New York Music Daily

Global Music With a New York Edge

Tag: jazz

Mary Halvorson Releases Her First Acoustic Album on Bleecker Street with Amazing Duo Sets Monday Night

The guitar summit of the year is this Monday night, Sept 17 at 8 at the Poisson Rouge, where Mary Halvorson is playing two duo sets, one with fellow six-string mastermind Bill Frisell and the other with multi-reedman Robbie Lee. Her set with the former promises to be as good as, say, B.B. King dueling with David Gilmour. This bill isn’t just two of this era’s greatest guitarists sharing the stage: it’s two of the greatest guitarists ever. The set with Lee is also auspicious since the two have a brand new album, Seed Triangular, streaming at New Amsterdam Records. $20 adv tix are still available as of today.

Halvorson has done plenty of strangely entrancing work over the years, but this is her weirdest album, not only because it’s her first acoustic record. Here she plays a late 19th century 18-string Knutsen harp guitar, a1930 Gibson L-2 model and a 1888 SS Stewart 6-string banjo. Lee, whose background spans from indie classical to chaotic free improvisation, plays antique flutes plus chalumeau (a medieval clarinet), soprillo saxophone, melodica and bells. Many of the album tracks are miniatures, carefully edited from a one-day, completely improvised studio session earlier this year. Some of it sounds like John Fahey on acid; other moments bring to mind the quasi-baroque minimalism of frequent Lee collaborator and lutenist Jozef van Wissem.

The duo open with an alternately precise and fluttery little intro, then make their way carefully but emphatically through Seven of Strong, Halvorson’s enigmatic strums shadowed by Lee’s wandering microtones. Like a Ripple Made By the Wind builds a memorably desolate minimalism. Then, in A Forest Viol, Lee runs his melodica through a weird distortion patch while Halvorson picks elegantly.

After the uneasy strum-and-flutter of Potamogeton, the two make their way through Fireproof-Brick Dust (Halvorson is unsurpassed at song titles) with a squirrelly, loopy, distantly flamenco-tinged elan. The Stuttering Note of Probably turns out to be an obstinate little mini-tone-poem for harp guitar, while Pondeteria contrasts Lee’s quavers with Halvorson’s tuneful steadfastness.

The album’s funniest cut is Rock Flowers, Lee’s over-the-top microtonal sax drama against Halvorson’s tongue-in-cheek banjo. She hints at a handful of pretty folk themes but never quite makes it out of the mist in Spring Up Here. Lee makes short work of his solo bubbles in Sing O-Gurgle-ee This Evening, the album’s shortest number.

The album’s best track is Shoots Have Shot, veering between stately quasi-Andalucian riffs, off-the-rails wreckage and wryly spacious minimalism. The Tawny Orange is similarly spare and allusive, while Early Willows edges toward wistful pastoral jazz. The album closes with the rather epic title track, which could be Gabor Szabo taking a stab at the neo-baroque. Much as this release doesn’t deliver the raw thrills of Halvorson’s electric work, there’s plenty of her signature humor here – and you have to give her credit for having the nerve to record on those tinny old acoustic axes.

Advertisements

Bobby Sanabria Brings His Brilliant, Electrifying Reinvention of the West Side Story Score to Harlem This Weekend

Latin jazz drum sage Bobby Sanabria’s mission to tackle Leonard Bernstein’s iconic West Side Story score is ambitious, and a little hubristic. And it’s been done before: The Oscar Peterson Trio, the Stan Kenton Big Band, Dave Brubeck (obviously), Dave Liebman and Dave Grusin have all recorded various sections of the most radical Broadway score prior to Fela, with results from the sublime to….you get the picture. Sanabria and his Multiverse Big Band debuted their West Side Story Reimagined at Lincoln Center last month (sadly, this blog was in Brooklyn that night). Good news for anyone who missed that show: the band are reprising it at the amphitheatre in Marcus Garvey Park this Friday, Sept 14 at 7 PM. If you want a seat, you need to get there early.

As you would expect, the new double album – streaming at Spotify – adds plenty of welcome texture, sonic color and emphatic groove to Bernstein’s orchestration. Compared to previous jazz interpretations, what’s new about it is how heavy it is. The original is a lithe ballet score livened even further by Bernstein’s puckish wit. This version is gritty and in your face.

