartet play Haydn: Quartet in C major, Op. 74, No. 1; Tchaikovsky: Quartet No. 1 at the Lincoln Center Atrium, free, early arrival advised

3/22, 8 PM ethereal, raptly haunting singer Sara Serpa performs her fascinating multimedia project Recognition – examining the ugly European occupation of Angola in the 1950s and 60s – with harpist Zeena Parkins and saxophonist Mark Turner at Alwan  for the Arts, $20

3/22, 8 PM deviously theatrical oldschool C&W/rockabilly parodists Susquehanna Industrial Tool & Die Co at Otto’s

3/22, 8 PM jangly, spiky, guitarishly brilliant Afrobeat band Timbila at Barbes

3/22, 8ish a very rare solo show by magical jazz violinist Charlie Burnham solo & guitarist Brandon Ross’ Phantom Station at the Owl, $10

3/22, 9ish haunting, intense ,soulful folk noir songwriter Holly Miranda – who’s as good on Telecaster as she is on piano – at the Park Church Coop in Greenpoint, $12 adv tix avail at the Poisson Rouge box ofc

3/22, 9 PM noisy, shambling 90s Britrock nostalgia: the Wedding Present at the Bell House, $20 adv tix rec

3/23, 7 PM sarangi virtuoso Sabir Khan and tabla maestro Aditya Kalyanpur at the Rubin Museum of Art, $25 adv tix rec

3/23, 7 PM  Naho Parrini, Eric Phinney and Marc Peloquin play an all-Leonard Bernstein chamber music program: Ten Anniversaries for Piano, Halil (Hebrew for flute), two love songs rarely performed, Extinguish My Eyes and When My Soul Touches Yours, with poetry by Rainer Maria Rilke, and the final movement of the Serenade for Violin at Bloomingdale School of Music, 323 W 108th St (off of Broadway), free

3/23, 7:30 PM haunting, edgy Middle Eastern jazz pianist Tarek Yamani at the Lincoln Center Atrium, free, early arrival advised

3/23, 7:30 PM edgy, tuneful klezmer-influenced reedman Uri Gurvich  with Peter Slavaov on bass and Francisco Mela on drums at the Bar Next Door, $12

3/23, 7:30/9:30 PM captivating, darkly tuneful  pianist Shai Maestro leads his trio at the Jazz Gallery $25

3/23, 7:30 PM the Queens Symphony Orchestra plays Schubert: Overture in the Italian Style D. 590; Stravinsky: Pulcinella and Vivaldi’s Four Seasons at Flushing Town Hall, free, get there early

3/23-24, 8 PM Qyrk Qyz (40 Girls): female poets and storytellers sing an epic version of the Gulaim legend about Amazons of Turkish ancestry with dutar (two-stringed lute), kyl-kiyak (two-stringed bowl fiddle), and jaw harp and a score by Tashkent-based composer Dmitri Yanov-Yanovsky – at BAM, $25 adv tix rec

3/23, 8 PM dark psychedelic soundtrack legends Morricone Youth play their live score to the cult horror film Danger: Diabolik at WFMU Monty Hall, 43 Montgomery St in Jersey City, $10

3/23, 8ish the deviously eclectic, psychedelic Tredici Bacci jam out original psychedelic instrumentals inspired by Italian film themes from the 60s and 70s at the Owl, $10

3/23, 8 PM pianist Thomas Sauer plays works by Bartok, Debussy, Saint-Saens and Bach at the New School auditorium, 66 Wt 12th St., free

3/23, 10 PM this era’s most chillingly cinematic, shadowy reverbtoned noir guitar instrumentalists, Big Lazy at Barbes

3/24, 6 PM quirky, colorful Tredici Bacci bassist Simon Hanes leads a trio with Brian Chase – drums and Anthony Coleman – piano, followed at 8 by art-rocker Pierre de Gaillande’s Bad Reputation playing witty chamber pop English translations of Georges Brassens classics at Barbes

3/24, 7:30 PM a brilliant, female-fronted Middle Eastern-flavored triplebill: fiery Tunisian art-rocker Emel Mathlouthi, slinky, oud-fueled Middle Eastern/Nile Delta dance orchestra Alsarah & the Nubatones and Jordanian chanteuse Farah Siraj at the Rogers Auditorium at the Metropolitan Museum of Art. expensive, $35, but worth it

3/24, 7:30 PM Portuguese fado crooner Ricardo Ribeiro leads his band at the Schimmel Center at Pace University on Spruce St. in the financial district, $30 tix avail

