New York Music Daily

Global Music With a New York Edge

Tag: jazz

A Blissful Weekend of Otherworldly, Cutting-Edge Moroccan Trance Music

Every year, at the end of June, the Festival Gnaoua et des Musiques du Monde – the world’s largest performance of North African music – takes place in the coastal city of Essaouira, Morocco. Literally millions of people gather to watch dozens of the world’s most exciting and innovative acts in Moroccan and Middle Eastern sounds, to discover new bands, to dance or to be whirled into a trance state. By all accounts, Essaouira is a safer city than New York. With the strong dollar, it hasn’t been this inexpensive for Americans to visit in a long time. If you can afford to, you should go – in this political climate, your chance might be now or never, at least for the next few years.

This past weekend, three concerts in New York and one in Washington, DC celebrated the first-ever collaboration between the festival and Lincoln Center. Lincoln Center’s Meera Dugal and Samir LanGus, founder of the only American gnawa band, Innov Gnawa, came up with the idea while at the festival last summer, and the rest is history.  And historic as well: this series of shows marked the first time three of the great maalems (masters) of Moroccan gnawa music, Abdeslam Alikkane, Hamid El Kasri (who was making his North American debut) and New York-based Hassan Ben Jaafer, who leads Innov Gnawa, have ever appeared on the same stage.

About the music: gnawa was brought to Morocco by black slaves from sub-Saharan Africa. Gnawa music originated in pre-Islamic society as a healing ritual, fueled by the well-known calming and curative powers of low-register sonics. It’s typically sung by a maalem who plays a sintir bass lute, accompanied by a call-and-response chorus who add an often mesmerizing series of polyrhythms with a rustle and whirl of cast-metal qraqab castanets. The music’s migration north brought the invocation of Islamic saints and liturgy into the fold along with the traditional ancestral and nature spirits. Like American hip-hop or blues, it was considered ghetto for years before becoming Morocco’s best-known global music export over the past decade or so.

Thursday night at Lincoln Center was the big debut event. It’s safe to say that space was as packed as it’s ever been, an ecstatic, multicultural crowd that drew heavily on the Moroccan expat community, one of the many immigrant cultures that New York’s cultural mecca has reached out to in the recent past.

Alikkane was the first to take the stage, backed by a seven-piece qraqab choir. Rustic, tersely catchy, purposefully propulsive midtempo phrases flowed from his sintir while individual chorus members would spin out into the crowd, further energizing the audience. Would this hypnotically traditional performance be his signature style throughout the US tour? That answer wouldn’t reveal itself until the second night’s concert at the New School.

The atmosphere was electric when Ben Jaafer took the stage. Word on the street is that while audiences in Morocco miss him, there were some musicians who breathed a sigh of relief. At the moment he left for New York, seventeen years ago, he’d become such a popular touring artist that his departure opened up numerous opportunities for his fellow gnawis: he’d left big shoes to fill. Although the three New York concerts didn’t turn out to be cutting contests, per se, each maalem seemed fixated on taking his performance to the next level, and in this case, Alikkane had given Ben Jaafer a launching pad for some of the festival’s most exhilarating bass-string firepower.

Frequently interspersing unexpected, booming chords into his sinewy, serpentine volleys of notes, his strings crackled with ancient, blues scale-based riffage ornamented with contrastingly subtle, microtonal shades. His rugged baritone took on a regal resonance: the most powerful spirits of the night were definitely being invoked.

In his North American debut, El Kasri had a hard act to follow but ended up earning his headliner status. His sintir is flashier and has a grittier, more cutting tone than his colleagues’ models, closer to the sound of an overdriven bass guitar at times. Vocally, he turned out to be every bit the rockstar that Ben Jaafer is. By now, the crowd was amped to the point where they were making requests. With a triumphant grin, El Kasri seemed glad to give his people what they wanted: a chance to see one of the Essaouira festival’s most intense performers conquer a new continent.

The Friday night show at the New School was closer to the atmosphere of a lila, the ritualistic all-night trance ceremony and communal feast. Incense was burned and a platter of delicious dates made its way around as the room grew to capacity. Alikkane led the ensemble this time, a mix of Moroccans and expats, airing out his vast repertoire as the rhythms shifted from punchy and bouncy to a mystically shuffling hailstorm of qraqabs. He sent numerous shouts out to past masters of gnawa, made ancestral homages and kept the waves of reverent Sufi call-and-response going for about an hour and a half. At the end of the show, the great gnawa funk pioneer Hassan Hakmoun stepped in as translator, impromptu emcee, and took a turn on the sintir as well.

That this tour was able to sell out the big Pioneer Arts Center in remote Red Hook, of all places, on the final night speaks to how devoted the gnawa subculture has become. This wasn’t just an audience of expats: there were as many curious American kids, and couples, as there were Moroccans in the house. Alikkane again got to open the show and quickly picked up the pace as he’d done at the New School. He and the chorus were joined eventually by a crew of American jazz players including drummer Will Calhoun, bassist Jamaldeen Tacuma, tenor saxophonist Marcus Strickland and multi-keyboardist Marc Cary. Main themes aside, approximately eighty to ninety percent of gnawa is improvisational, key to its ongoing popularity with jazz musicians. To the credit of everybody onstage, there was cordial camaraderie rather than egocentricity, Alikkane setting up a friendly, low-key rhythmic framework that made room for Strickland and Cary to waft and weave their way through as Calhoun and Tacuma bolstered the simple, purposeful groove.

El Kasri took centerstage for the second set of the night: several of the cognoscenti in the crowd, who’d been to all of the New York shows, agreed that this was the high point of the tour. It wasn’t long before he introduced a number with a long, ominous, enigmatic taqsim, moving beyond the traditional modes that had dominated the show so far, toward Middle Eastern microtones. He shifted back and forth between the two idioms from that point forward: when the jazzcats joined him later, it turned out to be fertile terrain. Tacuma embraced the uneasy, moody modes while Cary added mystital ambience via string synth and echoey electric piano, while Strickland contributed a broodingly gorgeous, slowly crescendoing solo, reminding of Kenny Garrett’s late 90s work. By the end of the show, both Alikkane and Ben Jaafer had picked up their qraqabs and joined the melee onstage, a welcome evocation of North African sun on an unseasonably grim New York evening.

For New Yorkers who might have missed these historic events, there’s are a couple of enticing gnawa events coming up soon. This Saturday night, March 25 at around 9, Innov Gnawa – the only gnawa group on this side of the Atlantic – are playing a benefit for at Littlefield. The rapturous guitar/piano duo of Rafiq Bhatia and Chris Pattishall open the night at 8; members of long-running second-wave Afrobeat faves Antibalas headline at around 10. Depending on what you’d like to contribute, you can get in for $12, or more if you choose. And on April 20 at 8 at Greenwich House Music School in the West Village, Innov Gnawa are playing an extremely rare set of Moroccan Jewish gnawa tunes.

Daniel Bennett Brings His Irrepressible Wit and Catchy Jazz Songs to the Lower East Side

Who’s the funniest person in jazz? Wycliffe always knows when to go for the punchline. Jon Irabagon probably plays more musical jokes than anybody else, and Moppa Elliott is right there with him. Put those two together in Mostly Other People Do the Killing – who have a typically killer new album – and look out. Mary Halvorson can be devastatingly funny when she wants; ditto Brian Charette. Another guy with an endless supply of pretty hilarious ideas is Boston-based reedman Daniel Bennett, who has a characteristically devious new album, Sinking Houseboat Confusion streaming at Spotify. He and his long-running four-piece group with guitarist Nat Janoff, bassist Eddy Khaimovich and drummer Matthew Feick have a St. Paddy’s Day gig coming up at 8:30 PM at the third stage at the Rockwood. Cover is $10, the club wasn’t enforcing that annoying drink minimum the last time this blog was in the house there, and if you must be out on March 17, this show should be amateur-free.

The album’s first track is a steady, motoring guitar theme, John Lizard Comes Home: Janoff’s deadpan purposefulness brings to mind Jon Lundbom in sardonically carefree mode. Bennett plays his usual alto sax and also flute on the second number, Andrew Variations, an upbeat, pastorally-tinged tune with a serpentine lattice of voices (and amusing electronic patches) akin to Tom Csatari’s most humorous work.

Bobby Brick Sent Me Daniel Bennett has a purposefully vamping, modal groove and a no-nonsense alto attack from the bandleader, in the same vein as JD Allen’s “jukebox jazz.” The title cut brings back the album’s opening motorik beat, endless success of growling, distorted rock guitar changes and some wry alto/flute multitracks. Bennett sticks with the flute on Paint the Fence, with its woozy guitar sonics and surrealistic Jethro Tull jazz vibe: fans of Prague jamband weirdos Jull Dajen will love this.

Doctor Duck Builds a Patio – gotta love those titles, huh? – is a sort of syncopated take on the opening number: again, it’s like Csatari, but even more surreal and a lot more shreddy. We Are OK! opens ominously, Bennett playing eerily rippling cimbalom-like lines on piano as the tune comes together, a series of echoey long-tone phrases over a steady rhythm and then a stampeding free-for-all.

Poet Michele Herman recites her wry Little Disappointments of Modern Life over Bennett’s solo alto waves and echoes. Then he switches to clarinet for Animals Discussing Life Changes, a waltz, the most cartoonish number here. The album winds up with a spacy, vertiginous, suspiciously blithe reprise of the title theme, Bennett back on alto and joined by Mark Cocheo on guitar.

Although this is fun, colorful music, Bennett has a serious side. He came down strongly on the side of the good guys in that recent social media kerfluffle where Robert Glasper alleged that women jazz fans (“Fine European women,” to be specific) hear with their lower extremities and don’t have the brains to understand solos.

Rapt Atmospherics from Arooj Aftab and a Tantalizing Vijay Iyer Cameo at Merkin Hall

What’s karmic payback for walking out of a Vijay Iyer show? Losing a recording of the most awestruck, rivetingly beautiful concert of the year, for starters – that, and missing out on most of a performance by this era’s most distinctive and arguably most influential pianist. Vijay, if you’re reading this, don’t take it personally. This blog’s proprietor once walked out on Pauline Oliveros too.

Not that she wasn’t great. It’s just that sometimes the demands of running a blog don’t always coincide with having a life. Saturday night at Merkin Concert Hall, it was at least good to get to see a rapturous, often mesmerizing performance by Pakistani singer and composer Arooj Aftab leading a quartet including pianist Leo Genovese, drummer Jorn Bielfeldt and synth player Yusuke Yamamoto through what seemed to be a largely improvisational suite.

Singing mostly vocalese in a cool, hushed, nuanced mezzo-soprano, Aftab ran her vocals through a series of effects for additional subtlety, adding reverb or looping her phrasing, mostly for the sake of rhythmic shifts. Genovese played the show of his life. Since Aftab’s ghazal-inspired tone poems don’t often shift key and typically eschew western harmony, the pianist assembled an eerily glittering architecture out of passing tones, first bringing to mind Bill Mays playing Angelo Badalamenti’s Twin Peaks themes, then raising the ante to white-knuckle terror in places. Although there was one interlude where Genovese took a long, energetic solo, he held back from going against the current and trying to make postbop out of Aftab’s pensive atmospherics…or taking the easy route and hanging back with open fifths and octaves.

Bielfeldt also played with remarkable and intuitive restraint. Toward the end, he and Genovese exchanged coyly conversational riffs as the music swelled, but otherwise he was all about the lustre. Under these circumstances, having a synth in the band usually spells disaster, but Yamamoto turned out to be a magic ingredient with his deep-space washes of chords and the occasional elegant synth bass riff.

After a roughly forty-minute set, Aftab brought out Iyer for a duo as the encore. It seemed at this point that for a pianist, following Genovese would be just plain cruel, considering how he’d just mined every macabre tonality in the keys and the overtone system. But Iyer went in a more optimistic direction, opting for an approach that was both more hypnotically rhythmic and minimalist, while airing out similar resonance from the overtones. Watching him think on his feet with a much more limited choice of options than usual was rewarding; sticking around for his own set would no doubt have been twice as fun. Iyer is currently on tour; he’ll be back in New York on May 9 leading a sextet through a week at the Vanguard.

Eight-String Guitarist Charlie Hunter Brings His Irrepressibly Fun Band to the Rockwood

Guitarists who don’t waste notes are a rare breed. They’re even rarer in the world of jambands and summer tours, which is where Charlie Hunter made his mark. As you would expect from a guy who tacked on a couple of extra strings to bolster the low end of his six-string model, groove is his thing. In doing so, he invented his own style of music, equal parts jazz, reggae, funk and vintage soul. And he can be hilarious. His latest excellent, characteristically eclectic album Everybody Has a Plan Until They Get Punched is streaming at Spotify. Hunter and his fantastic quartet have a two-night stand coming up on March 8 and 9 at 8:30 PM at the third stage at the Rockwood; cover is $15. The last time this blog was in the house there, they weren’t enforcing that annoying drink minimum, a good thing since Hunter’s crowd is more likely to smoke than get wasted on the Rockwood’s expensive drinks.

The album opens with the title track, a slow, comfortable swing blues with a characteristically wry, bubbling Curtis Fowlkes trombone solo; then cornetist Kirk Knuffke signals that all may not be so cool after all. Drummer Bobby Previte’s emphatic, tersely swinging slow triplet groove anchors the second track, Looks Like Someone Got Ahead of Schedule on Their Medication, which opens with an amusingly woozy voicings from Fowlkes and Knuffke, then takes a detour to New Orleans before the meds kick in again.

Staccato horns add spice to Leave Him Lay, a mid-80s Grateful Dead style blues fueled by Previte’s swinging, almost disco drive and Hunter’s spiky, Bob Weir-ish chords. We Don’t Want Nobody Nobody Sent is an uneasily swaying midtempo noir theme, like Big Lazy with horns and  a long, purposefully crescendoing blues solo from the bandleader. Then Hunter gets even more retro with Big Bill’s Blues, ostensibly a Big Bill Broonzy homage. beginning starkly and then shifting into jubilant Crescent City territory with some artful counterpoint from the horns.