Sanabria is a connoisseur of just about every rhythm from throughout the Afro-Latin diaspora and beyond, and locks in on how eclectically inspired Bernstein was by all sorts of different rhythms from Puerto Rico, Cuba, Mexico and beyond. Yet Sanabria is also very highly attuned to the Stravinskian severity that makes such a stark contrast with the score’s lyricism, particularly as far as the ballads are concerned. Maybe it’s the focus on how much of a clave underscores so much of the music here, with charts by a grand total of nine separate arrangers, Sanabria included. Or maybe it’s just as much of a focus on the storyline’s stark relevance to current-day anti-immigrant paranoia.

This is not a solo-centric album: brief, punchy features for members of the ensemble go on for maybe eight bars at the most, with as many deft handoffs as momentary peaks amidst what Sanabria has very aptly described as a pervasive unease. Since the days of Tammany Hall, the ruling classes have pursued a relentless divide-and-conquer policy among New York’s innumerable ethnic groups, and the 1950s were no exception. In this hands of this mighty band, Bernstein’s keen perceptions are amplified even further.

Much as the new charts put the spotlight on the group’s amazingly versatile percussion section – alongside Sanabria, there’s Takao Heisho, Oreste Abrantes on congas and Matthew Gonzalez on bongós and cencerro – they hew closely to the original score. The deviations can be funny, but they have an edge. A Yoruba chant and a sardonically blithe dixieland interlude appear amid noir urban bustle, toweringly uneasy flares and noir urban bustle. Even the ballads – not all of which are included here – are especially electric. The band that rises to the challenge and succeeds epically here also includes Darwin Noguera on piano; Leo Traversa on bass; trumpeters Kevin Bryan, Shareef Clayton, Max Darché and Andrew Neesley; saxophonists David Dejesus, Andrew Gould, Peter Brainin, Jeff Lederer and Danny Rivera; trombonists Dave Miller, Tim Sessions, Armando Vergara and Chris Washburne; flutist Gabrielle Garo and violnist Ben Sutin.

Transcendence and Joy with Souren Baronian’s Taksim at Barbes

Every year here, sometime in December, there’s a list of the best New York concerts from over the past twelve months. Obviously, it’s not definitive – nobody has the time, and no organization has the manpower to send somebody to every single worthwhile concert in this city and then sort them all out at the end of the year.

But it’s an awful lot of fun to put together. Legendary Armenian jazz multi-reedman Souren Baronian has a way of showing up on that list just about every year, and he’ll be on the best shows of 2018 page here, too. This past evening at Barbes, he and his Taksim ensemble – Adam Good on oud, son Lee Baronian on percussion, Mal Stein on drums and Sprocket Royer on bass, tucked way back in the far corner – channeled every emotion a band could possibly express in a tantalizing fifty minutes or so onstage. Surprise was a big one. There were lots of laughs, in fact probably more than at any other of Baronian’s shows here over the past few years. There was also longing, and mourning, and suspense, and majesty and joy.

Baronian came out of Spanish Harlem in the late 40s, a contemporary of Charlie Parker. Considered one of the original pillars of Near Eastern jazz, as he calls it, Baronian immersed himself in both bebop and what was then a thriving Manhattan Armenian music demimonde. In the years since, he literally hasn’t lost a step. Much as he can still fly up and down the valves, and played vigorously on both soprano sax and clarinet, his performances are more about soul than speed and this was typical. Some of his rapidfire rivulets recalled Coltrane, or Bird, but in those artists’ most introspective and purposeful moments. And neither dove headfirst into the chromatics to the extent that Baronian does.

He opened with a long, incisively chromatic riff that was as catchy as it was serpentine – a typical Baronian trait. Good doubled the melody while Royer played terse low harmonies against it, the percussion section supplying a solid slink. Baronian’s command of Middle Eastern microtones is still both as subtle and bracing as it ever was as he ornamented the tunes with shivery unease as well as devious wit.

Throughout the show, he’d often play both soprano and clarinet in the same tune, then put down his horn and play riq – the rattling Middle Eastern tambourine – while other band members soloed. The night’s two funniest moments were where he led them on boisterous, vaudevillian percussion interludes with as many cartoonish “gotcha” moments as there was polyrhythmic virtuosity.