3/24, 7:30 PM the Orpheus Chamber Orchestra  with violinist Lisa Batiashvili play works by Prokofiev and Schubert’s Unfinished Symphony at Carnegie Hall, $25 tix avail

3/24, 8 PM , Books leader and cellist Paul de Jong and composer and haunting, purposeful violist Jessica Pavone’s String Ensemble at Issue Project Room, $15/$12 stud

3/24, 8 PM the Claudia Quintet – who didn’t invent pastoral jazz but perfected it so thousands of others could rip them off – at the Miller Theatre, $20 tix avail

3/24, 8 PM topical songwriter Colleen Kattau with cellist Barry Kornhauser at the People’s Voice Cafe, sugg don, $20, “more if you choose; less if you can’t; no one turned away”

3/24, 9 PM one of the great saxophonists in the history of ska, Dave Hillyard and his band at Hank’s, $8

3/24, 9ish pensively psychedelic, massively tuneful Moroccan/Venezuelan-influenced songwriter Miriam Elhajl at Wonders of Nature

3/24, 7:30 PM sitarist Abhik Mukherjee at the Chhandayan Center For Indian Music, $20

3/24, 8 PM Howlin Wolf-influenced guitar/drums duo Mr. Airplane Man at Union Pool, $15

3/24, 9  PM wryly surreal prozac rock duo the Dream Eaters at Pete’s

3/24, 10 PM oldschool psychedelic soul/groove band Empire Beats at the Way Station

3/25, 4 PM the Parthenia Viol Consort play Renaissance Italian “tomb sonnets” by  Luca Marenzio, Philippe Verdelot, Jacques Arcadelt, and Cipriano de Rore, and instrumental works by Andrea and Giovanni Gabrieli, at the Secret Theatre, $25

3/25, 6 PM cleverly lyrical, edgily funny, spine-tingling powerpop/acoustic rock singer Tamara Hey at the small room at the Rockwood

3/25, 7 PM enigmatic, individualistic torchsong/parlor pop piano chanteuse Jeanne Marie Boes at LIC Bar

3/25, 8:30 PM hypnotic postrock/art-rock/psychedelic supergroup Heroes of Toolik  at Pete’s

3/25, 9 PM trumpets and basses:  Danny GoukerJake Henry and Kenny Warren on the highs, Adam Hopkins,Will McEvoy and Zach Swanson on the lows at Brooklyn Conservatory of Music, $15

3/25, 10 PM long-running LES dark parlor pop/circus rock crew Black Flamingo at Otto’s

3/26, 7 PM organist Patrick Allen plays Charles Tournemire’s harrowing suite The Seven Last Words of Christ at Grace Church, free

3/26, 7:30 PM the Brentano Quartet play works by Haydn, Brahms and Steven Hartke at Music Mondays, Advent Church, northwest corner of 93rd and Broadway, free

3/26, 10ish singer Carolina Oliveros’ mighty 13-piece Afro-Colombian trance/dance choir Bulla en el Barrio at Barbes

3/27, 8 PM ethereally creepy singer Alice Boman and lush, hypnotic slowcore/postrockers Bing & Ruth at Murmur Ballroom,17 Eastern Pkwy, Ft. Greene, 4 to Brooklyn Museum, $15 adv tix avail at the Poisson Rouge box ofc

3/27, 8 PM Courtney Marie Andrews – who’s gone in a refreshingly purist Melba Montgomery-ish 70s C&W/soul direction – at the Mercury, $12

3/27, 8:30 PM quirky, smartly lyrical avant cello-rock with the Icebergs at Pete’s

3/27-28, 8:30 PM Motoko Honda (piano, electronics) Theresa Wong (cello, voice) at the New School’s Glass Box Performance Space, 55 W 13th St, $20

3/27, 9 PM fearlessly political, badass all-female swing harmony trio Rosie & the Riveters at the small room at the Rockwood 

3/27, 10:30 PM this era’s hardest-hitting, most purposeful, some might say darkest tenor saxophonist/composer JD Allen leads his quartet at Smalls

3/28, 7 PM thereminist Pamelia Stickney debuts the world-premiere of “Peripheral Vision, Escape Routes” – “lullabies, songs, and daydreams,” with special guests Danny Tunick on vibraphone + marimba and Stuart Popejoy on piano & keyboard at National Sawdust, $25 adv tix rec

3/28, 7:30 PM Elissa Cassini, violin + Roy Amotz, flute play Gervasoni reinventions of Bach at the Italian Academy at Columbia, 1161 Amsterdam Ave south of 118th, free