The darkly simmering soul theme Latin for Travelers is a vehicle for a contrastingly bright solo from Knuffke and then Fowlkes, dipping down to just the horns and then back for extra dynamic punch. No Money No Honey is as hard as the funk gets here, although it’s more of a swing tune: everybody in the band, especially Previte, is having a ball with this one.

Who Put You Behind the Wheel opens as a spaciously tiptoeing, Asian-tinged excursion, then morphs into reggae, with a trick ending. The looseness and freeness of Wish I Was Already Paid and On My Way Home mask its relentlessly dark, distantly klezmer-tinged undercurrent . The album winds up with the jaunty, dixieland-ish second-line march The Guys Get Shirts. This works on every level, as first-rate jazz, blues and psychedelia.

First-Class Tunesmithing from Pastoral Jazz Guitar Great Cameron Mizell

Cameron Mizell is the great pastoral jazz guitarist not named Bill Frisell. Like Frisell, he has a laser sense for a catchy hook, a spacious approach to melody, a fondness for the unconventional and a flair for the lurid that occasionally bares its fangs from deep in the shadows. Mizell’s latest album Negative Space – streaming at Destiny Records – is a trio effort with multi-keyboardist Brad Whiteley and drummer Kenneth Salters. Mizell is playing the small room at the Rockwood on March 13 at 7 PM.

The album’s opening miniature sets the stage, a brief, resonant Frisell-style tone poem of sorts, just a couple of tersely exploratory guitar tracks and a little cymbal work from Salters. Big Tree takes those hints of unbridled gorgeousness and, to paraphrase Richard Thompson, really brushes those treetops, a series of soul-infused echo phrases. The slowly swaying Yesterday’s Troubles, Mizell’s distorted riffage paired with Whiteley’s echoey Rhodes piano, sounds like Beninghove’s Hangmen covering a set piece from Quincy Jones’ In the Heat of the Night soundtrack.

Likewise, Whiskey for Flowers hints that Mizell’s going to plunge into Marc Ribot  noir, but instead hits a warmly vamping pastorale shuffle that builds to an unexpectedly sweet Jerry Garcia-ish peak (it’s inspired by couple-bonding: Mizell’s wife has come to share his appreciation for the hard stuff). By contrast, Take the Humble is a crescendoing funk shuffle that owes more to Booker T than to, say, Scofield, especially when it comes to Whiteley’s organ solo.

Mizell builds a slow burn over Whiteley’s ominously circular Philip Glassine piano phrases on the album’s cinematic centerpiece, Clearing Skies, rising to David Gilmour epic grandeur, Whiteley channeling blues through the prism of REM balladry. Don’t laugh: it works. Likewise, Get It While You Can, a punchier take on the Grateful Dead version of the old folk song Going Down the Road Feeling Bad.

Barter reaches from spare and then expansive Booker T-ish verses toward Pink Floyd grandeur. A Song About a Tree would be a standout track on any Frisell album, a luscious song without words assembled from catchy electrified bluegrass hooks, drifting matter-of-factly further into space. Unfolding has such an odd rhythm – at heart, it’s a reggae anthem – that it almost seems like the drum was a last-minute overdub. The album’s title cut has an ECM feel, Whiteley’s waves of piano building and then receding way too soon: it could have gone on for twice as long and nobody would complain. The final track is part Dark Side of the Moon majesty, part cinematic Ribot menace. Beyond the tunesmithing here, the absence of bass makes this a great practice record.

An Ambitious, Spontaneously Fun New Album by Champian Fulton

In any style of music, singers who are also formidable instrumentalists are rare. In jazz, that usually boils down to players who can carry a tune – Frank Lacy and  Wycliffe Gordon, for starters- rather than vocalists with instrumental prowess. By any standard, Diana Krall is a strong pianist; Karrin Allyson is vastly underrated on the 88s, and Alicyn Yaffee is a fantastic guitar player. Then there’s Champian Fulton, who’s even more ambitious. Her latest album, wryly titled Speechless, has no vocals on it. It’ll be up at Posi-Tone Records; bookmark this page and check back for a link.

Although Fulton is best known as a singer with deep, blues-informed roots and a fondness for reinventing Dinah Washington classics, this daring move pays off, through a mix of originals and a coyly dynamic take of Someone Stole My Gal. She’s leading a trio at Mezzrow on March 7 at 8 PM, which no doubt will be a mix of instrumental and vocal numbers. Cover is $20.

This is jazz as party music and entertainment: it’s anything but rote or slick. There’s a jubiliant, fearlessly improvisational quality to these songs. Fulton obviously approached this album as she would a live gig, throwing caution to the wind and having an exuberantly good time with it.

Fulton plays and writes with a singer’s nuance. In the New York  City Jazz Record, Scott Yanow compared the album’s opening number, Day’s End, to Errol Garner, and that’s on the money: one of Fulton’s signature devices is winding up a phrase or a turnaround with a trill or grace note-like lightness, just as she’ll pull back from the mic to lure the listener in. She also does that a lot with rhythm: throughout the album, bassist Adi Meyerson and drummer Ben Zweig anchor the swing while Fulton carves out a comfortable envelope for lyrical expression.

Lullaby for Art, an Art Blakey homage, is both a showcase for Fulton’s sublty ironic humor – it’s hardly a lullaby – and also for her scampering but spacious hi-de-ho swing chops. The ballad Dark Blue, based on the changes to Woody ’n’ You, is more tenderly dark: the way she essentially scats her way through the final verse on the keys, encompassing a century’s worth of stylistic devices, is the high point of the album.

Tea and Tangerines is a wryly waltzing mashup of Tea for Two and Tangerine, Later Gator, a shout-out to Fulton’s longtime pal Lou Donaldson, follows a loose-limbed soul-jazz tangent, spiced with Zweig’s tersely exuberant syncopation. Pergola is a peacefully lyrical Shelter Island vacation tableau, Fulton’s lingering upper-register chords paired against Meyerson’s dancing bass. Then the two switch roles.

Fulton cites Horace Silver as a stepping-off point for Happy Camper, the album’s most hard-charging number; Dizzy Gillespie in bracingly latin mode also seems to be an influence. That’s Not Your Donut – #BestSongTitleEver, or what? – returns to the jaunty charm of the album’s opening track. Fulton winds up with Carondeleto’s, a salute to her important early influence, Clark Terry and his Missouri hometown. It’s a bustling, rapidfire swing shuffle that’s the closest thing to hardbop here.

A Lush, Epic Birthday Show by Richard Sussman’s Evolution Ensemble at Roulette

Tuesday night at Roulette, pianist Richard Sussman told the crowd that his nonet the Evolution Ensemble had played its signature composition, his Evolution Suite, maybe five or six times previously, and that this performance was the best of them all. It was his birthday, too. The lush, epic sweep and subtle humor of the performance more than validated the Chamber Music America grant responsible for it.

“I didn’t know I had something programmatic until I’d written it,” Sussman winkingly explained beforehand. Its five movements explore a creation myth, written mostly for piano, bass, drums and strings, with characteristically vivid, intuitive, lyrical solos and textural lustre from trumpeter/flugelhornist Tim Hagans and tenor saxophonist Rich Perry. The duo’s exuberantly intertwining counterpoint literally took the piece out on a high note: the ride there was just as much fun.

Austere fogbanks from the string quartet of violinists Mark Feldman and Mario Forte, violist Ron Lawrence and cellist Peter Sachon kicked off the first of Sussman’s uneasily glistening, spaciously Messiaenic passages that he expanded methodically. The first of Perry’s similarly considered, elegantly crescendoing solos handed off to Hagans, who put on a clinic in finding new and surprisingly subtle ways to color a long series of stairstepping upward and downward chromatic runs.

Since all the gods were tuckered out from creating an entire universe, it made sense that the suite’s second movement would have a balmy swing, in a Gil Evans/Miles Davis vein. Dreamily surrealistic piano ushered in a deep-space tableau spiced with microtonal strings, a drifting Perry solo, a balletesque interlude from bassist Mike Richmond and artful variations on a steady clave from drummer Clarence Penn, who would revisit that trope much more viscerally and impactfully later on.

A rather horror-stricken tritone riff set off the suite’s centerpiece, Nexus, and the chase was  on, with a darkly Mingue-esque bustle. A dancing violin solo from Forte heated the mix, Richmond’s black crude bubbles in stark contrast to Sussman’s starlit lines and the shivery string passage that finally fueled an enthusiastic clapalong from the crowd.

The fourth movement opened on an understatedly, portentous note, Penn’s dynamically nuanced and then explosive solo taking centerstage before the piece wound out on an unexpectedly jubilant tangent. Throughout the work, there were all sorts of wry accents: a wisp of a cymbal glissando from Penn; Sussman evincing resonance from the piano lid; and light electronic touches, some of which worked, some of which were superfluous. Wouldn’t it be even more fun if Sussman gets another commission to keep the saga going – maybe that could go in the other direction, an apocalyptic scenario or a cautionary tale at least.

Roulette may be home to some of this city’s most impressive indie classical and avant garde programming these days, but their roots are in jazz, dating back to the Tribeca loft scene of the early 80s. The next jazz show there is on March 20 at 8 PM with the Tomeka Reid Quartet featuring Jason Roebke, Tomas Fujiwara, and Mary Halvorson playing edgy cello jazz; advance tix are $20/$15 stud/srs.

Live Music Calendar for New York City and Brooklyn for March and April 2017

Constant updates: you might want to bookmark this page and check back every so often. 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 here, something for everyone

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

On select Wednesdays and Sundays, an intimate, growing piano music salon on the Upper West Side featuring iconoclastically insightful, lyrical pianist Nancy Garniez – a cult favorite with an extraordinarily fluid, singing, legato style – exploring the delicious minutiae of works from across the centuries. Up next: Bartok, Haydn, Brahms and Chopin. Sugg don $10 (pay what you can), delicious gluten-free refreshments, beverages and lively conversation included! email for info/location. Upcoming dates: Wednesdays at 7: Mar 22,  Apr 19 , May 17,  June 21, and Sundays at 4:   Mar 26,  Apr 23,  May 21,  June 25.

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.

Mondays at 9 PM erudite, purist torchy jazz chanteuse Svetlana & the Delancey 5 at the Back Room, 102 Norfolk St just north of Delancey St, free

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

Also Mondays in March Rev. Vince Anderson and his band play Union Pool in Williamsburg, two sets starting at 10:30 PM. The Rev. is one of the great keyboardists around, equally thrilling on organ or electric piano, an expert at Billy Preston style funk, honkytonk, gospel and blues. He writes very funny, very politically astute, sexy original songs and is one of the most charismatic, intense live performers of our time. It’s a crazy dance party. Paula Henderson from Burnt Sugar is the lead soloist on baritone sax, with frequent special guests.

Mondays in March at midnight wild noir piano jazz with the Dred Scott Trio back at their old spot, the small room at the Rockwood. 3/27 they’re at Mezzrow at 9

Tuesdays in March, 8:30 PM the George Gee Swing Orchestra play surprising new arrangements of old big band standards at Swing 46, 349 W 46th St,  $15

Tuesdays in 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 8-ish, amazing, psychedelic instrumentalists Sandcatchers – who blend cinematic, pastoral Americana and Middle Eastern themes – at Cheryl’s Restaurant, 236 Underhill Ave. (Eastern Pkwy/Lincoln Pl.) in Ft. Greene. Closest train is actually the 2/3 to Brooklyn Museum.

Wednesdays at 8 the Brooklyn Raga Massive – a rotating cast of A-list Indian, jazz and rock musicians who love to jam out classic Indian themes from over the centuries to the present day – play Art Cafe, 884 Pacific St.(at Washington Ave) in Brooklyn, $15; closest train is the 2 to Bergen St.

Wednesdays at 9 PM Feral Foster’s Roots & Ruckus takes over the Jalopy, a reliably excellent weekly mix of oldtimey acts: blues, bluegrass, country and swing.

Wednesdays in March, 11ish darkly rustic danceable Brazilian rainforest folk (and John Zorn covers) with Forro in the Dark at Nublu 151

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

Fridays at around 9:30 PM Bulgarian Romany sax legend Yuri Yunakov with his wild but haunting band at Mehanata

Saturdays at 4 PM at Bargemusic there are impromptu free classical concerts, usually solo piano or small chamber ensembles: if you get lucky, you’ll catch pyrotechnic violinist/music director Mark Peskanov and/or the many members of his circle. Early arrival advised.

Saturdays in March 6 PM Steve Ulrich of Big Lazy at Barbes. The darkest and most darkly humorous noir guitarist on the planet promises to bring a whole slew of special guests from his vast address book. Expect the film themes that have made him famous as well as deviations into Monk, Piazzolla, maybe even country and blues. There’s nothing this guy can’t play or take deep into the shadows.

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! It’s just like 1999 again!