Where Baronian made it look easy, Good really dug in and turned a performance that, even for a guy who’s probably one of the top half-dozen oudists in New York, was spectacular. Brooding, ominously quiet phrasing quickly gave way to spiky, sizzling tremolo-picking, pointillistic volleys of sixteenth notes and a precise articulation that defied logic, considering how many notes he was playing. Getting the oud sufficiently up in the PA system helped immeasurably – oud dudes, take a look at this guy’s pedalboard, for the sake of clarity and a whole lot more.

The night’s best number also happened to be the quietest and possibly the most epic – considering how many segues there were, it sometimes became hard to tell where one tune ended and the other began. Baronian played this one on clarinet, looming in from the foghorn bottom of the instrument’s register and then rising with a misty, mournful majesty. As the song went on, it took on less of an elegaic quality and became more of a mystery score. Royer’s spare, resonant groove, Stein’s elegant rimshots, the younger Baronian’s otherworldly, muted boom and Good’s shadowy spirals completed this midnight blue nocturne.

They picked up the pace at the end of the show, taking it out with a triumphant flourish. On one hand, that Baronian chooses Barbes to play his infrequent New York gigs (he’s very popular in Europe) is a treat for the cognoscenti, especially considering how intimate Brooklyn’s best music venue is. But if there’s anybody who deserves a week at the Vanguard or Jazz at Lincoln Center, it’s this guy.

Watch this space for upcoming Baronian Barbes gigs. In the meantime, Good is playing one of his other many axes, guitar, with slashing, careening heavy psychedelic band Greek Judas  – who electrify old hash-smuggling anthems from the 30s and 40s – tomorrow night, Sept 8 at Rubulad. It’s a lo-fi loft space situation with a Burning Man vibe – fire twirlers, space cake and absinthe could be in the picture. Cover is $10 if you show up before 9; email for the Bushwick address/info.

A Gusty, Gutsy Return by Brooklyn’s Most Individualistic Guitarist and His Band in Red Hook

An enigmatic mist of sound rose from the inner courtyard at Pioneer Works to the top of a makeshift tower with a spiral staircase scarier than any Hitchcock movie set a couple of weekends ago. As Uncivilized bandleader/guitarist Tom Csatari finally edged his way through the clouds of horns, and keys, and drummer Rachel Housle’s deftly muted polyrhythms, into the iconic two-note phrase that opens Angelo Badalamenti’s Twin Peaks theme, the subtext screamed. Distant menace seldom hits so close to home.

Csatari and his more-or-less-nine-piece band were really on a roll until the midde of last year, when it suddenly looked like they might be finished. But Csatari dodged a bullet, survived a brain tumor operation and has reemerged with both his chops and his band intact. In an era when New York jazz musicians under forty who can afford to play live regularly are as rare as rent-regulated apartments, that’s a big news.

Csatari’s music sways and careens a little when the whole unit is going full tilt. The game plan seems to be that everybody has license to stray a little but not too far. The result is lot of tense, unresolved close harmonies, making a deliciously uneasy contrast with all the catchy riffs that permeate the mix. Few of those melodies ever return once they’re gone. Csatari can sound like Kenny Burrell or Wes Montgomery if he wants, but he hardly ever does – Americana of all kinds is more his reference point. You could call him a scruffier Bill Frisell if you wanted. 

There were more than a few moments throughout this characteristically epic show where the group brought to mind the Grateful Dead – but with two Bob Weirs and no Jerry Garcia. Csatari’s fellow guitarist Julian Cubillos is typically a noisier foil than he was this time out, the two shadowing each other with terse, even flitting riffs from 60s soul, or 70s country, or older blues. Meanwhile, the horn section bubbled and scooched to both sides, usually pretty seamlessly. There wasn’t a lot of soloing. Saxophonist Levon Henry got a bright, cheery one early on, then a trumpeter whose sweet old canine friend had gone onstage and wandered amid the band earlier, joined the melee and contributed a similarly boisterous one of her own.

The whole band weren’t all constantly playing at the same time, either: there were brief, suspenseful moments for keys and rhythm section, and for the two guitars. References to the Dead at their most qawwali-influenced, the Modern Jazz Quartet and the AACM – especially in the most orchestral moments – shifted with remarkable grace for a unit who never appear to be all in the same place at the same time. Yet Csatari always anchored the wafting ambience and frequent gusts with his nonchalantly incisive, tersely resonant flickers of melody.