3/28, 8 PM bassist Max Johnson’s Heroes Trio with Jason Rigby on saxophone, Jeff Davis on drums playing  “compositions by the great bassists and heroes, past and present, such as Jimmy Garrison, Henry Grimes, Charlie Haden, Mark Dresser, Slam Stewart and many more” at Barbes

3/28, 8 PM String Noise teams up with String Orchestra of Brooklyn in a high-octane set with drummer Greg Saunier of Deerhoof at Roulette, $20 adv tix rec

3/28, 8 PM lyrical pianist Matt Mitchell leads his trio at Happy Lucky No. 1 Gallery

3/28, 9 PM the Unrehearsed at Otto’s. Could be one of a million bands. No idea if they’re any good but you never know

3/28, 10 PM high-voltage delta blues/Romany swing guitarist Felix Slim at LIC Bar

3/29, noon and 7 PM intense pianist Polly Ferman’s Glamourtango play music by women tango composers at Aaron Davis Hall, on the CCNY campus between W133rd and 135th Streets on Convent Avenue, $20

3/29, 7:30/9:30 PM darkly sweeping, cinematic newschool big band jazz with Jihye Lee Orchestra at the Jazz Gallery, $15

3/29, 7:30 PM Portuguese fado-jazz crooner/guitarist António Zambujo at the Lincoln Center Atrium, free, early arrival advised

3/29, 7:30 PM the aptly named Mantra Percussion and kaleidoscopically shapeshifting, edgy, tuneful art-rock band Bent Knee at Merkin Concert Hall, $25

3/29. 8 PM fearlessly haunting, dynamic, charismatic Romany/Balkan chanteuse Eva Salina with pyrotechnic accordionist Peter Stan play the album release show for their haunting new tribute to legendary singer Vida Pavlovic at Greenwich House Music School, $15

3/29-31, 8 PM a three-night festival to celebrate the 40th anniversary of Composers Inside Electronics at the Kitchen, $20. Ensembles TBA play early works first performed there in 1977-78 along with newer compositions by Paul DeMarinis, John Driscoll, Phil Edelstein, Tom Hamilton, Ralph Jones, Michael Johnsen, Ron Kuivila, Cecilia López, Paula Matthusen and Margaret Anne Schedel. Full schedule here 

3/29, 8 PM high-voltage psychedelic cumbia band MAKU Soundsystem – whose latest album takes a detour toward Caribbean and African sounds – followed by the brand-new Ife – African American drummer/singer Mark Underwood’s new latin project – at Bric Arts, $15 adv tix rec

3/29, 8 PM a classic garage rock twinbill: Muck & the Mires and the ageless Fleshtones at Bowery Electric, $15

3/29, 8 PM Third Coast Percussion and mezzo-soprano Rachel Calloway perform a “composer portrait” of Christopher Cerrone at the Miller Theatre, $20 tix avail

3/29, 8 PM colorful Jewish jazz saxophonist Paul Shapiro at Russ & Daughters, free

3/29, 8 PM subversive music by three members of the highly improvisational Rhythm Method String Quartet alongside American composer Lewis Nielson at Roulette, $20 adv tix rec

3/29, 8:30 PM fiery Moscow klezmer band Vanya Zhuk!  w/Ilya Shneyveys & guests at Funky Joe’s, 455 W.56th St., $15

3/29, 8:30 PM Kanoko Nishi-Smith (koto) John McCowen (contrabass clarinet) Theresa Wong (cello, voice) and special guest from Switzerland – Christian Kobe (sax) at the New School’s Glass Box Performance Space, 55 W 13th St, $20

3/29, 9 PM the Navatman Music Collective – the only carnatic choir on this continent – sing their innovative, lustrous, lush new arrangements of ancient Indian themes, plus the haunting Bulgarian Voices Trio at the Jalopy, $15

3/29, 9ish Clebs –  the “mutant brainchild” of atmospheric, eclectic singer Emilie Weibel and jazz drummer Jason Nazary – at the Owl, $10

3/29, 9 PM cinematic noir Americana with Nathan Xander at Alphaville, $10

3/30, 7 PM the Mivos Quartet, Steven Beck (piano), Ken Thomson (reeds), and Kristen Gornstein (mezzo) play the music of Max Johnson at Spectrum, $15a

3/30, 7:30 PM ex-Dylan lead guitarist Larry Campbell with singer Teresa Williams at at the Poisson Rouge, $25 adv tix rec