Sundays in March, 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

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

3/1, 7 PM PubliQuartet cellist Amanda Gookin plays electroacoustic piece by Leila Adu, Jessica Meyer, Allison Loggins-Hull, Morgan Krauss, Nathalie Joachim, and Amanda Feery from her new album at National Sawdust $30 adv tix rec

3/1, 8 PM a murderer’s row of first-rate singers including but not limited to Erica Smith, Tammy Faye Starlite, Lizzie Edwards of Lizzie & the Makers play a Leonard Cohen tribute, backed by an all-star band at Bowery Electric, $8

3/1, 8 PM rockabilly/honkytonk guitar maven Monica Passin a.k.a. L’il Mo followed by well-liked, fearlessly political LES soul-rock songwriter/chanteuse Dina Regine at Sidewalk

3/1-2, 8 PM the Boston Symphony Orchestra play Gunther Schuller’s Seven Studies on Themes of Paul Klee, Mozart’s Piano Concerto No. 22 in E-flat Major, K. 482 and Beethoven’s  Symphony No. 3, “Eroica” at Stern Auditorium at Carnegie Hall, $25 seats avail

3/1, 8:30  PM Rocky Mountain gothic songwriter Jackson Melnick plays the album release show for his new one with Rainy Mountain, Emma McMullin, and Joanna Sternberg at Muchmore’s 

3/1-5, 8:30 PM Mexican-American jazz fave Oscar Noriega leads a series of groups, alternating between alto sax and drums at the Stone, $20. Choice pick: the 3/3 quartet set with Mary Halvorson (guitar) Trevor Dunn (bass) Dan Weiss (drums)

3/1, 9ish Dervisi feat. guitar god Steve Antonakos play “exotic Greek gangsta blues” at Troost

3/1, 9 PM torchy, eclectic jazz/Americana singer/dobro player Abbie Gardner (ex-Red Molly) at the small room at the Rockwood

3/1, 9 PM oldschool-style high plains C&W singer Hope Debates & North 40 at Bar Chord

3/1, 9:30 PM jazz vibraphonista Yuhan Su with  Matt Holman, trumpet;  Alex LoRe, alto sax;  Petros Klampanis, bass;  Nathan Ellman-Bell, drums at Cornelia St. Cafe, $10 + $10 min

3/2, 7 PM fearless Malian psychedelic desert rock bandleader/freedom fighter Noura Mint Seymali at Littlefield, $20 adv tix avail

3/2, 7 PM oldschool soul bandleader Eliza Neals and the Narcotics plays the album release show for her new one followed eventually at 10 by wryly trippy dub reggae bandleader Effie Liu at the Bitter End

3/2, 8:30 PM riveting, dynamic, poignant klezmer singer Inna Barmash and her fantastic band sing “winkling klezmer lullabies, songs of love and love gone wrong” at the  Jalopy, $15

3/2, 7/9 PM charmingly nuanced, erudite singer/pianist and Dinah Washington reinventor  Champian Fulton plays the album release show for her new all-instrumental cd Speechless with Stephen Fulton [flugelhorn]   Dor Samoha [bass]   Fukushi Tainaka [drums] at Smoke, $12 bar seats avail. 3/7 at 8 she gets back on the mic, leading a trio at Mezzrow, $20

3/2, 7 PM Argentine songwriter Pedro Aznar, Mexican torch jazz singer Magos Herrera & pianist Edward Simon and his Trio play a Mercedes Sosa tribute at National Sawdust, $30 adv tix rec

3/2, 7:30 PM charismatic crooner Sahr Ngaujah’s Fela Acoustic Project and Sierra Leonean hip hop act Bajah and the Dry Eye Crew at the Lincoln Center Atrium, free

3/2, 8 PM dark, charismatic, mischievously witty art-rock keyboardist/chanteuse Rachelle Garniez followed at 10 by Chia’s Dance Party spinoff the Cumbia River Band playing rustic Colombian acoustic grooves at Barbes

3/2, 8 PM percussion and piano quartet Yarn/Wire play the shamanic, hypnotic, kinetic music of Japanese composer Misato Mochizuki at the Miller Theatre, $25 tix avail

3/2, 8 PM wild largescale improvisation: cornetist Taylor Ho Bynum‘s PlusTet performs music from their release “Enter the PlusTet” and premiere a new composition for creative orchestra at Roulette, $20 adv tix rec

3/2, 8 PM guitar/violin noise duo Aimee Niemann and Louis Cohen followed by concise, tuneful jazz pianist Marta Sanchez l leading her quintet with Roman Filiu on alto sax at the Owl, $10

3/2, 8/9:30 PM drummer/composer Rob Garcia  leads his quartet with Noah Preminger, tenor sax;  Gary Versace, piano;  John Hébert, bass;  playing his fearlessly political, tuneful, relevant compositions at Cornelia St. Cafe, $10 + $10 min

3/2, 9 PM long-running 90s alt-country favorites Rusty Truck at Hill Country

3/2, 10 PM ceaselessly entertaining, carnivalesque, sometimes outrageously cartoonish big band jazz: Josh Green & the Cyborg Orchestra at National Sawdust, $30 adv tix rec

3/2, 10:30 PM 10:30 PM noir-inspired alto saxophonist/composer Nick Hempton leads his group at Smalls

3/2, midnight fiery, politically aware Texas Americana band City of Decades at the small room at the Rockwood  

3/3, 7 PM intense, brilliantly lyrical, fearlessly political 1950s style original folk/blues singer Joshua Garcia at Caffe Vivaldi

3/3, 7ish killer dark retro 60s psychedelic/stoner boogie/art-rock band Medusa’s Disco at Gussy’s Bar in Queens

3/3, 7 PM a multimedia commemoration of the holocaust in Armenia by singer Anaïs Alexandra Tekerian and visual artist Kevork Mourad with writing and performance by  Tekerian and music from guitarist Anna Garano at National Sawdust, $30 adv tix rec

3/3, 7 PM “migra punk night” at the Silent Barn with a diverse lineup: bands include tuneful female-fronted Material Support, similar Pinoy punks Kadena and dark sludgy hardcore punk en Espanol band Huasipungo headlining, $10    

3/3, 7 PM Omurasu (Tomoko Omura : violin with Yuhan Su: vibraphone) followed by violinist/singer Karolina Beimcik’s Zormya quintet at Shapeshifter Lab, $15

3/3, 7 PM pianist Ena Bronstein Barton performs works by Mozart, Debussy and Chopin at Greenwich House Music School, $15/$10 stud/srs

3/3, 8 PM pianist Lucian Ban and violist Mat Maneri playing their creepy Transylvanian jazz followed at 10 by this era’s most chillingly cinematic, shadowy reverbtoned noir guitar instrumentalists, Big Lazy at Barbes

3/3, 8 PM bassist Leila Bordreuil duels with guitarist Bill Nace and then premieres “Void and Dismissal” — a collaboration with guitarist and vocalist Austin Julian (Sediment Club, Sunk Heaven). Featuring Tamio Shiraishi (alto sax) and Julia Santoli (spatialized amplifiers) at Issue Project Room, $10 sug don

3/3, 8 PM  Irina Muresanu, violin; Angela Draghicescu, piano play a Homage to Dinu Lupatti with music by Bartok, Lupati and Enescu at Weill Hall at Carnegie Hall, $25

3/3, 8:30 PM uneasy, lush chamber-rock and more avant garde sounds with the Parkington Sisters at the third stage at the Rockwood, $10

3/3, 8:30 PM a benefit for the ACLU and Brooklyn-based immigrants rights group DRUM with the Occasionalists serving as the live band for revolutionary karaoke i.e. R.E.M.’s End of the World as We Know It to Bob Marley’s Redemption Song to the Beatles’ Revolution to Public Enemy’s Fight the Power to Bowie/Queen’s Under Pressure at Union Hall, $10

3/3, 9 PM fiery garage rock band the NY Fowl Harmonic – a Gato Loco spinoff – and, Dawn Drake and at Hank’s. Hard-hitting bassist Dawn Drake & Zapote plays hot Afrobeat and latin-tinged funk grooves after

3/3, 9  PM hilarious jazz versions of Merle Haggard classics with Bryan & the Haggards – a Mostly Other People Do the Killing spinoff – at Red Hook Bait & Tackle

3/3, 10 PM fiery, psychedelically bluesy oldschool soul/southern rockers Lizzie & the Makers at the small room at the Rockwood

3/3, 10 PM New York City’s only Farsi funk group, the hauntingly psychedelic retro 60s/70s Iranian revivalists Mitra Sumara at Pete’s

3/3, 10 PM Unsteady Freddie‘s monthly surf rock extravaganza at Otto’s begins at 9 with brooding, stomping Russian prison songs reinvented as surf rock by the Vivisectors, then sax-driven garage punks the Gotham Rockets and psychobilly band the Spastiks sometime after midnight

3/3, 11 PM epic Americana/newgrass anthems with Frontier Ruckus at the Mercury, $12 adv tix rec 

3/4, 2:15 PM eclectic roots reggae/desert rock/African folk band Sierra Leone’s Refugee All Stars play a family concert at Flushing Town Hall, $13, ages 13-19 get in free w/ID; if you want to take part in an interactive workshop with the band, show up at 1 PM, that’s $7.

3/4, 4 PM quirkily cinematic, psychedelic, family-friendly instrumentalists Songs for Unusual Creatures, followed at 8 by this era’s greatest film noir guitarist and composer, Steve Ulrich of Big Lazy and eventually at 10 by epic, sweeping, adventurous Sinaloa-style mariachi/ranchera brass group Banda de los Muertos at Barbes

3/4, 6 PM carnatic vocal collective Sambhav sing a jazz and avant garde-influenced  program of tillanas — “the raucous, bravura traditional-closing-numbers of the South Indian music canon”- at Freddy’s  

3/4, 7:15ish dark psychedelic acoustic blues/klezmer/reggae/soca jamband Hazmat Modine at Terra Blues. They’re also here on 3/25

3/4, 7:30 PM perennially fearless jazz piano icon Vijay Iyer joins forces with an eclectic group of multilingual performer/composers – Himanshu Suri (formerly of Das Racist), guitarist Rafiq Bhatia (Son Lux) and drummer/rapper Kassa Overall for a voyage across multiple musical landscapes, articulated by the individual brilliance of the four collaborators. Pakistani vocalist/composer Arooj Aftab performs a set of her own songs with Leo Genovese, piano; Jorn Bielfeldt, drums; and Yusuke Yamamoto, synths. at Merkin Concert Hall, $25 or $20 per ticket for multiple purchases

3/4, 7:30 PM jangly all-female garage/surf band the Pizza Boys, sharply funny punk band the Church Bats, more all-female garagey surf jangle from PMS and the Mood Swings and garage rockers the Othermen, at Footlight Bar, $10   

3/4, 8:30 PM a benefit for Planned Parenthood with excellent, purist honkytonk crooner/bandleader Clifford Westfall followed by Tatters & Rags and then the Space Merchants – the missing link between the Stooges and X – at Union Hall, $10

3/4, 9/10:30 PM bassist Petros Klamanis leads his hauntingly lush, string-driven septet at Cornelia St. Cafe, $10 + $10 min

3/4, 9:30 PM smart, cosmopolitan jazz chanteuse Svetlana & the Delancey 5  – Breakfast at Tiffany’s meets Some Like It Hot – at Joe’s Pub, $16

3/4, 9:30 PM pianist Max Lifchitz plays Mussorgsky’s Pictures at an Exhibition as well as his own Piano Silhouettes inspired by Eliaabeth Condon’s artwork. Also on the program: recent works by American composers Dinos Constantinides, Robert Martin, Patricia Morehead and Douglas Ovens, at Specturm, $15

3/4, 9 PM Unsteady Freddie‘s monthly surf rock extravaganza at Otto’s begins with Brooklyn cover trio the Band of Others, Virginia rockabilly/surf band Brad & the Bombers, majestic, cinematic surf instrumentalists the TarantinosNYC  and at midnight X-rated comedy/surf rockers Thee Swank Bastards

3/4, 10 PM Ensemble Mik Nawooj – who work the same classical/hip-hop turf as Yasiin Bey, often covering classic 90s joints from the Wu-tang Clan and others – at the Apollo Music Cafe, $20 tix avail at the Apollo box ofc

3/4, 10 PM haunting Dawn of Midi pianist Amino Belyamani plays solo at the Owl

3/4, 10 PM boisterously funny oldschool 60s C&W and brooding southwestern gothic with the Jack Grace Band at Bar Chord.  They’re at Hank’s at around 9 on 3/16 for free

3/4, 10 PM Oxygen Box play Haitian-inspired roots reggae at Silvana 

3/4, 1 AM (actually wee hours of 3/5) hard-hitting tenor saxophonist Stacy Dillard leads his Brooklyn Circle trio at Smalls. They’re also here on 3/18 (technically 3/19)

3/5, 2 PM Geo Suquillo – guitarist, composer and charango player and leader of kinetic latin/Middle Eastern acoustic jamband Inti and the Moon – at Mayflower Bar in Ft. Greene. You should hear their kick-ass cover of Ya Rayyeh!