Csatari’s webpage doesn’t show any upcoming gigs; watch this space. And the free semimonthly outdoor shows out back of Pioneer Works continue this Sunday, Sept 9 at 7:30 PM with an even more careening group, Haitian tropicalia punk band Ram. You’re supposed to rsvp, but last month this blog’s owner and girlfriend both just walked in without any hassle. Even the security guy out front was chill. Go figure. 

Live Music Calendar for New York City and Brooklyn for September and October 2018

Daily updates – if you go out a lot, it couldn’t hurt to bookmark this page.

If you’re leaving your hood, make sure you check http://www.mta.info for service changes considering how the trains are at night and on the weekend.

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

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

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

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

9/5, 9/12 and a grand finale on 9/14 a half an hour earlier, this year’s Bryant Park Accordion Festival is as amazing as it was last year. Scroll down for individual show lineups

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

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

Mondays in September, 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.

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

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

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

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

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

Saturdays in September, 6 PM the Toomai String Quintet play all kinds of adventurous, global classical repertoire, specializing in fiery Cuban material at Barbes

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 September, at sometime past noon at Hank’s, Nashville gothic crooner Sean Kershaw‘s legendary honkytonk brunch is back; special guests from his wide circle of NYC Americana acts keep the afternoon going until about 7. It’s just like 1999 again -at least until the bar closes sometime this year.

Sundays in September?, 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.

9/1, 3 PM the Sun Ra Arkestra outdoors at Union Pool, free

9/1, 5 PM atmospheric, cinematic drummer/composer Tim Kuhl – sort of a more straightforwardly trippy version of John Hollenbeck – followed at 8 by dazzlingly eclectic chamber pop/latin/classical violinist Concetta Abbate at Pete’s

9/1, 6 PM the Toomai String Quintet play all kinds of adventurous, global classical repertoire, specializing in fiery Cuban material, then at 8 PM pianist Lucian Ban and violist Mat Maneri play their creepy Transylvanian jazz and then at 10 there’s epic ranchera/bolero brass crew Banda de los Muertos at Barbes

9/1, 7ish Bobby Radcliff – the rare blues guitarist who plays a ton of notes but doesn’t waste them, sort of a funkier Stevie Ray Vaughan – with his trio at Terra Blues

9/1, 7 PM in reverse order at El Cortez: no wave sax legends James Chance & The Contortions,dark art-rock guitar icon Martin Bisi, and perennially sick noiserock guitar band the Sediment Club, $20

9/1, 7  PM the annual Soorya festival of Sri Lankan culture and arts at Faber Park in Staten Island, free, shuttle bus will stop at the Staten Island Ferry to pick you up, call 718-755-4644, program tba

9/1, 8 PM singer Lara Solnicki leads a killer quintet with Marta Sanchez on piano and Roman Filiu on alto at the Cell Theatre, $15. Filiu leads his quartet afterward

9/1, 8 PM charmingly inscrutable Parisienne chanteuse Chloe & the French Heart Jazz Band  at Club Bonafide, $20. She’s back here on 9/21 at 6, 9/28 at 7 and 9/29 at 6 again

9/1, 8:30 PM Greg Lewis’ brilliant, fearlessly political Organ Monk Trio at Bar Lunatico

9/1, 8:30 PM Dervisi feat. guitar god Steve Antonakos play “exotic Greek gangsta blues” followed by exotic vibraphone-driven surf band the Vibro-jets at the Gutter, sug don

9/1, 9 PM Unsteady Freddie‘s monthly surf rock extravaganza at Otto’s begins at 9 PM with ferocious, creepy surf noir band the Men in Gray Suits, at 10 spaghetti western/surf trio LoungeZotica 3000, at 11 gloomy surfed-up Russian prison songs with the Vivisectors, and around midnight the night’s hardest-rocking act, Surfer R Cool 

9/1, 9 PM dark garage rock and noir psychedelia with Holly Golightly & the Brokeoffs at the Mercury, $15

9/2, 2 PM original mambo king Orlando Marin and his band at the Discovery Center in Central Park,110th Street between Lenox Avenue and Fifth Ave, free

9/2, 6 PM purist CBs style female-fronted punks the Carvels NYC  at Otto’s – they have free potluck munchies too

9/2, 8:45 PM first-rate purist honkytonk crooner/bandleader Cliff Westfall a and hard honkytonk guitar legend Wayne the Train Hancock at the Knitting Factory, $18