 3/30, 8 PM the very busy String Orchestra of Brooklyn play works by Tony Conrad and Zach Layton at Roulette, $20 adv tix rec

3/30, 8 PM eclectic, electric C&W/blues band the Jug Addicts followed at 10 by Cumbiagra – who’ve been going in a much more psychedelic direction lately – at Barbes

3/30, 9 PM long-running, wickedly jangly, tuneful Americana rockers the Sloe Guns at Silvana

3/30, 9 PM lush, intense, artfully orchestrated psychedelic rockers Aunt Ange at Bowery Electric, $10

3/30, 9ish enigmatic, lustrous art-rock: Marcia Bassett with Samara Lubelski at Wonders of Nature

3/30, 9ish acerbic, intense jazz cellist Hank Roberts leads his sextet at the Owl, $10

3/30, 11 PM powerful singer Bela Zap Art’s transcendently good, ferociously stampeding heavy, latin-tinged psychedelic band Desert Flower at Pine Box Rock Shop

3/31, 7 PM a 10-piece subset of paradigm-shifting all-female Indian orchestra the Women’s Raga Massive celebrate Women’s History Month with a mix of raga classics and soul-infused originals at Joe’s Pub, $20

3/31, 7 PM Lisa Bielawa (voice); Vijay Iyer (piano), Du Yun and others premiere new solo works at National Sawdust, $30 adv tix rec

3/31, 7:30 PM fado chanteuse Lula Pena and her band at the Schimmel Center at Pace University on Spruce St. in the financial district, $30 tix avail

3/31, 8 PM pointillistic electroacoustic keyboardist Félicia Atkinson performs “an imaginary dialogue between the poems of Francis Ponge (1899-1988) and texts of her own, in French and in English,” at Issue Project Room, $15/$12 stud

3/31, 8:30 PM deviously lyrical, historically spot-on, cleverly sultry oldtimey/Americana songwriter/bandleader Robin Aigner followed at 11 by wickedly catchy Americana/paisley underground rockers Girls on Grass at Freddy’s

3/31, 9ish epic, cinematic guitar soundtrack composer Christina Courtin at the Owl, $10

3/31, 10 PM Super Yamba play their bracingly psychedelic Afrobeat jams at Barbes

4/1, 4 PM the Iranian Female Composers Association launch their auspicious new series at National Sawdust with pianists Ava Nazar and Erika Dohi, the Steinem Quartet, Alison Rowe, and kamancheh player Niloufar Shiri, plus Anahita Abbasi, Aftab Darvishi, Farzia Fallah, Mahdis Golzar Kashani, Niloufar Karimi, Niloufar Nourbakhsh, Gity Razaz, Aida Shirazi, and Niloufar Shiri, $20

4/1, 6:30 PM Shafaat Khan – sitarist son of the legendary Vilayat Khan – at Joe’s Pub, $30. Gotta start early to give this guy a chance to take his time and mesmerize you.

4/2, 7:30 PM eclectic Bay Area vocal jazz sextet Jazz-Ology at Club Bonafide, $2o 

4/3, 7 PM irrepressibly theatrical parlor pop pianist Greta Gertler Gold at Joe’s Pub $15

4/3-4, 7:30/9:30 PM savagely eclectic guitarist Mary Halvorson plays the album release show for her excellent, sardonic new one Code Girl with Amitha Kidambi – vocals; Adam O’Farrill – trumpet; Michael Formanek – bass; Tomas Fujiwara – drums at the Jazz Standard, $30 but worth it

4/3, 8 PM pianist Katie Reimer’s reliably adventurous Mimesis Ensemble play haunting Middle Eastern-inspired works by Mohammed Fairouz and Halim El-Dabh – arguably the world’s first electronic composer – at Weill Hall at Carnegie Hall, $25

4/3. 8 PM the Tak Ensemble sextet with bassoon soloist Rebekah Heller debut Mario Diaz de Leon’s first album-length suite at Roulete, $20 adv tix rec

4/3-9, 8:30/11 PM reliably lyrical pianist Renee Rosnes with Steve Nelson (vibes 4/3-4/7) Melissa Aldana (tenor sax 4/6-4/8) Peter Washington (bass) Lenny White (drums at the Vanguard

4/4 ,noon the Zorá String Quartet play Webern, Langsamer Satz; Beethoven, String Quartet No. 15 in A minor, Op. 132 at the Morgan Library, $20