3/5, 2 PM the Zora String Quartet play Mozart – String Quartet No. 15 in D Minor, K. 42; Atar Arad – Whims for String Quartet (2015) – New York premiere; Shostakovich – String Quartet No. 9 in E-flat Major at the New School Auditorium, 66 W 12th St. off 6th Ave, $18

3/5, 2:30 PM the Apple Hill String Quartet play the world premiere of Presences by John Harbison for string quartet, cello, and bass  at St. Bartholomew’s Church, $25

3/5 2 PM the Calefax Reed Quintet play their new arrangement of Bach’s Goldberg Variations plus Tschaikovsky’s Nutcracker Suite at the Town Hall, $15

3/5 7:30 PM Ansahman – Anna Garano, Trieste-base classical and flamenco guitarist, plays “a gorgeous repertoire of Armenian songs for voice and flamenco guitar, joined by New York-based Anaïs Alexandra Tekerian of Zula playing the album release show” for their debut at Drom, $15 adv tix rec 

3/5, 7:30 PM powerpop supergroup the Split Squad at Bowery Electric, $10

3/5, 9 PM hauntingly phantasmagorical art-rock/noir cabaret pianist/singer Anana Kaye at the small room at the Rockwood

3/5, 9:30 PM edgy lefty guitarist Damian Quinones and his psychedelic latin soul band at Pete’s

3/6, 6:30 PM violinist Kristin Lee, concertmaster of the Metropolis Ensemble plays the ep release show for composer Molly Joyce’s intense, acerbic new one; Joyce will also premiere a new work for toy organ and electronics, “Form and Deform.” at 1 Rivington St., free w/rsvp, reception to follow 

3/6, 8 PM  pianist Vyacheslav Gryaznov (New York Concert Artists 2016 Winner) performs works by Beethoven, Debussy, Ravel, Prokofiev-Gryaznov and Rachmaninoff (the gorgeous Piano Sonata No. 2) at Weill Hall at Carnegie Hall, $30 seats avail

3/6, 9:30 PM the Munchies with gonzo noir jazz pianist Dred Scott, saxophonist Kenny Brooks, drummer Mark Greenburg and bassist Malcolm Gold at the Bitter End

3/7, drinks at 5:30  PM, music at 6, violinist Miranda Cuckson  plays a solo concert with music of Aaron Jay Kernis, Huang Ro, Steve Lehman and Michael Hersch at the Miller Theatre, frree

3/7, 6 PM pianist Frank Levy plays works by Scarlatti, Mozart, Chopin, Bach/Marcello and Rachmaninov at the Yamaha Piano Salon, 689 Fifth Avenue (entrance on 54th street), $6 

3/7, 7 PM epic, exhilarating original Balkan brass music with alto saxophonist/clarinetist Greg Squared’s Expanded Circle followed by ten-piece funky Balkan brass/Ellington jazz monsters Slavic Soul Party at Barbes

3/7, 7 PM the great unsung hero of darkly purposeful, noir-tinged jazz guitar, Saul Rubin‘ leads his Zebtet at the Fat Cat. He’s also here on 3/14

3/7, 7  PM purist, cleverly lyrical jazz singer Sari Kessler with her combo at 55 Bar

3/7, 7:30/9:30 PM perennially tuneful, lyrical piano improviser/composer Kris Davis leads a trio with Eric Revis – bass and Johnathan Blake – drums at the Jazz Gallery, $22

3/7-19, 8:30/10:30 PM pastoral noir jazz guitar icon Bill Frisell leads a series of quartets and trios at the Vanguard, $30

3/7-12, 8:30 PM irrepressible, transgressively funny saxophonist Jon Irabagon leads a series of groups at the Stone, $20. Choice pick: pretty much all of them. 3/8 he’s leading an organ trio with Gary Versace; 3/11 features the Sirius Quartet with Myra Melford

3/7, 8:30 PM klezmer “Songs of People Other People Don’t Like So Much” performed by fearlessly hilarious accordionist/novelist Geoff Berner and actor/singer/movement artist/director Luisa Muhr at Freddy’s. 3/9, same time they’re at the Jalopy for $15

3/7, 8:30 PM tuneful up-and-coming alto saxophonist Caroline Davis leads a trio at the Bar Next Door. 3/21-25, 11:30ish she’s at Dizzy’s Club, $5/$10 on the weekend

3/7, 9:30 PM blazing Balkan/Romany rock/Middle Eastern/flamenco jamband Ventanas at Drom,  $10 adv tix rec

3/7, 9:30 PM uneasy postpunk/new wave/dreampop band Rich Girls at Bowey Electric, $8

3/7, 10 PM explosive, theatrical, phantasmagorical indie/metal band A Deer A Horse at Shea Stadium, $8

3/7, 10:30 PM charismatic, adventurous postbop/avant garde trombonist/crooner Frank Lacy leads his group at Smalls

3/8, 1:30 PM violinist Karen Dekker leads an ensemble playing Dvorak’s Quintet in A Major plus works by vivid, cinematic rising star indie classical composer Ayumi Okada at the Nagle Ave Y, 54 Nagle Ave, Inwood, free, 1 train to Dyckman St.

3/8, 6 PM a rare chance to see two of the most riveting string  players in Indian music, violinists Trina Basu + Arun Ramamurthy of Karavika at the Rubin Museum of Art, free w/museum adm

3/8, 7 PM Quartetto Tomassini play their edgy, lush string arrangements of Piazzolla classics at Shapeshifter Lab, $10

3/8, 7 PM Parisian chanteuse Gay Marshall does her fascinatingly individualistic, lyrically revealing, devilishly hilarious and sometimes crushingly intense reinventions of Edith Piaf and Jacques Brel classics and rarities with an excellent pianist at Pangea, $20. She’s also here on 3/15 and 3/22

3/8, 8 PM intense frontwoman Hannah Fairchild’s searingly lyrical punk/art-rock/noir cabaret band Hannah vs. the Many at LIC Bar

3/8, 8 PM LES punk/surf guitar legend Simon Chardiet’s Rooftoppers – who give him a chance to show off his prowess with jazz and proto-rock and western swing – at Barbes

3/8-9. 8:30 PM summer tour fave and jamband icon: eight-string guitarist Charlie Hunter at the third stage at the Rockwood, $15

3/8, 9 PM haunting dark Americana songwriter/belter Jessi Robertson followed by charismatic, eclectic cellist/songwriter Meaghan Burke at the Way Station

3/8, 9 PM a good Afrobeat twinbill in Greenpoint: the Super Yamba Band followed by the People’s Champs at Brooklyn Bazaar, $10 adv tix avail at the Poisson Rouge box ofc. The Super Yamba Band are also at Bar Chord on 3/11 at 10 for free.

3/8, 10 PM edgy latin-inspired folk-rock with Hurray For the Riff Raff at Baby’s All Right, $15

3/9, 1 PM harpist Bridget Kibbey plays her arrangement of Debussy’s haunting prelude La Cathédrale engloutie at Trinity Church, free

3/9, 6:30 PM tectonically shifting improvisational soundscapes with Burnt Sugar the Arkestra Chamber at C’Mon Everybody, $tba. They’re also here on 3/16 and 3/23

3/9, 7 PM soaringly explosive jazz composer/torch singer Nicole Zuraitis at 55 Bar

3/9, 7:30/9:30 PM tenor pan jazz artist Victor Provost leads an excellent quintet with Robert Rodriguez on piano at the Jazz Gallery, $15

3/9, 8 PM the plush, balmy, oldtimey uke swing of Daria Grace & the Pre-War Ponies  followed at 10 by brilliant klezmer reedman Matt Darriau’s Who Is Manny Blanc, resurrecting the twistedly irresistible work of legendary/obscure LES psychedelic Jewish jazz/esoterica composer at Barbes

3/9, 8 PM intense, funky Indian brass bhangra band Red Baraat play the album release show for their new one at Bric Arts, $15 adv tix rec. They’re at the Poisson Rouge on 3/18 at 10:30 for five bucks more if you buy tix in advance

3/9, 8 PM rapt extended-technique compositions with pianist and composer Teodora Stepančić at the Old Stone House in Park Slope, $10, reception to follow

3/9, 9 PM charismatic, torchy, occasionally Lynchian jazz bassist/singer Kate Davis (of the Lady Bugs) at Pete’s

3/9. 9 PM sardonic female-fronted folk noir band the Dream Eaters – check out their hit Klonopin Girl – at Leftfield 

3/9, 9ish Barika play Malian guitar groove at Nublu 151, $10 

3/9, 9 PM upbeat Israeli jazz with the Arnan Raz Quartet followed at 10:30 by first-class, pensive quartet Beekman with pianist Yago Vasquez and bassist Pablo Menares at the Williamsburg Music Center,  367 Bedford Ave, $10 

3/9, 10 PM guitarist Alyse Lamb’s fiery, subtly witty tightly psychedelic jazz-inspired postpunk band Parlor Walls play the album release show for their new one at Sunnyvale, $10

3/9, 10 PM crooner Sean Kershaw‘s  creepy ghoulabilly band the Serpentones at Bar Chord

3/9, 10 PM wild string metal faves Stratospheerius at Shrine

3/9, 11 PM careeningly intense gutter blues bandleader Breanna Barbara and her band at the Knitting Factory, $10

3/10, 6 PM crystalline-voiced, noir-tinged third-stream jazz chanteuse Tessa Souter and her band at 55 Bar

3/10, 6:30 PM otherworldly Mongolian throat-singing folk ensemble Khusugtun at the Rubin Museum of Art, $30 adv tix rec

3/10, 7 PM hypnotic, richly tuneful Indian sounds: Rajasthani master of the Sindhi sarangi, Lakha Khan and ensemble at the CUNY Grad Center, 365 5th Ave north of 34th, $25/$20 stud

3/10, 7 PM “Poulenc and Cocteau’s cautionary tale La voix humaine receives a reflective update when soprano Laura Bohn and pianist Mila Henry’s conversation forces listeners to ask: in this age of technology, can we connect with others without losing ourselves?” at National Sawdust, $25 adv rix rec

3/10, 7:30 PM a first-class chamber ensemble –  Karen Dekker and Alex Fortes on violins, Alyona Aksyonova on piano, Rose Hashimoto on viola, and James Waldo on cello –  plays the world premiere of vivid, lyrical composer Ayumi Okada’s The Grey Wolf for piano quintet alongside works by Caroline Shaw, Doug Balliett, Anton Dvorak, J. S. Bach, Johann Goldberg, at Holy Trinity Church, 20 Cumming St., Washington Heights, $15/$10 stud 1 train to Dyckman St.

3/10. 7:30 PM the Mannes Orchestra play new works by up-and-coming composers Rona Park: Destination; Nathan Fletcher: Poems by Edna St. Vincent Millay; Brian Denu: it’s not a bottomless pit; Michael Spiroff: Ath-Sgal (Recurring Echoes); Sohwa Lee: Palindromev at Mannes’ Tishman Auditorium, University Center, 63 Fifth Ave, Room U100, free

3/10, 7:30 PM the cutting-edge Spectrum Symphony of NY with harp virtuoso Mélanie Genin and fellow soloists: guitarist Nilko Andreas Guarin and Nicholas Tolle, cimbalom perform the American premiere of ferociously interesting Hungarian composer Bálint Karosi’s Triple Concerto, plus the Concertino for Harp by Ernő Dohnányi and Czardas (Csárdás) featuring concertmaster Susan Heerema on solo violin, Rumanian Folk Dances by Béla Bartók, and more at St. Peter’s Church 54th/Lex, $25 sugg don

3/10, 7:30 PM accordionist Alex Sevastian and clarinetist Julian Milkis team up with the Voice Afire Strings for a dynamic multi-media concert with music by composers Ray Luedeke and Giya Kancheli at Symphony Space, $20 adv tix rec

3/10, 8 PMd feral, wildly improvisational, tuneful pianist Mara Rosenbloom  with singer/drummer Anais Maviel and Adam Lane on bass at !-Beam, $15

3/10, 8 PM minimalist art-rock songwriter Caitlin Pasko, “weaver of dreamy elegiac music for voice and piano,” at the Owl, $10

3/10, 8 PM intense pianist Gerald Clayton plays solo at Mezzrow, $20

3/10, 8 PM the Dale Wilson Big Band at Shapeshifter Lab, $10

3/10, 8:30 PM the Chelsea Symphony play a Michael Boyman world premiere viola concerto with soloist Sarah Haines, plus Dvořák’s Symphony No. 9, “From the New World,” at St. Paul’s Church, 315 W 22nd St., $20 sugg don. The 7:30 PM show the following night, 3/11 showcases Gizem Yucel on two tangos by Piazzolla as well

3/10, 9 PM brilliantly lyrical dark oldtimey songwriter/multi-instrumentalist Pete Lanctot and band at Cloud City, 85 N 1st St in Williamsburg

3/10, 9 PM a rare NYC appearance by Puerto Rican psychedelic salsa dura band Orquesta El Macabeo at Subrosa, $20 

3/10, 9 PM smart, politically-fueled Irish rocker Niall Connolly at at the small room at the Rockwood

3/10, 10 PM Arki play darkly classic Ethiopian funk grooves at Shrine

3/10. 10 PM oldschool 70s style stoner art-rock/doom metal power trio All Them Witches at Bowery Ballroom, $15 adv tix rec 

3/10, 10 PM hilarious one-man band Tattoo Money with his twisted hip-hop tales of NYC nightlife, sizzling bluesy guitar and psychedelic, funky keys, at the Way Station

3/10. 10 PM Yotoco, “the bastard child of Umoja Orchestra, Bioritmo, and Cumbiagra plays a melange of salsa, Afro-Cuban rumba, boleros, and cumbia” at Barbes. They’re also there at 9:30ish on 3/20

3/10, 10 PM bluegrass/newgrass with the Dark City Strings at Union Hall, $10

3/10, 11 PM hilarious, smartly political faux-French retro 60s psych-pop band les Sans Culottes at Hank’s, $8

3/11, 1 PM an important multimedia event: Remembering Fukushima: Art and Conversation at the Cathedral of St. John the Divine commemorates the sixth anniversary of the Fukushima Nuclear Disaster in Japan. Assembled by Japanese dancer/multimedia artist Eiko Otake, the four-hour program at the Cathedral of St. John the Divine brings together scholars, specialists, and artists from many disciplines; performers include spectacular art-rock singer Carol Lipnik and legendary avant crooner John Kelly, free 

3/11, 4 PM erudite, witty art-rock pianist/songwriter/composer Lee Feldman at Pete’s

3/11, 5:30 PM a mystical carnatic (South Indian classical) vocal concert by singer Vignesh Ravichandran with Bala Skandan on violin, Srinath Vishwanathan on mridangam, and Kabilan Jegannathan on kanjira at the Reflections Center, 27 E 24th St, $20/$15 kids, admission includes food too! 

3/11, 7 PM Miya Masaoka’s powerful double quartet, Eleonore Oppenheim’s performance works for double-bass and electronics, Mari Kimura’s extended violin techniques, and brilliant alto saxophonist Yosvany Terry’s Afro-Cuban Bohemian Trio at National Sawdust, $30 adv tix rec

3/11, 7:30 PM incomparable country/jazz/janglerock icon Amy Allison at Dixon Place. Brilliant new material! Devastatingly funny between-song banter!

3/11, 7:30 PM dark Nordic chamber pop songbird Agnes Obel at the Poisson Rouge, $20 adv tix avail

3/11, 7:30 PM the three finalists in this year’s New York Concert Artists piano competition: Adam Balogh, Zhenni Li  and Sebastiano Mesaglio perform Beethoven: 12 Variations on the Russian Dance from “Das Waldmadchen”; Debussy: Prélude à l’après-midi d’un faune; Ravel: Gaspard de la nuit; Prokofiev: Suite from “Sur le Borysthène” (arr. Vyacheslav Gryaznov, NY Premeire of arrangement); Rachmaninoff: Piano Sonata No. 2 in B-flat Minor with NYCA Symphony Orchestra at Merkin Concert Hall, $30 

3/11, 7:30 PM Barcelona pianist Eva Novoa plays a duo and trio set and then plays a third at 9:30 PM with microtonal violinist Sarah Bernstein’s sextet at I-Beam, $15. A real workout!