9/2, 9 PM oldschool-style high plains C&W singer Hope Debates & North 40 at  at Skinny Dennis

9/2, 10ish brilliant Americana-rock lead guitarist Tom Clark – whose Lakeside and Manitoba’s shows back in the 90s and zeros were legendary – on his home turf at the Treehouse at 2A

9/3, 3 PM free dogs and burgers at Freddy’s. Not a music event but if you’re hungry…

9/3, 8:30 PM darkly brilliant, psychedelic Klezmatics multi-reedman Matt Darriau’s ’s Paradox Trio at Bar Lunatico. 9/9 at 7 they’re at Barbes

9/3, 9:30 PM Dilemastronauta Y Los Sabrosos Cosmicos with members of M.A.K.U and Combo Chimbita play space cumbia at Barbes

9/4, 7 PM brilliantly lyrical latin jazz pianist Luis Perdomo leads his band at the Fat Cat, no joke

9/4, 7 PM Free Range Rats with Eric Hipp, tenor saxophone;  John Carlson, trumpet & pocket trumpet;  Shawn McGloin, bass;  George Schuller, drums followed by clever, fiery, eclectic ten-piece Balkan/hip-hop/funk brass maniacs Slavic Soul Party at Barbes

9/4, 8/10;30 PM state-of-the-art jazz bassist Christian McBride & the New Jawn Quartet at the Blue Note, $20 standing room avail

9/4, 8 PM feral bassist Brandon Lopez leads a trio with piano and drums at Roulette, $18 adv tix rec

9/4-8, 8:30 PM saxophonist/composer Michael Blake plays with a variety of ensembles at the Stone at the New School, $20. Choice pick: 9/6 with String Theory: Charlie Burnham (violin) Erik Friedlander (cello) Ryan Blotnick (guitar) Tony Scherr (bass) Jerry Granelli (drums) 

9/4, 9 PM two talented, individualistic guitarslinging women: Mallory Feuer and her fiery power trio the Grasping Straws followed by Balkan jazz player Martina Fiserova at Sidewalk

9/4, 10 PM the Inner City All-Stars – who mash up hot New Orleans brass and psychedelic funk – at Silvana 

9/4, 11:30 PM rising star singer Lucy Yeghiazaryan plays and maybe sings music by Fats Waller at Dizzy’s Club, $5

9/5, 5:30 PM  night four of this year’s amazing Bryant Park Accordion Festival, short sets by musicians scattered across the park lawn to prevent any sonic interference. Lineup includes Laren Droll (Cajun + Zydeco), Laura Vilche (Bandoneón: Argentine Tango), Nain de los M-1 Sangre de Reyes (Norteño Music from Mexico), Patty Furlong (Traditional Irish Music), Cordeone (Portuguese Fado), Ilya Shneyveys (Traditional + Original Klezmer), Eva Salina and Peter Stan (Vintage Balkan Roma Ballads), Mira Stroika (Pop Cabaret), Albert Behar (French Musette + Gypsy Jazz), Alan Morrow (Waltzes, Tango + Blues), Papa Bavarian (German Oktoberfest), and Burlap Don Simons (American Swing)

9/5, 8ish Dervisi feat. guitar god Steve Antonakos play “exotic Greek gangsta blues” and hash-smoking anthems at Troost

9/5, 8 PM klezmer clarinet/mandolin wizard Andy Statman at Barbes, $10

9/5, 8 PM a killer second/third generation Afrobeat twinbill: Super Yamba and Seun Kuti & Egypt 80 at the Poisson Rouge, $20 adv tix rec

9/5, 8:30 PM A Tribute to Americana hellraiser Jimmy C Newman w/ The Foghorn Stringband, Jesse Lege, Joel Savoy, Kelli Jones & Rusty Blake at the Jalopy, $25

9/5, 9 PM Mischief Night – the Grasping Straws’ Mallory Feuer’s menacingly lo-fi guitar-drums duo – at Footlight Bar

9/5, 10 PM awesomely slinky, psychedelic Israeli Ethiopiques groove instrumentalists Anbessa Orchestra at the big room at the Rockwood

9/6, noon latin jazz drum maestro Bobby Sanabria & Quarteto Aché outdoors at Worldwide Plaza, 350 W 50th St.