4/5, 7:30 PM powerhouse bassist Shelley Nicole’s Blakbushe play their hard-edged Afrobeat-flavored funk at the Lincoln Center Atrium, free, early arrival advised

4/5, 7:30 PM a collaboration between visual artist Anna Fríða Jónsdóttir,violinist Abraham Brody and cellist Ásta María Kjartansdóttir tackles “a quest for the silence that can be found in abundance in their native Iceland” at Scandinavia House , $12

4/5. 7:30 PM pyrotechnic klezmler clarinetist David Krakauer and pianist Kathleen Tagg’s new immigration and displacement-themed Borderlands Project at Symphony Space, $3

4/5, 8ish ethereal, raptly haunting singer Sara Serpa leads her shapeshifting group playing the album release show for her new one at the Owl, $10

4/5. 8 PM twistedly talented, vaudevillian cover band the Ukulele Orchestra of Great Britain at the Poisson Rouge, $15 adv tix rec

4/5, 8 PM Camille Thurman – a double threat as nuanced singer and intense tenor saxophonist – with her band at Greenwich House Music School, $15

4/5. 9 PM lush, dynamic female-fronted art-rockers Arc Iris at Union Pool, $10 adv tix avail at the Poisson Rouge box ofc

4/5. 10  PM the uneasily cinematic art-rock Pi PowerTrio  – film composer and former Raybeat Pat Irwin (guitar, electronics), Sasha Dobson (drums, vocals) and Daria Grace (bass, vocals) at Sunny’s

4/6, 7 PM brilliant, Lynchian, darkly lyrical latin and Satie-inspired guitarist Jack Martin’s Bob Dylan Deathwatch open for Richard Lloyd of Television at Bowery Electric, $15 adv tix rec

4/6, 7 PM killer dark retro 60s psychedelic/stoner boogie/art-rock band Medusa’s Disco at Gussy’s Bar in Queens

4/6, 9ish dangerous folk noir chanteuse Larkin Grimm  – who’s gone in a psychedelic Indian direction lately – at Wonders of Nature

4/6, 10 PM classic C&W cover band and wry Sit N Spin side project the Lonesome Prairie Dogs followed by boisterously funny oldschool 60s C&W and brooding southwestern gothic with the Jack Grace Band  at Hank’s, $5

4/6. 10 PM guitar mastermind Danny Weiss’ and magical Americana singer Mary Olive Smith’s soulful retro bluegrass band Stillhouse Serenade at Sunny’s

4/7, 5 PM a house concert with magical carnatic singers Mohan Deshpande and Mitali Bhawmik plus Samir Chatterjee on tabla and Kedar Naphade on harmonium, $20, email the harmonium player for info/location 

4/7, 6 PM dark, intense, psychedelic guitarist/songwriter Anna Coogan at the small room at the Rockwood

4/7, 7 PM New Tide Orquesta, fronted by composer  Per Störby Jutbring mash up “chamber music, minimalism, improvisation, and hints of new tango.” at Scandinavia House, $15

4/7-8, 7 PM Susana Cook’s “ Run! It’s Getting Utly, a “satire about racism and discrimination – Cook shares what she calls a “family melodrama for these fascist times.” In the brazen, wacky play, a white nationalist family falls into a muddy and desperate identity crisis when they are attacked by “La Contaminación Cultural.” Their sense of language, grammar and origin gets altered, making them question who they really are.” at Jack, $15

4/7, 7:30 PM the aptly named Megalopolis Saxophone Orchestra, play NYC premiere of works by Kanasevich, Janmohammadi, and Glaser, as well as music by Edvard Grieg. at the DiMenna Center, $tba

4/8, 4 PM the world’s most popular renaissance vocal ensemble, Stile Antico tackle one of the era’s greatest masterpieces, Tomás Luis de Victoria’s Tenebrae Responsories at Corpus Christi Church, 529 W 121st St, $10 tix avail

4/8, 10 PM hard-hitting, brass-fueled newschool latin soul/boogaloo dance band Spanglish Fly at Bembe, 81 S 6th St, Williamsburg

4/18, 7:30 PM Seth Parker Woods, cello, with Ashleigh Gordon, viola play a world premiere by Giorgio Nett and works by Claudio Gabriele, Matthias Pintscher, and Giacinto Scelsi at the Italian Academy at Columbia, 1161 Amsterdam Ave south of 118th, free

4/19, 9ish badass all-female swing harmony trio the Tickled Pinks sing an Elvis tribute at Hank’s