3/11, 8ish rustic, clatteringly hypnotic Moroccan trance groove ensemble Innov Gnawa at the Owl

3/11, 8 PM the Omni Ensemble play chamber works by J.S. Bach, G. F. Telemann, Milos Raickovich, and David Wechsler at the Brooklyn Conservatory of Music, $15/$10 stud/srs 

3/11, 9 PM charismatic folk noir songwriter Mac McCarty’s auspicious new band Abraham’s River followed by fiery, guitar-fueled Americana punks Spanking Charlene and then ferocious garage punk band the Lord Calverts at Sidewalk

3/11, 9 PM intense charismatic danceable metal cumbia/skaragga/latin rockers Escarioka at Mehanata,$10

3/11, 9 PM long-running, wickedly jangly, tuneful Americana rockers the Sloe Guns at Shrine

3/11, 9 PM Nelson Ojeda, piano plays works by Granados and Ginastera at Spectrum, $15

3/11, 9/10:30 PM intense violist Mat Maneri leads his quartet with Lucian Ban, piano;  John Hebert, bass;  Randy Peterson, drumsat Cornelia St. Cafe, $10 + $10 min

3/11, 9:30 PM majestic, epic, anthemic cinematic art-rock loopmusic guitarist Sarah Lipstate a.k.a. Noveller at St. Vitus, $15

3/11, 9/10:30 PM jazz cellist Akua Dixon plays the album release show for her new one at Sista’s Place, 456 Nostrand Ave at Jefferson, Bed-Stuy, C to Nostrand Ave., $20

3/11, 10 PM the savagely Link Wray-inspired Howlin Thurstons, followed by 80s style LES junkie powerpop/punk/stoner boogie band Grimm Jack at Desmond’s 

3/11, 10 PM excerpts from Peter Van Zandt Lane’s ballet about cyber hacking, followed by Neil Rolnick’s works for laptop and piano (with Kathleen Supové), and Cornelius Dufallo performing works for amplified violin. The evening ends with a massive graphic score by Mark Applebaum interpreted by the previous artists joined by his Innova labelmates, at National Sawdust, $30 adv tix rec

3/11, midnight legendary SoCal surf punks Agent Orange – of Everything Turns Grey fame – at the Knitting Factory, $20

3/12, half past noon a performance of choral pieces and collected folk songs from the works of Zoltán Kodály at Hungarian House, 213 E 82nd St, free, reception to follow, free but RSVP reqd 

3/12, 2 PM the Kalichstein-Laredo-Robinson Trio play Rachmaninoff: Trio élégiaque No.2 in D minor, Op.9 ; Shostakovich: Trio No. 2 in E minor, Op. 67; Tchaikovsky: Trio in A minor, Op. 50 at the Town Hall, $15

3/12, 4 PM catchy Americana rockers Greg Cornell & the Cornell Brothers at the small room at the Rockwood

3/12, 5 PM the Donald Sinta Quartet play a birthday tribute to Philip Glass with new works as well as Glass’s Saxophone Quartet Concerto at the Dreck Center at the Brooklyn Public Library

3/12, 6 PM noir guitar legend Jim Campilongo leads his trio at 55 Bar

3/12, 7 PM the American Festival of Microtonal Music with tantalizing new works by  Svjetlana Bukvich, Monroe Golden, Johnny Reinhard, Zach Seely, and others played by an ensemble of woodwinds, fretless guitars, double bass, and bass trombone legend Dave Taylor conducted by the theatrical Charles Coleman at Gallery MC, 549 W 52nd St.,  $15

3/12, 7:30 PM Books guitarist Nick Zammuto joins hard-hitting new music choir Roomful of Teeth in a program spanning Tuvan throat singing and yodeling to Korean Pansori and Persian classical at Merkin Cocert Hall, $25 or $20 per tix for multiple purchases

3/12, 8 PM noir-tinged crooner and expertly bluesy lead guitarist Phil Gammage‘s lRebel Factory at Otto’s

3/12, 8;30 PM fiery klezmer/Balkan/Middle Eastern jamband Klazz-Ma-Tazz at Drom, $10 adv tix rec

3/12, 8:30/10:30  PM edgy, noir-inspired bassist Michael Blanco leads his quartet at Cornelia St. Cafe, $10 + $10 min

3/12, 8:30 PM NakedEye Ensemble joins forces with avant garde piano titan Kathleen Supové to premiere two-piano and ensemble works Richard Belcastro: Inner Strife (2016)* – cl, egtr, toy pno + melodica, pno, perc; Randall Woolf: Punching the Clock (2014)* – fl, cl, sax, vc, egtr, pno, perc; Rusty Banks: Spoke(n) (2016)* – 2 pnos + amplified bicycle; Jonathan Russell: Sextet (2010, arr 2013)** – fl, cl, sax, vc, pno, perc; Lois Vierk: Spin 2 (1995) – 2 pnos; Molly Joyce: Rave (2016) – pno + fixed mediaat the DiMenna Center $20

3/13, 6 PM the improvisationally-inclined Osso String Quartet at the Fat Cat

3/13, 7 PM tuneful pastoral jazz guitarist Cameron Mizell leads his trio at the small room at the Rockwood

3/13, 7 PM quirkily charismatic, powerful-voiced, kinetic avant-pop siren Grace McLean at the big room at the Rockwood, $10

3/13, 7 PM perennially young, theatrical, fun composer David Del Tredici’s 80th Bday concert with special guests include Courtenay Budd, Joseph Dalton, Felix Del Tredici, Robert Frankenberry, David Leisner, John Kelly, Eric Moe, Marc Peloquin, Mark Peskanov and the Voxare Quartet at Joe’s Pub, $25

3/13, 7 PM tuneful postbop pianist Jim Ridl leads his group from behind the Rhodes at 55 Bar

3/14, 6 PM pianist David Shimoni plays nocturnes by Chopin, Faure and Lowell Liebermann, plus a screening of the documentary film Rosalyn Engelman: The Color of Memory, the artist in conversation with BPAC director Ted Altschuler, at the Recital Hall at Baruch College, E. 25th St between 3rd and Lexington Ave. $15, stud free

3/14, 7 PM brand-new, exciting Turkish band Seyvah with Jenny Luna, voice; Kane Mathis, oud; Marandi Hostetter, violin; Greg Squared, clarinet; Shane Shanahan and Philip Mayer, percussion. followed by clever, fiery, eclectic ten-piece Balkan/hip-hop/funk brass maniacs Slavic Soul Party at Barbes

3/14, 7 PM intense, edgily tuneful Texas tenor saxophonist Stan Killian leads his postbop quartet; at 10 PM acerbic alto saxophonist David Binney leads his quartet  at 55 Bar

3/14, 8 PM bassist Lisa Dowling’s enigmatic, theatrical, Kate Bush-influenced solo loopmusic project Kills to Kisses at the Mercury, $10

3/14, 8 PM edgy third-stream improvisation with Jan Sturiale: guitar; Miha Koren: bass Klemens Marktl: drums at Shapeshifter Lab, free

3/14, 9:30 PM the Bronx Conexion play their mighty salsa big band jazz at the Nuyorican Poets Cafe

3/14, 11 PM fiery, tuneful soul-punk rockers No Ice (a spinoff of the late, great Brooklyn What) at Shea Stadium, $12

3/15, 6 PM hypnotic Middle Eastern/Indian sounds: Orakel: Roshni Samlal (tabla) + Kane Mathis (kora, oud) at the Rubin Museum of Art, free w/museum adm

3/15, 6 PM intricate, intense, diverse jazz/soundtrack/Americana violinist/composer Skye Steele at the small room at the Rockwood

3/15, 7 PM indie classical through Fender amps: Steve Mackey, the Dither Guitar Quartet and Joel Harrison’s Resophonic Guitar Orchestra at National Sawdust, $30 adv tix rec

3/15, 8 PM the album release show for the new one by formidable, reliably tuneful guitarist Tom Csatari‘s Uncivilized Americana jazz project at Barbes. “Each song on the EP was recorded live at a now-closed New York venue.”

3/15, 8 PM bouzouki player Avram Pengas leads an amazing band with Rachid Halihal on oud and George Stathos on clarinet playing bellydance classics, plus dancers Layla Isis and Mariyah at Drom, $15 adv tix rec

3/15, 8 PM Perl – former lead singer of Bulletproof Stockings, the Hasidic Sleater-Kinney – followed by fiery, brilliantly lyrical soul/rock songwriter Nehedar singing the album release show for her latest one, then she does double duty on vocals in powerpop bnd Fierce Love, then sardonic new wavers Blanket Statementstein at Bowery Electric

3/15, 9 PM pensive, smart multi-instrumentalist Kristen Tivey – of the edgy female-fronted Talking Heads-ish Eliza & the Organix – fronts her own folk/jazz band at Pete’s

3/15, 9:30 PM singer Renee LoBue’s popular, catchy, anthemic early zeros powerpop/southwesten gothic band Elk City at the Mercury, $10

3/16, 1 PM Useful Chamber Orchestra play their arrangement of Debussy’s haunting prelude La Cathédrale engloutie at Trinity Church, free

3/16, 6:30 PM  up-and-coming guitarist/songwriter Alicyn Yaffee -the rare artist who successfully bridges the gap between lyrically-fueled chamber pop and jazz – at the Bar Next Door, free

3/16, 7:30 PM ancient, otherworldly trance beats: the first-ever US performance by the master musicians of the Festival Gnaoua et des Musiques du Monde in Essaouira, Morocco with Maalem Hamid El Kasri + Maalem Abdeslam Alikkane with special guest Maalem Hassan Ben Jaafer, leader of wildly popular NYC ensemble Innov Gnawa at the Lincoln Center Atrium, free, early arrival advised. The following night, 3/17 at  7 PM they’re at the New School Theresa Lang Center, Arnhold Hall, 55 W 13th St, free; 3/18 at 7 they’re at Pioneer Works in Red Hook, collaborating with jazz artists Marcus Strickland, Marc Cary, and Jamaaladeen Tacuma, $30 adv tix rec

3/16, 7:30 PM elegantly melodic, darkly counterintuitive pianist Sylvie Courvoisier plays duos with guitarist Mary Halvorson and then violinist Mark Feldman at Greenwich House Music School, $20/$18 stud

3/16, 7:30 PM sweeping, swinging vibraphone jazz with Behn Gillece and his quartet followed at 10:30 PM by former Dizzy Gillespie guitarist Ed Cherry leading his quartet at Smalls

3/16, 8 PM eclectic, lyrical jazz bassist/composer Pedro Giraudo leads his Tango Quartet at Barbes

3/16, 8 PM guitarist Matt Munisteri and accordionist Will Holshouser’s shadowy Belgian barroom band Musette Explosion at the Owl, $10

3/16, 8 PM the lavish, kinetic Liberte Big Band led by pianist Liberté-Anne Lymberiou at the Wiliamsburg Music Center, 367 Bedford Ave 

3/16, 8 PM a rare and fascinating night of new music from Kyrzygstan played by Aza Sydykov and Joel A. Martin, piano; Nikoleta Rallis, soprano; Perizat Kopobaeva, komuz; Jonathan Levin, piano; Nurmira Greenberg, cello; Kairy Koshoeva, piano; Elvira Abdilova, komuz; composers on the bill include Atai Ogonbaev, Niyazaaly, Kalyi Moldobasanov, Tashtan Ermatov, Michael Burshtin, Jyldyz Maldybaeva, Muratbek Begaliev, George Gershwin, Jonathan Levin and Eric Thomson at Merkin Concert Hall $25

3/16, 8 PM Chicago postrock icons Tortoise at the Hall at MP, $25 adv tix available at the Poisson Rouge box ofc

3/16, 8:30 PM the Big Galute play their irreverent original klezmer tunes at the Jalopy, $15

3/16, 10 PM fiery oldtimey string band he Four O’Clock Flowers at Sunny’s

3/17, 7 PM Niva’s magical singer Corinna Skema Snyder with Vedran Boškovski and percussionist Jerry Kisslinger, of Zlatne Uste fame, play Balkan songs at an intimate Park Slope house concert, email for info  

3/17, 7 PM new art-songs from Ted Hearne performed by NYC indie classical talent: “Peabody Southwell and Allison Semmes give rare recital performances. Solo instrumentalists Mariel Roberts, Taylor Levine and Philip White join the Nouveau Classical Project and San Francisco duo the Living Earth Show as the evening’s ensemble. R WE WHO R WE, the vocal/electronics duo of Ted Hearne and Philip White, perform selections of their upcoming sophomore release,” at National Sawdust, $30 adv tix rec

3/17, 7 PM acoustic jazz: guitarists Mark Mollica and Nate Radley with John Ellis on saxophone and Ike Sturm on bass at Bloomingdale School of Music, 323 W 108th St(off Broadway), free

3/17, 7:30/9:30 PM Swedish psychedelic/soundtrack band Dungen play their live score to the classic 20s silent film The Adventures of Prince Ahmed at Bric Arts, $15 adv tix rec

3/17, 8 PM boisterously funny oldschool 60s C&W and brooding southwestern gothic with the Jack Grace Band followed by awesomely slinky, psychedelic Israeli Ethiopiques groove instrumentalists Anbessa Orchestra f.k.a. Lions at Barbes

3/17, 8 PM fearlessly haunting, dynamic, charismatic Romany/Balkan chaunteuse Eva Salina with pyrotechnic accordionist Peter Stan  at the Owl, $10

3/17, 8 PM pianist Kara Huber plays David Rakowski Selected Etudes; Joan Tower – No Longer Very Clear; Wild -Seven Virtuoso Etudes for Piano on Gershwin Songs; Rachmaninoff  13 Preludes, Op. 32 at Weill Hall at Carnegie Hall, $25