9/6, 5 PM the eclectic, Balkan/latin/funk brass Underground Horns on Broadway betw 42/43

9/6, 6 PM singer Jessy Carolina’s torchy cabaret band Shanghai Mermaid under the Manhattan Bridge archway, go south from the  York St. subway and follow the sound

9/6, 7 PM indie classical chamber ensemble Unbridled play a world premiere commission by composer Emily Praetorius plus works by Futing and others at Arete Gallery, $15

9/6, 8 PM eclectic groove instrumentalists Kadawa followed at 10 by Quatre Vingt Neuf (French for 89, a revolutionary date in case you weren’t aware) playing New Orleans brass music at Barbes

9/6, 8 PM snarky cabaret/funk/punk band Kid Congo & the Pink Monkey Birds– who are more new wave and less Crampsy than you would think – and grasscore legends Slim Cessna’s Auto Club at Brooklyn Bazaar, $20

9/6, 8 PM irrepressible multi-instrumentalist Joanna Sternberg wearing her front-porch folk guitarist hat, followed by noir soundtrack keyboardist Frank LoCrasto at Union Pool, $12

9/6, 8 PM popular newgrass/Americana road warriors Red Molly at City Winery, $22 standing room avail

9/6, 8 PM legendary drummer/cardiac medicine innovator/African historian Milford Graves with slinky bassist Shahzad Ismaily, plus performances by composer and artist Marina Rosenfeld and improvising vocalist Charmaine Lee at First Unitarian Congregational, 119 Pierrepont St., downtown Brooklyn,  $25/$10 stud/srs, closest train is the 2/3 to Clark St. or any train to Borough Hall

9/6, 8 PM pianist Alessandro Vena plays works by Chopin – Davide Zannoni – Giuseppe Lupis – Franz Liszt – Claude Debussy – Sergei Rachmaninoff at the DiMenna Center, $15/$10 stud/sf=rs

9/6, 8:30 PM kinetic, eclectic, funky parlor jazz violinist Mazz Swift  at Bar Lunatico

9/6, 9 PM wild minor key-loving Russian folk-punks Dobranotch at Drom, $15 adv tix rec

9/6, 9 PM mesmerizing, atmospheric guitarist Rafiq Bhatia & drummer Craig Weinrib at Nublu 151

9/6, 9 PM powerpop with Dave Derby’s Grand Armada, crystalline-voiced noir Americana songwriter Jessie Kilguss  and Dave Foster’s 90s jangle/powerpop band Bubble at Hank’s

9/6, 10 PM the great unsung hero of darkly purposeful, noir-tinged jazz guitar, Saul Rubin leading his Zebtet at the Fat Cat. They’re also here on 9/11 and 9/18 at 7

9/7, 6 PM elegant, lyrical, wildly eclectic oldtimey jazz/New England Americana songwriter Caroline Cotter at the American Folk Art Museum 

9/7, 7 PM Tilt Brass’s allstar trumpet octet play works by Eastman, Vierk, Gibson, McIntyre at the New School’s Stiefel Hall, 4th Floor, 55 W 13th St, $15, stud free

9/7, 8 PM timeless, haunting, playful octogenarian Armenian jazz sage and multi-reedman Souren Baronian’s Taksim at Barbes

9/7, 8 PM wryly lyrical Nashville gothic and Americana rock with Maynard & the Musties and Aron Blue at the Way Station

9/7, 8ish exotic vibraphone-driven surf band the Vibro-jets at Troost

9/7, 8 PM hauntingly cinematic pianist/composer Kelly Moran plays new work at Roulette, $18 adv tix rec

9/7, 9 PM eclectic, electric C&W/blues band the Jug Addicts at Bar Chord

9/7, 10:30 PM kinetically hypnotic postpunk band Mattson 2 at Rough Trade, $17 adv tix rec

9/7, 11:30 PM sax/keyboard duo Eva & Marie play klezmer, French chanson and other diverse styles at Freddy’s 

9/8, 4 PM purist CBs style female-fronted punks the Carvels NYC at Tompkins Square Park

9/8, 7 PM pianist Jose Menor plays the music of Spanish composer Hèctor Parra at Spectrum, $15. He’s also here on the 9th at 3 with a more varied program, and on 9/22 at 8 playing Messiaen’s Vingt Regards Sur L’enfant Jesus.