4/21, 9ish wryly retro, period-perfect classic 60s style female-fronted honkytonk band the Bourbon Express, playing the album release show for their new one plus wickedly catchy Americana/paisley underground rockers Girls on Grass  at Hank’s

4/27, 8 PM a rare NYC appearance by Afghani rubab lute virtuoso Homayoun Sakhi at Roulette, $30

4/28, 8 PM epic sitarist Ustad Shahid Parvez at Roulette, $30

4/29, 7 PM Hossein Omoumi, virtuoso of the Persian ney flute, makes a rare NY appearance joined by evocative vocalist Jessika Kenney, Amir Koushkani on setar and tar lutes, and Hamin Honari  on tombak and percussion at Roulette, $30

5/1, 8 PM allstar Romany guitar jazz royalty: the Django Festival Allstars (guitarist Dorado Schmitt, his sons Samson and Amati, accordionist Ludovic Beier, violinist Pierre Blanchard, guitarists Doudou Cuillerier and Francko Mehrstein with Antonio Licusati and Gino Roman on bass) plus special gests singer Melody Gardot and reedman Ken Peplowski at Stern Auditorium at Carnegie Hall

5/19, 7 PM magical Persian/Turkish improvisations with kamancheh fiddle icon Kayhan Kalhor and baglama player Erdal Erzincan at the Schimmel Center at Pace University on Spruce St. in the financial district, $30 tix avail

Pianist Alfredo Rodriguez Brings His Glistening, Fearlessly Relevant Cuban Jazz Uptown

Cuban pianist Alfredo Rodriguez’s recordings run hot and cold. He can take your breath away with his towering majesty; other times, he overreaches. When he’s at the top of his game, he’s a great tunesmith. His latest album The Little Dream – streaming at Spotify – was conceived in opposition to the Trump administration’s anti-immigrant bigotry, in particular the clampdown on DACA and the deportation of children and families. The result is a characteristic mix of material that draws equally on classical, latin and more recent postbop jazz. Rodriguez and his trio, bassist Munir Hossn and drummer Michael Olivera are playing the Miller Theatre this Saturday night, March 3 at 8 PM; you can get in for as low as $20.

Throughout the album, Rodriguez’s playing is remarkably spare and focused: this is his most minimalist work to date. It opens somewhat jarringly with Dawn, a haphazard juxtaposition of Rodriguez’s signature neoromantic glimmer and gravitas, postbop scramble and what could be soukous, Hossn scurrying way up high as Olivera flurries frenetically.

The title cut has an insistently verdant, Pat Metheny-ish PBS title theme feel: Hossn channels Jerry Garcia, way up the fretboard, then Rodriguez hits a terse stride interlude. It’s a celebration of the “dreamer” kids’ resilience rather than a commentary on their precarious status in the United States.

The whole band gets into picturesque, pointillistic mode for Silver Rain. Likewise, Rodriguez works variations on a shiny, glistening bucolic theme in Bloom while Olivera circles hypnotically with his brushes, and Hossn bends and perambulates with his treble turned all the way up.

Unlike what its title might have you thinking, Dance Like a Child has a terse, darkly bluesy focus, Rodriguez shifting through increasingly enigmatic, animated cascades to lingering, looping phrases. He artfully spaces his colorful riffs in Vamos Todos a Cantar, Hossn adding yet more spiky upper-register work, this time with son jarocho tinges.

Interestingly,  Besame Mucho – ostensibly the most recorded song in history – is where Rodriguez really distinguishes himself, with his tersely balletesque pulse, austere lyricism and soul-infused Fender Rhodes voicings as the rhythm section shuffles mutedly. A lot of artists never get to this song’s haunting, wounded inner core, but Rodriguez does, all the way through to an ending so simple it’s crushing.

Hossn’s muted plinks evoke a kora as the glimmering Tree of Stars comes together, up to a triumphantly precise, spiraling coda. The spare but insistent song without words World of Colors is almost stunningly translucent yet just as bittersweet.

True to its title, Alegria leaps and pounces with a joyous Spanish Caribbean folk feel hitched to sparkling Metheny drama, although the light electronic touches don’t add anything. A Rodriguez album wouldn’t be complete without a moody nocturne, so Moonbeam fits the bill, but with more slink and space than usual: it’s the strongest track. The final cut is a fusiony mess and should have been left on the cutting room floor. Another thing this album could stand to lose is the echoey, wordless vocals, which aren’t anywhere near boisterous enough to evoke flamenco, and often drift perilously close to new age music. Rodriguez’s concise, vivid tunes stand on their own just fine without them.