3/17, 8:30 PM artful, slyly amusing jazz with the Daniel Bennett Group at the third stage at the Rockwood, $10

3/17-18, 8:30 PM badass oldschool-style blues belter Shemekia Copeland and her similarly purist band at Iridium, $30

3/17, 9 PM Canadian Celtic fiddle star Natalie MacMaster with her Ontario colleague Donnell Leahy at Webster Hall, $20

3/17, 10 PM Pussy Riot at National Sawdust. Tix not avail yet – and might not be affordable – watch this space

3/17, 11 PM guitarist Demir Demirkan‘s Anatolian Knights throw a wild live Turkish psychedelic rock party at Drom, $25 adv tix rec

3/17, 11 PM darkly eclectic, enigmatic songwriter Lorraine Leckie  – equally adept at Slavic and Americana noir – at Sidewalk

3/18, 3 PM oldtime swing icons Vince Giordano and his Nighthawks play their live score to Buster Keaton’s The Cameraman at the Town Hall, $25 tix avail

3/18, 6 PM this era’s greatest film noir guitarist and composer, Steve Ulrich of Big Lazy followed at 8 by sultry retro Franco-American torch jazz/chamber pop/ukulele swing band les Chauds Lapins and then at 10 by Cumbiagra – whose take on psychedelic cumbias is more rustic and purist than most bands who play that stuff – at Barbes

3/18, 7 PM “magical string ensemble Alba Consort – with oud, veille, lute and percussion – performs early music from the Mediterranean on period instruments and weaves iconic themes  of Antonin Dvorak’s Symphony no. 9 “From the New World” into ancient melodies at the National Opera Center, 333 7th Ave, $30/$15 stud

3/18. 7 PM lush, intense, artfully orchestrated psychedelic rockers Aunt Ange followed by catchy goth-tinged 80s punk/powerpop band the Limbo Dolls at Bowery Electric, $8 

3/18. 7 PM the Orpheus Chamber Orchestra with cello soloist Alisa Weilerstein play  Mendelssohn’s Nocturno for Winds; Schumann’s  Cello Concerto; Webern’s Five Pieces for Orchestra, Op. 10 and Schubert’s Symphony No. 6 at Stern Auditorium at Carnegie Hall, $25 seats avail

3/18, 7:30 PM intense, breathtaking Galician bagpiper/ multi-instrumentalist Carlos Núñez at Merkin Concert Hall, $25 tix avail

3/18, 7:30 PM the Traumerei Piano Trio play works by Beethoven, Piazzolla, Smetana and Zannoni at the DiMenna Center, $15$10 stud/srs

3/18. 8 PM elegant, atmospheric art-rock violinist/songwriter Concetta Abbate at the People’s Voice Cafe, $18, “no one turned away”

3/18, 8 PM guitarist Guy Picciotto, Dirty Three drummer Jim White and master lute player George Xylouris play live soundtracks to Jem Cohen films; subjects include a sudden Manhattan rainstorm, a sleeping infant, and an Istanbul city portrait, at Issue Project Room, $15/$12 stud/srs

3/18, 8 PM ex-Dylan lead guitarist Larry Campbell with singer Teresa Williams and guest pianist Bill Payne of Little Feat at City Winery $22 standing room avail

3/18, 9 PM searing, theatrical Romany/Balkan punk rockers Bad Buka at Mehanata

3/18, 9ish dark oldschool soul/garage band Mighty Fine at Red Hook Bait & Tackle 

3/18, 10 PM rising star tenor saxophonist Camille Thurman and her and her band at the Fat Cat

3/19, 2 PM Chilean folk-rock songwriter Nano Stern opens for iconic Peruvian singer Susana Baca at Lefrak Concert Hall at Queens College, 65-30 Kissena Boulevard, Flushing, $30 seats avail, from the Flushing Main St. 7 train stop, take the Q25, Q25-34, Q34 or Q17 bus along Kissena Blvd to the campus. 

3/19, 3 PM Eriko Sato, violin; Drew Vella, viola; Ben Larsen, cello; Yoon Lee, piano play works by Beethoven, Richard Strauss and Ke-Chia Chen at Concerts on the Slope, St. John’s Episcopal Church 139 St. John’s Place downhill from 7th Ave

3/19, 3 PM Blythe Gruda sings her enigmatic art-rock and parlor pop at Pete’s

3/19, 3:15 PM organist Karen Electra Christianson – one of the most electrifying church organists in the country – plays a program TBA at St. Patrick’s Cathedral

3/19, 4 PM the perennially witty Broken Reed Saxophone Quartet with pianist Roberta Piket at Sounds on Sackett at St. Agnes Church 433 Sackett St off of Hoyt St, Cobble Hill, any train to Atlantic Ave, $20, reception to follow

3/19, 5 PM latin jazz piano titan Arturo O’Farrill’s “Boss Level Sextet” at St. Peter’s Church, 54th/Lex, free

3/19, 6 PM smart, darkly pensive third-stream jazz pianist Noa Fort leads her quartet at the small room at the Rockwood

3/19, 7 PM brilliant, irrepressible classical/latin/art-rock/Middle Eastern violist/composer Leanne Darling at Scholes St. Studios

3/19, 7 PM expertly jazzy guitarist and alt-country pioneer Robbie Fulks and jazz violinist Jenny Scheinman followed at 9:30 by Romany jazz/psychedelic rock guitar mastermind Stephane Wrembel at Barbes

3/19, 7:30 PM a benefit for immigrant rights with Ramon Ponce, Jr. of the mighty Mariachi Real de Mexico, and supersonic klezmer clarinetist Michael Winograd with his band the Honorable Mentshn at Brooklyn Conservatory of Music, $15

3/19, 8:30 PM My Brightest Diamond’s Shara Nova and others backed by adventurous young orchestra the Knights  play Sarah Kirkland Snider‘s song suite  Unremembered, a chilling reminiscence of childhood traumas at the Poisson Rouge, $15 adv tix rec

3/19, 10 PM first-class roots reggae band Jah N I at Shrine 

3/20, 6 PM moderator Meera Dugal of Lincoln Center, creator of the first-ever Gnaoua World Tour teams up with Innov Gnawa’s Samir Langus, panelists Hisham Aidi and Tom Pryor, plus jazz piano titan Marc Cary to discuss the history and recent resurgence of rapturous, kinetically hypnotic Moroccan gnawa music, plus a performance by Innov Gnawa, at  the New School Jazz Performance Space, Arnhold Hall, 55 W 13th St., free

3/20, 8/10 PM  ageless, perennially hard-hitting jazz piano sage and ex-Coltrane bandmate McCoy Tyner at the Blue Note, $30 standing room avail

3/20, 8 PM the Tomeka Reid Quartet featuring Jason Roebke, Tomas Fujiwara, and Mary Halvorson play edgy cello jazz at Roulette, $20 adv tix rec

3/20, 8 PM the Bob Bennett Big Band with Erica Seguine on piano at Sir D’s Lounge, 837 Union St, south of 7th Ave, Park Slope, R to Union St.

3/20, 8:30 PM the NY New Music Ensemble play David Felder: partial[dist]res[s]toration (2001) for sextet and electronics; Rand Steiger: Light on Water (2013) for flute, piano and electronics; Jacob Druckman: Come Round (1991) for sextet; Anthony Cheung  Roundabouts (2007) for piano at the Tenri Cultural Institute, 43A W 13th S, $20/$10 stud/srs

3/20, 10 PM the Amazonas Strings  play elegant, enveloping latin pastoral jazz at at the third stage at the Rockwood, $10

3/21, 7:30 PM drummer LaFrae Sci & Quintet Groove Diplomacy will play pieces highlighting achievements by great women of blues and jazz including Bessie Smith, Abbey Lincoln, Nina Simone, Ella Fitzgerald, and Mary Lou Williams. with Tamar-Kali on vocals at the Naitonal Jazz Museum in Harlem

3/21, 7 PM the F-Tones  Marcin Wisniewski, guitar, and Dwayne Beach, 5-string violin, – play their individualistic take on Romany jazz at Shrine

3/21, 7:30 PM pianist Dasol Kim plays Beethoven    Sonata No. 8 in C minor, Op. 13 Pathétique; Barber –  Sonata, Op. 26; Chopin    24 Preludes, Op. 28 at Merkin Concert Hall, $10 tix avail

3/21, 8/10:30 PM inspired, cutting-edge trombonist/composer Ryan Keberle & Catharsis with Camila Meza on guitar and vocals at Cornelia St. Cafe, $10 + $10 min

3/21-25,8/10:30 PM popular trumpeter Roy Hargrove leads his quintet at the Blue Note, $20 standing room avail

3/21, 10 PM cleverly acerbic, charismatic avant garde singer/pianist/sound artist Bora Yoon joins forces with thereminist Armen Ra at National Sawdust, $30 adv tix rec

3/21, 10 PM catchy, harmony-driven, historically-inspired original newgrass string band Cricket Tell the Weather at the third stage at the Rockwood, $10

3/21, 10:30 PM fiery alto saxophonist Lucas Pino’s twin-guitar No No Nonet at Smalls

3/22, 5 PM jazz piano legend and African music specialist Randy Weston leads a demo and introduction to kinetically hypnotic Moroccan gnawa music  at Medgar-Evers College, 1650 Bedford Avenue, Bed-Stuy, free, 2/5 to President St.

3/22, 7:30 PM intrepid indie classical ensemble International Street Cannibals with pianist Conor Hanick and soprano Ariadne Greif perform Schoenberg’s pivotal String Quartet No. 2, Op. 10, plus works by Berg, Korngold, Schnittke, Webern, Zemlimsky, and Arvo Pärt at St. Marks Church, 2nd Ave/10th St., $20/$12 stud

3/22, 8 PM fiery, psychedelically bluesy oldschool soul/southern rockers Lizzie & the Makers at LIC Bar

3/22, 8 PM Palehound – who blend eerie, lyrical new wave with hypnotic motorik vintage Wire-style postpunk – at Sunnyvale, $12

3/22, 8 PM bassist/composer Arnold Dreyblatt teams up for a dark duo performance with Brooklyn sound artist MV Carbon at the Kitchen, $15

3/22, 9ish baritone sax goddess Moist Paula and film composer Dorothea Tachler air out their new collaboration the GPS at Troost

3/22, 9 PM calm but fiery newschool Britfolk songwriter Roxanne de Bastion at Caffe Vivaldi . 3/31 she’s at the American Folk Art Museum at around 6 

3/22, 9 PM playful, sardonic French spoofers Nouvelle Vague – who’ve been making lounge music out of punk and new wave classics for decades – at Webster Hall, $30

3/23, 6 PM eclectic jazz/blues resonator guitarist Elizabeth Wise at Shrine. 3/24 she’s at Caffe Vivaldi at 7

3/23, 7:30 PM John Gattis, horn; Andy Kozar, trumpet; William Lang, trombone and David Broome, piano  play works by Guy Barash, Frances White, David Fetherolf, Gilbert Galindo, Gaetano Lorandi and Oren Boneh at Broom Tree Theatre, 23-35 Broadway, Astoria, N/Q to Broadway, free

3/23-24, 7:30 PM, repeating 3/25 at 8 and 3/26 at 3 PM Amy Beth Kirsten’s Quixote- a vividly original reimagining of the Cervantes classic, performed by the HOWL ensemble withLindsay Kesselman (soprano), Hai-Ting Chinn (mezzo-soprano), Kirsten Sollek (contralto), Mark DeChiazza and four singing players from Sandbox Percussion: Ian Rosenbaum, Victor Caccese, Terry Sweeney and Jonathan Allen at the Kasser Theatre, 1 Normal Ave, Montclair NJ, $20; catch the shuttle buss leaving from 41st behind Port Authority 

3/23. 8 PM a one-time-only event: “hilarious, kick-ass klezmer punks Golem will put on a “fake wedding” according to an old Catskills tradition, complete with mock bride, groom, ceremony, and of course a truly rocking party mixing original Golem songs, traditional Jewish repertoire and lots of amazing rock covers, from James Brown to Van Halen“ at Drom, $20 adv tix rec

3/23, 8 PM fiery, charismatic soul siren Meah Pace and her oldschool band at Salzy Bar, 506 5th Ave at 13th St, Park Slope, F to 7th Ave

3/23, 8/9:30 PM the cutting-edge, atmospheric, cinematic Alan Ferber Nonet at Cornelia St. Cafe, $10 + $10 min

3/23. 10 PM popular Americana highway rockers Mandolin Orange at the Music Hall of Williamsburg, $20 adv tix rec

3/23, 10 PM wickedly catchy Americana/paisley underground rockers Girls on Grass  followed at 11 by Dares at Halyard’s Bar, 406 3rd Ave (at 6th St), Gowanus, F/R to 4th Ave. 