9/8, 7 PM night one of this year’s Dissident Arts Festival is a Weimar-inspired “Cabaret of Dissent” to benefit the Rosenberg Fund for Children, a non-profit public foundation which aids children of targeted progressive activists. On the bill: speaker Jenn Meeropol, granddaughter of Julius and Ethel Rosenberg and director of the Rosenberg Fund; jazz singer Judi Silvano; pianist Chris Forbes playing “Harmolodic Weill”; liberation jazz and spoken word by the Red Microphone; bassist/poet Larry Roland debuts his new all-star band They Come With Gold, and politically-charged jazz/soul songwriter Lindsey Wilson & the Human Hearts at 17 Frost Theatre and Gallery, 17 Frost St, Williamsburg, $15 `

9/8, 7 PM Bahamian trumpeter Giveton Gelin and his quintet followed by fellow horn powerhouse Jeremy Pelt leading a mighty octet and plahing a Rodin-inspired program at the New School’s Stiefel Hall, 4th Floor, 55 W 13th St, $15, stud free

9/8, 7:30 PM the Knox Trio play works for flute, cello and piano including George Crumb’s Vox Balaenae (Voice of the Whale), Matthew Burtner’s atmospheric Snowprints and two 2018 world premieres (Victoria Romano, Ernest Ling) at Arete Gallery, $15/$10 stud

9/8, 8 PM legendarily eclectic surf band the Tiki Brothers at Arlene’s $10

9/8, 8 PM jazz harpist Pia Salvia leads a quintet at the Cell Theatre, $15

9/8, 8 PM dark cabaret legend  Sanda Weigl sings Brecht/Weill with Lucian Ban, piano & Mat Maneri, viola followed at 10 by Pangari & the Socialites playing classic ska and rocksteady – most of it from the 60s Skatalites catalog – at Barbes

9/8, 8 PM Savak – who rehash Wire as well as anybody else ever has – at the Bell House, free

9/8, $10 before 9 PM, bizarrely fun dubwise accordion-and-brass stoner funksters TM Street Band followed bye xplosive, creepy, colorfully psychedelic rembetiko metal band Greek Judas at Rubulad, plus projections, fortune tellers, fire twirlers probably, the works – email for Bushwick address/info 

9/8, 9 PM the intoxicatingly clattering, sintir bass lute fueled Moroccan trance grooves of Innov Gnawa at the Owl

9/8, 10 PM oldschool soul ballads with singer Camille Atkisson’s Empire Beats at the Way Station

9/8, 10 PM fiery electric bluegrass and C&W with Demolition String Band at Skinny Dennis

 9/8, 10 PM smartly eclectic singer and vivid original jazz songwriter Allegra Levy plays the album release show for her new lunar-themed record at the third stage at the Rockwood, $10

9/9, 2 PM unpredictably brilliant violinist Concetta Abbate plus a chamber ensemble for a killer program of her own work plus material by women composers Missy Mazzoli, Whitney George, Anna Bon and Kate Amrine at the Park Church Coop at 129 Russell St. in Greenpoint. No G train this weekend, so take the L to Bedford and walk about 10 mins., $10 and includes munchies

9/9, 3 PM koto visionary Yumi Kurosawa at the Noguchi Museum, 9-01 33rd Rd,, Long Island City,  N to Broadway and about a 15-block walk, free w/museum adm

9/9, 5 PM irrepressibly charismatic oldtimey trombonist/uke player J. Walter Hawkes and band followed by Fuck You Tammy playing amazingly spot-on recreations of themes from Twin Peaks and David Lynch films at LIC Bar

9/9, 7 PM darkly brilliant, psychedelic Klezmatics multi-reedman Matt Darriau’s Paradox Trio followed at 9:30ish by Romany jazz/psychedelic rock guitar mastermind Stephane Wrembel at Barbes. The twinbill repeats here on 9/30

9/9, 7 PM  dueling bass and treble clarinets: Josh Sinton and Guillermo Gregorio at Downtown Music Gallery

9/9, 10:30 PM Dreamdecay – who do as decently noisy a ripoff of late 70s PiL as well as anybody – at Brooklyn Bazaar, $10 adv tix avail at the Poisson Rouge box ofc 

9/9, 10:30 PM catchy Booker T-esque soul jazz with trombonist David Gibson and his quintet at Smalls

9/10, 7 PM rustic, acerbic front-porch folk singer Jo Williamson at LIC Bar

9/10, 7 PM tuneful postbop pianist Jim Ridl leads leads a great quartet with Terrell Stafford on trumpet at 55 Bar