3/23, 10 PM well-loved Boston alt-country vets Session Americana at Barbes

3/24, 7 PM Jog Blues with Andy Biskin, Joel Bluestone, Rob Garicia, Ikhlaq Hussain, Siddartha Mukerjee, Jonathan Rose and Jeffrey Zeigler mash up Indian, jazz and indie classical sounds at National Sawdust, $30 adv tix rec

3/24, 7:30 PM charismatic ex-Spanglish Fly frontwoman Erica Ramos’ exciting latin soul band Fulaso at the Lincoln Center Atrium, free

3/24, 7:30 PM wild, explosive, lush original and classic Indian cinematic themes with Falu’s Bollywood Orchestra at the Lynch Theater at John Jay College 524 W 59th St (between Tenth and Eleventh avenues) free, early arrival advised

3/24, 7:30 PM an all-ages ska/punk triplebill in reverse order: Voodoo Glow Skulls, Hub City Stompers, Midnight Foolishness at the Knitting Factory, $13 adv tix rec

3/24, 8 PM superb, nuanced jazz violinist Charlie Burnham and eclectic, tuneful accordionist/songwriter Ali Dineen  at the Owl, $10

3/24, 8 PM rustic Brazilian jungle sounds with Regional de NY followed at 10 by similar oldschool danceable Colombian tunes with Chia’s Dance Party  at Barbes

3/24, 8 PM Spain meets Honduras at Flushing Town Hall: Basilio Georges and his group Flamenco Latino, plus Lucy Blanco and the Afri-Garifuna Jazz Ensemble, $16/$10 stud, ages 13-19 free w/ID

3/24, 8:30 PM Beatlesque psych popsters the Babe Rainbow followed by jangly, catchy retro 60s Laurel Canyon psychedelic band the Allah-Las at Webster Hall, $20 

3/24, 8:30 PM Brandi & the Alexanders play their torchy oldschool soul and groove music at Bowery Electric, $8

3/24-25, 9 PM well-loved 90s Colorado newgrass/funk jamband Poi Dog Pondering at City Winery, $25 standing room avail

3/24, 9:30 PM catchy, enigmatic female-fronted dreampop band Loosie at Pine Box Rock Shop

3/24, 10 PM wickedly catchy powerpop/janglerock band Ruth Carp & the Fish Heads at Alphaville, $10

3/24, 10 PM Cumbiagra – whose take on psychedelic cumbias is more rustic and purist than most bands who play that stuff– at Guadalupe Inn, $10

3/24, 10:30 PM Sweet Tits – the “punk lesbian Spinal Tap” – at Freddy’s

3/25, 6 PM this era’s greatest film noir guitarist and composer, Steve Ulrich of Big Lazy  followed at 8 byart-rocker Pierre de Gaillande’s Bad Reputation playing witty chamber pop English translations of Georges Brassens classics followed at 10 by psychedelic latin bandleader Zemog El Galle Bueno at Barbes

3/25, 7:30  PM rapt improvisation: trumpet icon Wadada Leo Smith and pianist Angelica Sanchez with her Trio with Michael Formanek on bass at Greenwich House Music School, $25/$20 stud

3/25, 8 PM a benefit to  support Community Voices Heard and the Arab American Association of NY: the rapturous Rafiq Bhatia / Chris Pattishall guitar/piano duo, hypnotically danceable Moroccan trance ensemble Innov Gnawa and Armo ( lead singer, trumpeter and members of the rhythm section of second-wave Afrobeat icons Antibalas) at Littlefield, $12

3/25, 8 PM catchy, anthemic, charismatic folk noir band Thee Shambels – sort of the missing link between Nick Cave and the Pogues – followed by cinematic soundtrack instrumentalists/surf rockers the Tarantinos NYC and then oldschool psychedelic soul/groove band Empire Beats at the Way Station

3/25, 8 PM wickedly catchy psychedelic/garage band the Molochs followed by fuzzy drony jamband the Cosmonauts at Union Pool, $10. 3/27 at 10 careeningly intense gutter blues bandleader Breanna Barbara opens for that same twinblll at Berlin, same time, same price

3/25, 8 PM gritty, Albert King-influenced Chicago blues guitarist Lurrie Bell – son of legendary blues harpist Carey Bell – with his band at Roulette, $25 

3/25,  8 PM excellent, intense jazz cellist Hank Roberts with Sarah Bernstein – violin, Shoko Nagai – piano,  Satoshi Takeishi – percussion at the Owl, $10

3/25, 8 PM standout British early music chamber ensemble the Orlando Consort perform the haunting Renaissance music of Loyset Compère at the auditorium at 150 W 83rd St., $30 tix avail at the Miller Theatre box ofc at 116th/Bwy, M-F noon-6

3/25, 8 PM drummer Adam Rudolph’s strikingly tuneful, rumblingly improvisational Go Organic Orchestra at the Brooklyn Conseratory of Music, $20/$10 stud/srs

3/25, 8:30 PM tunefully psychedelic composer/avant-harpist Zeena Parkins plays two sets, the first with guitar goddess Mary Halvorson at I-Beam, $15

3/25, 9 PM hauntingly atmospheric art-rock siren Marissa Nadler – who’s sort of become a one-woman Pink Floyd – followed by slowcore/dreampop/doom band Pallbearer at the Music Hall of Williamsburg, $20 adv tix rec

3/25, 9 PM elegantly eclectic Americana/swing/newgrass songwriter Shannon Pelcher at Pete’s

3/25, 9 PM funky jamband the Pimps of Joytime at Bowery Ballroom, $20. It’s a long way from the old Lucky Cat

3/25, 9:30 PM socially aware, oldtimey-flavored Americana band 2/3 Goat at Hill Country, free.

3/26, 2  PM the Orion String Quartet play Haydn’s Seven Last Words of Christ at the New School Auditorium, 66 W 12th St. off 6th Ave, $18 

3/26, 3 PM an all-star band: Adrianne Greenbaum (flute), Michael Alpert (violin and badkhones), Jake Shulman-Ment (violin), Brian Glassman (bass), Walter Zev Mamlock (poyk/percussion) and Pete Rushefsky (tsimbl) play extremely rare, rustic klezmer tunes from Dubiecko, Poland at the Eldridge Street Synagogue, Eldridge St. just north of Canal, $25/$15 stud/srs

3/26, 4 PM the Calidore Quartet play works by Beethoven, Ligeti, and Dvorak at the Dreck Center at the Brooklyn Public Library, free

3/26, 7:30  PM cinematic pianist Tempei Nakamura plays the album release for his new one Vortex at Drom, $15 adv tix rec

3/26, 8 PM for elegant, atmospheric art-rock violinist/songwriter Concetta Abbate and Bridget Hill’s joint bday, “come see the PARK Quartet (Nicholas Alexander Wilson and Concetta Abbate – violins, Lenna Pierce- cello) live score the 1959 Mexican Sci Fi Classic “Ship of Monsters” (Spanish with English subtitles) at the Park Church Coop in Greenpoint, $10 sugg don – bring food and we’ll all share”

3/26, 8 PM Nashville gothic/folk noir band Karen & the Sorrows at Bowery Electric, $8

3/26, 10 PM Wedeya play roots reggae at Shrine 

3/27, 7:30 PM  indie classical vocal ensemble Ekmeles sing works by Schütz and Haydn ; the Attacca Quartet play the New York premiere of Wolfgang Rihm’s 7 Passion Texts and David Lang’s Little Match Girl at Music Mondays, Advent Church, 93rd/Broadway, 1/2/3 to 96th St., free

3/27,  7:30 PM Parisian/Senegalese hip-hop jazz with Steve Leyman & Selebeyone at Merkin Concert Hall, $25 or $20 per ticket for multiple purchases

3/27, 8 PM an eight-piece expanded version of hypnotically psychedelic, microtonally guitar-fueled East African psychedelic band 75 Dollar Bill with strings and sax at Roulette, $20 adv tix rec

3/27, 8 PM cinematic, plaintively sardonic composer/violinist Christopher Tignor at the Silent Barn, $8

3/27, guessing 8ish, popular 80s powerpop band Teenage Fanclub at Warsaw, $25

3/27. 8 PM the Canadian Guitar Quartet play works by Beethoven, Saint-Saens, Brahms, Côté-Giguère, and others at the Recital Hall at Baruch College, E. 25th Street between 3rd and Lexington Ave, free

3/28, drinks at 5:30  PM, music at 6,British early music chamber ensemble the Orlando Consort perform early music by Machaut, Defay, Geurrero, Isaac and others at the Miller Theatre, free

3/28, 6 PM Jiuilliard Provost Ara Guzelimian interviews John Adams, surrounded by performances of Adams’s own compositions and works by Ellington, Beethoven, and Ives at Paul Hall at Juilliard, 2 free tix avail. per person 

3/28, 6 PM pianist Jose Ramon Mendez plays works by Bach, Schubert and Rachmaninoff at the Yamaha Piano Salon, 689 Fifth Ave (entrance on 54th st)), 3rd floor , $6

3/28, 7 PM smart purist oldtime blues/Americana resonator guitarist Zeke Healy & intense, eclectic violist Karen Waltuch making wild psychedelia out of classic Americana folk themes followed by ten-piece funky Balkan brass/Ellington jazz monsters Slavic Soul Party at Barbes

3/28, 7 PM Taiko drummer Kaoru Watanabe with the Brooklyn Raga Massive at Shapeshifter Lab, $20

3/28, 8 PM noir jazz legends the Jazz Passengers celebrate the release of their newest album, Still Life with Trouble at Roulette, $20 adv tix rec

3/28, 8/10:30 PM Marianne Solivan “sings with authority and grace” – true – joined by pianist George Colligan and bassist Matthew Parrish at Mezzrow, $20

3/28, 8:30 PM irrepressible slide trumpeter Steven Bernstein leads a series of groups at the Stone, $20. Choice picks: opening night with the Diaspora Special Edition: Arturo O’Farrill (piano) Peter Apfelbaum (sax) Brad Jones (bass) Billy Martin (drums) ; and 3/29 with legendary noir jazz outfit Sexmob

3/28, 9 PM Norwegian artist Helge Sten’s creepy ambient Deathprod project in a rare New York appearance at Issue Project Room, $15/$12 stud/srs

3/28, 10 PM brilliant drummer/percussionist Willie Martinez & La Familia Sextet play classic salsa grooves at the Nuyorican Poets Cafe

3/29, 7 PM uneasily fiery, intense jazz guitarist Sean Cronin‘s new ensemble Very Good at Barbes

3/29, 7:30 PM the Wellesley College Choir sing works by Brahms, Ronald Perera, Joan Szymko and Ysaye Barnwell at Merkin Concert Hall, $15

3/29, 8 PM haunting, intuitive cellist Inbal Segev opens for the String Orchestra of Brooklyn and Mivos Quartet performing works by Anna Clyne at Roulette, $20 adv tix rec

3/29, 8 PM deep-space solo guitar epics with David Grubbs at the Old Stone House in Brooklyn, $10, reception to follow

3/29, 8 PM enigmatic, synthy, propulsive new wave act Decorum followed by snide 80s-style goth-punks Pop. 1280 at Brooklyn Bazaar, $10 

3/29, 9 PM a fun 90s roots-rock guitar twinbill: the Bottle Rockets and Chuck Prophet & the Mission Express at Bowery Ballroom, $20

3/30, 1 PM lyrical jazz pianist Chris Pattishall and his group at Trinity Church, free

3/30-4/1, 7:30/9:30 PM haunting, intense flamenco jazz pianist Chano Dominguez leads his flamenco jazz/dance quintet at the Jazz Standard, $30

3/30, 7:30 PM Argentine pianist Emilio Teubal lead his strio at Club Bonafide, $15

3/30, 7:30 PM the Jasper String Quartet play Beethoven: String Quartet in A major, Op. 18, No. 5; Missy Mazzoli: Death Valley Junctionl Dvořák: String Quartet No. 12 in F major (“American”) at the Lincoln Center Atrium, free, early arrival advised

3/30, 7:30 PM Cookers trumpeter David Weiss & Point of Departure at Nublu. 3/31 at 11 they’re at the Fat Cat 

3/30, 8 PM legendary LA psychedelic rockers the Jigsaw Seen‘ followed by real oldschool Max’s style glampunks the New York Junk at Bowery Electric, $8

3/30, 8 PM lyrical jazz pianist Guy Mintus with flamenco guitarist Andreas Arnold at Caffe Vivaldi

3/30, 9 PM lead guitarist to the stars of the NYC underground, Homeboy Steve Antonakos plays a rare solo show featuring songs off his new powerpop album Bodega rock at Espresso 77, 35-57 77th Street, Jackson Hts

3/30, 8 PM the W4 New Music Collective premiere a collaboration between composers Matt Frey, Tim Hansen and Molly Herron exploring aspects of solitude at Roulette, $20 adv tix rec

3/30, 8 PM trumpeter John McNeil’s Hush Point –  a New York update on 50s West Coast cool jazz – play the album release show for their third disc at Brooklyn Conservatory of Music, $15

3/30, 9 PM enigmatic chamber jazz songwriter Becca Stevens sings the album release show for her new one at Bric Arts, $15 adv tix rec

3/30, 9 PM  the hilarious, politically astute Paranoid Larry & His Imaginary Band at Freddy’s

3/30, 9:30 PM Boss Hogg – Christina and Jon pulling their legendary 90s project back together – at the Mercury, $15

3/30, 10 PM Brooklyn’s funnest new band, psychedelic organ-driven Middle Eastern-tinged surf rock trio Hearing Things  at Barbes

3/30, 10 PM Diamond Hotel – noir frontwoman Raquel Vidal’s fiery paisley underground psychedelic/noir Americana band – at Desmond’s of all places 

3/30, 10:30 PM Goblin-esque monster-cartoon soundtrack band Xombie at the downstairs space at Webster Hall, $12

3/31, 5:30 PM darkly edgy, politically-fueled Irish tunesmith Niall Connolly  followed by calm but fiery newschool Britfolk songwriter Roxanne de Bastion at the American Folk Art Museum

3/31, 7 PM haunting Puerto Rican bolero revivalists – and Sylvia Rexach reinventors – Miramar at the CUNY Grad Center, 365 5th Ave north of 34th, $25/$20 stud

3/31, 7:30 PM the St. Louis Symphony Orchestra play John Adams’ The Gospel According to the Other Mary at Stern Auditorium at Carnegie Hall, $25 tix aail

3/31, 8 PM Aussie soul-psych rock band Stonefield followed eventually by psychedelic stars King Gizzard & the Lizard Wizard – who are going in an amazing microtonal rock direction – at Webster Hall, $22 

3/31, 8 PM eclectic, electric C&W/blues band the Jug Addicts followed at 10 by trippy North African dance grooves with Innov Gnawa at Barbes

3/31, 8 PM eclectically tuneful swing/noir/pastoral jazz combo the Jazz Thieves at the Way Station

3/31, 8 PM the Argus String Quartet air out a mix of new and old works at Roulette, $20 adv tix rec

3/31, 10 PM slinky original rocksteady with Osekre & the Lucky Bastards at Shrine

3/31, 11 PM psychedelic latin soul with Chicano Batman at Bowery Ballroom, $16 adv tix rec

3/31, 10 PM Red Gretchen – best known for their anguished Replacements/Nirvana anthems, although they’re even better at slowly undulating, doomy psychedelic/art-rock grooves – at Sidewalk.

4/1, 4 PM the Dessoff Choir sings motets by Bach, Buxtehude and Samuel Barber’s Dover Beach at Union Theological Seminary, 3041 Broadway, 1 train to 116th St, $25/$15 stud/srs

4/1, 7 PM a free screening of the jazz documentary film Night Bird Song: The Incandescent Life of Thomas Chapin at Flushing Town Hall

4/1, 8 PM NYC’s goddess of garage guitar, Palmyra Delran opens for Radio Birdman mastermind Deniz Tek and Keith Streng of the Fleshtones’ reputedly sizzling new two-guitar band at Bowery Electric

4/2, 7 PM Skinny Lister – the Pogues of oldtime British folk music – at the Mercury, $15

4/3, 7:30 PM the Eroica Trio play works by Paul Schoenfield, Bruce Wolosoff, and Kevin Putsat Symphony Space, $20 adv tix rec

4/5, 6:30 PM magical, mystical Pakistani Sufi chanteuse Sanam Marvi and her band at the Asia Society, 725 Park Ave, $12/$10 stud/srs

4/5, 10 PM fiery, charismatic soul siren Meah Pace and her oldschool band at the McKittrick Hotel

4/6, 7 PM composer-vocalist Lisa Bielawa takes a turn as soloist, backed by the American Contemporary Music Ensemble (ACME) singing works including A Collective Cleansing (2000) for solo voice and digital audio, Graffiti Dell’amante (2010) for string quartet and soprano, Genesis Again (1998) for soprano and violin, and two arias from her episodic opera Vireo: “The Bat” and “The Dragon and the Girl, at National Sawdust, $30 adv tix avail

4/6, 7:30 PM trippy, otherworldly, ancient North African dance percussion ensemble  Innov Gnawa  open for Malian guitar shredder Vieux Farka Toure at Bric Arts, $15 adv tix rec

4/7, 5:30 PM fiery Americana stringband duo the Berger Sisters at the American Folk Art Museum

4/7, 7 PM intense, legendary, noirish punk jazz sax/drum duo Iconoclast – Julie Joslyn and Leo Ciesa – play their joint 30th anniversary show and album release show for their new one at stage 2 at Michiko Studios, 149 W 46 St

4/7, 8 PM percussionist Annette A. Aguilar & StringBeans play Puerto Rican jazz; and Masayo Ishigure and her group the Miyabi Koto Shamisen Ensemble add innovative jazz and western classical influences to traditional Japanese music at Flushing Town Hall,  $16/$10 stud, 13-19 free w/ID

4/7, 10 PM well-liked 90s alt-country vets Son Volt at Bowery Ballroom, $23 adv tix rec

4/8, 7:30 PM Linda Chatterton (flute), Rachel Brandwein (harp) and Aristo Sham (piano) perform works by contemporary Hong Kong composers with world premieres by Galison Lau and Ka-wai So, US premieres by Wendy Wan-Ki Lee, Cynthia Chi-Wing Wong and Chi-hin Leung, with additional works by Donald Yu and Austin Ho-Kwen Yip at the DiMenna Center

4/8, 7:30 PM smartly eclectic singer and vivid original jazz songwriter Allegra Levy celebrates the release of her new album Cities Between Us with her album bandmates, saxophonist Stephen Riley, cornetist Kirk Knuffke, pianist Carmen Staaf, drummer Jeff Davis, and bassist Jay Anderson at Club Bonafide

4/8, 8 PM Vishwa Mohan Bhatt with Subhen Chaterjee play Indian music for slide guitar (mohan veena) & tabla at Roulette, $30

4/8, 8:30 PM Ensemble Signal plays a “composer portrait” of the darkly enigmatic, uneasily Schoenbergian Johannes Maria Staud at the Miller Theatre, $30/$20 stud

4/8, 10 PM Dervisi feat. guitar god Steve Antonakos play “exotic Greek gangsta blues”at Pan-Icarian Brotherhood Hall, 8722 52nd Ave., Flushing, M/R train to Grand Ave – Newtown. 4/12 at 9 they’re at Troost and 4/20 at 9 at Espresso 77, 35-57 77th Street, Jackson Hts.

4/8, 10ish keyboardist Manu Koch’s trippy, socially conscious Mediterranean/Near Eastern jazz/groove/funk band Filtron M play the album release show for their new one at Nublu 151 

4/11, drinks at 5:30, music at 6 PM So Percussion’s Jason Treuting + JACK Quartet at the Miller Theatre, free

4/12, 8 PM wry 70s style kraurtock disco band Automaatio followed by Lusterlit’s ominous, noirish literary chamber pop at the Well, 272 Meserole St, Bushwick, $8 

4/19, 5 PM indie classical chamber luminaries Talea Ensemble with soprano Juliet Fraser perform John Zorn’s Alll Hallows Eve plus wotks by Olga Neuwirth, Beat Furrer and Steve Reich at the Austrian Cultural Forum 11 E 52nd St.,  free 

4/20, 8 PM the lavish, kinetic Liberte Big Band led by pianist Liberté-Anne Lymberiou Liberté-Anne Lymberiou at the Wil;liamsburg Music Center, 367 Bedford Ave 

4/21, 8 PM flutist Sylvain Leroux and Source play Malian folk music; brilliant, charismatic oudist Rachid Halihal and Fez play Moroccan and Middle Eastern classics at Flushing Town Hall,  $16/$10 stud, 13-19 free w/ID

4/24, 7:30 PM pianist Taka Kigawa and the String Orchestra of New York City split the bill on a concert of new music by Lisa Bielawa, Zosha Di Castri and Richard Carrick at Symphony Space, $20 adv tix rec

4/25, 8 PM for night one of the MATA Festival, in their North American debut Danish indie classical luminaries SCENATET play new works by Eric Wubbels (USA), Yu Oda (Japan): Daniel Tacke (USA): Martin Grütter (Germany): Messer Engel Atem Kling; Christian Winther Christensen (Denmark): Kaj Duncan David (Denmark): Murat Çolak (Turkey)  at the Kitchen, $20

4/28, 8PM Chartwell Dutiro plays Zimbabwean mbira music with his band at Roulette, $25

4/29, 8 PM hauntingly enveloping, kinetic Iranian art-rock/trance ensemble Niyaz at Roulette, $30

4/29, 8 PM pianist Pablo Mayor’s Folklore Urbano Orchestra and Pajarillo Pinta’o dance company team up for a theatrical concert exploring global culture, immigration, tradition, and love at Flushing Town Hall,  $16/$10 stud, 13-19 free w/ID

4/30, 8 PM hypnotic, swirling, ancient and brand-new Punjabi grooves with Riyaaz Qawwali at Roulette, $30

5/1, 7 PM Finnish murder ballad singer Pekko Käppi leads his haunting, austere folk trio at the CUNY Grad Center, 365 5th Ave north of 34th, $25/$20 stud

5/15, 5:30 PM drinks at 5:30, music at 6 PM Michael Riesman and Ensemble Signal celebrate the music of Philip Glass at the Miller Theatre, free

5/19, 5:30 PM drinks at 5:30, music at 6 PM New York Polyphony “illuminate Bach and Luther’s German roots” at the Miller Theatre, free

5/20, 3 PM the Washington Heights Chamber Orchestra play a world premiere by Music Director Chris Whittaker and close with Mendelssohn’s exuberant “Italian” Symphony, at Fort Washington Collegiate Church, 729 W. 181st St.,free, reception to follow  

5/24, 7:30 PM eclectic mostly-female klezmer/cumbia/tango jamband Isle of Klezbos’ all-gal sextet ensemble (including mesmerizing vocalist Melissa Fogarty), plus clips from bandleader Eve Sicular’s cinema history project, The Celluloid Closet of Yiddish Film at the Center for Jewish History, 15 W 16th St. $25 adv tix req

6/6, drinks at 5:30, music at 6 PM indie classical globetrotters International Contemporary Ensemble play animal behavior-inspired works at the Miller Theatre, free

6/13, drinks at 5:30, music at 6 PM the Mivos Quartet play a program TBA at the Miller Theatre, free

6/13, 8:30 PM popular newschool blue-eyed soul/Motown/swing band Lake Street Dive at Prospect Park Bandshell

An Irresistible, Globally Eclectic Show by Elektra Kurtis and the PubliQuartet

Violinist Elektra Kurtis’ latest album  is a fiery, often explosive electric jazz record. But she has many different sides. Last night at the Cornelia Street Cafe, she showed off as much elegance as kinetic energy in a completely acoustic set featuring irrepressibly adventurous indie classical ensemble the PubliQuartet.

She opened solo with a bravura Mozart interlude and closed the night with a full quintet arrangement of one of her signature originals, blending elements of flamenco, Romany dances and tarantella into a lithely stormy, polyrhythmic exchange of voices. An earlier piece, also featuring the quintet, resembled the work of Per Norgard with its enigmatically eerie, steady microtonal motion.

After a couple of flamenco-flavored solo original miniatures, Kurtis brought up Publiquartet violinist Curtis Stewart, who played a raptly hazy solo pastorale: the video for the song made it into the Inwood Film Festival, which makes sense since that’s where he’s from. Then the two violinists exchanged voices deftly throughout a neo-baroque Kurtis piece.

She then left the stage to the quartet. Valencia, a North Atlantic seaside tableau by Caroline Shaw juxtaposed ethereal, saline astringencies with churning, subtly polyrhythmic riffage circulating throughout the ensemble – violinist Jannina Norpoth, violist Nick Revel and cellist Amanda Gookin – who then tackled the evening’s most surreal number, David Biedenbender‘s Surface Tension. It was inspired by a weird dream where a simple glass of water took on the texture of putty and other unexpected substances. Norpoth took care in explaining its strange elasticity, then the ensemble brought its slithery, uneasy shapeshifting trajectory to life, a showcase for pouncing, emphatic voices throughout the group.

Matthew Browne’s Great Danger, Keep Out illustrated what kind of havoc can result when a Tesla coil explodes: Norpoth called it “fiery” and she wasn’t kidding. The Publiquartet’s next gig is with wild, ambitiously carnivalesque large jazz ensemble the Cyborg Orchestra, led by Josh Green at National Sawdust at 7 PM on March 2; $30 advance tix are available. Kurtis plays frequently at the Cornelia; watch this space for upcoming dates. 

Carsie Blanton Charms and Provokes at the Mercury

Tuesday night at the Mercury, New Orleans bandleader Carsie Blanton was at the top of her hilarious game. She makes good albums, but nothing compares to seeing her onstage. The woman is devastatingly funny, and politically spot-on, and charismatic to the extreme. Decked out in a sassy vintage red dress, fronting her skintight four-piece group, the inventor of the sexy board game Bango kept the audience in stitches when she wasn’t taking requests or running through a mix of torchy soul, swing and retro rock from her latest album So Ferocious.

One of the funniest moments of the night was when she explained the backstory for the bouncy kiss-off anthem Fat and Happy. As you would expect, she’s an Ella Fitzgerald fan, but she winced at how cheesy some of the choir arrangements on Fitzgerald’s albums from the 40s were. “So I thought, what if I took a song and ended it with the band going, ‘Oooohhh, FUUUUUUCK,” Blanton grinned. The band – keyboardist Pat Firth, bassist Joe Plowman and drummer Nicholas Falk – did exactly that, slowly and in perfect three-part harmony. The crowd roared.

“My friends said take the high road, turn the other cheek,” Blanton elaborated with a grin, “But I’m a revenge-taking kind of person.” So the tale of a selfish dude hell-bent on piggybacking on Blanton’s success resonated even more: “Will you still be whining like a suckling pig, or will you be trying to get on the gig?” she sneered.

She’d opened with a simmering blue-flame soul song that Amy Winehouse would have traded her stash to have had the chance to sing. “You don’t scare me,” was the refrain: no joke. Blanton followed that with Scoundrel, a bouncy early 60s-style John Waters soul-pop number and then the hazy, summer-evening soul of Hot Night. She explained that she’d written most of that one in Madrid on vacation, sulking in her unairconditioned B&B, serenaded by street noise until she realized how lucky she was to be there at all.

Throughout the set, Blanton worked the dynamics up and down, more than a tinge of smoke in her voice, through the gentle 6/8 torch-soul ballad Loving Is Easy to a wryly propulsive number from her Idiot Heart album, a typical surreal/crazy/creepy New Orleans moment when a guy tried to pick her up with the line, “Why not, we’re all gonna die one day.”

The first of the audience requests, Chicken grew out an idea that had stuck in her head, she said, which she’d dismissed as silly until she wrote the song…and it turned out to be one of her biggest crowd-pleasers. She followed Money in the Bank – a slinky mashup of sly, low-key Lou Reed and oldschool soul – with another novelty song, Moustache, a newschool Motown number. Blanton revealed that she actually has no issues with facial hair on dudes – it’s just that this one particular fuzzy upper lip turned out to be a big mistake.

Twister, a brand-new number, brought back the sultry/icy vibe of the night’s opening song. inspired by the recent tornado that hit her hometown, contemplating how a new romance could be altered by that sort of calamity. To Be Known made a poignant change of pace, part vintage BeeGees angst, part Jimmy Webb art-song. She kept pretty low-key with The Animal I Am, inspired by a badass canine friend who chews her underwear and, like her owner, is a general hellraiser. Then the group picked up the pace a little with Backbone, a snide dis at a sappy guy who’s probably too lazy to show a little gumption.

Blanton warned the crowd that she’d save the best for last, and she sort of did. It was a brand-new song where everybody in the band changed instruments. Pandemonium ensued as she railed about how everything went completely haywire at an election-night party, and how history reminds that back in the early 30s, lists of forbidden nations and ethnicities were being compiled just like they are now. The crowd begged for another encore but didn’t get one. Blanton’s tour continues at the Lancaster Roots & Blues Festival at the Ware Center, 42 N Prince St. in Lancaster, PA tonight, Feb 25 at 7:45 PM.