9/10, 7:30 PM the 12-piece, Eddie Palmieri-influenced Zaccai Curtis Orkesta at Dizzy’s Club, $35 but could be worth it

9/10, 8:30 PM bassist Jeom Lin Yang leads a killer trio with Oscar Noriega on alto, Jacob Sacks on piano and Gerald Cleaver on drums at Bar Lunatico

9/10, 9:30ish the NYC Gaita Club – a Bulla en el Barrio spinoff – play rustically pounding Afro-Colombian trance-dance music at Barbes

9/11, 7 PM accordion genius Shoko Nagai ’s haunting Tokala Silk Road/klezmer mashup project  followed byclever, fiery, eclectic ten-piece Balkan/hip-hop/funk brass maniacs Slavic Soul Party  at 9 PM at Barbes

9/11, 7 PM Mark Peskanov, violin; David Bottoms, piano; Rita Sloan, piano;play works by Bach, Barber, Beethoven, Brahms, Bottoms, Chopin and Coplandat Bargemusic, free, get there early

9/11, 7 PM a roundtable discussion to open the National Jazz Museum in Harlem’s new Machito and Mario Bauza exhibit plus a performance by Cuban pianist Emilio Morales, sug don 

9/11, 7:30 PM night one of this year’s Resonant Bodies Festival of avant garde vocals features Thingny’s Paul Pinto, the operatic Helga Davis and indie classical singer Lucy Dhegrae at Roulette, $20 adv tix rec

9/11, 7:30 PM incendiary, fearlessly political Vietnamese chanteuse/freedom fighter Mai Khoi and the Dissidents plus poet Paul Tran, winner of the Nuyorican Poets Cafe Grand Slam at National Sawdust, $30 adv tix req

9/11, 8 PM guy/girl duo Yael & Gabriel sing intimate versions of Edith Piaf classics at Highline Ballroom, $15 adv tix rec

9/11, 8 PM inscrutable, tropically-tinged psychedelic singer/bandleader Renata Zeigeur at Union Pool, $12

9/11, 8 PM oldschool-styhle Cuban mambo jazz with Orquesta Akokán  at the Poisson Rouge, $20 adv tix rec

9/11, 8 PM Jesse Neuman leads a three-trumpet frontline with Ingrid Jensen and Nadje Nordhuis with Jeff Davis on drums – wow – followed at 10 by Westerlies trumpeter Riley Mulherkar with guitarist Rafiq Bhatia and pianist Chris Pattishall at the upstairs room at Threes Brewing, 333 Douglass St, Gowanus, $10

9/11-15, 8:30 PM adventurously lyrical pianist Matt Mitchell plays with a variety of ensembles at the Stone at the New School, $20. Choice pick: the 9/12 show with Miranda Cuckson (violin) Mariel Roberts (cello)

9/11, 8:30 PM hard-charging oldschool soul/funk/rock singer Bette Smith and band at Bar Lunatico 

9/11, 9 PM wickedly torchy noir songwriter Julia Haltigan and her killer band at 11th St Bar

9/11, 10 PM eclectically tuneful, spectacularly fast, Leo Kottke-esque acoustic guitar instrumentals with Dougmore at the third stage at the Rockwood, $10

9/11, 10 PM terse purist postbop trumpeter Alex Sipiagin leads a quiintet at 55 Bar

9/11, 9:30 PM the Bronx Conexion play their mighty salsa big band jazz at the Nuyorican Poets Cafe

9/12, 1 PM violist Jordan Bak and ensemble play works by Piazzolla, Telemann and Brahms at the Greene Space, free, res req 

9/12, 5:30 PM night five of this year’s amazing Bryant Park Accordion Festival, short sets by musicians scattered across the park lawn to prevent any sonic interference. Lineup includes Julie Winterbottom (Cajun Music from Louisiana), Javier Sánchez (Bandoneón: Argentine Tango), Sadys Rodrigo Espitia (Colombian Cumbia + Vallenato), Ellen Lindstrom “The Swedish Meatball” (Scandinavian Music), Vitor Gonçalves (Brazilian Choro + Forró), Shoko Nagai (Japanese + Jewish), Maestro (Electronic Balkan Music), Papa Joe De Clemente (Italian + American Standards), Will Holshouser (Jazz + Folk), Ismail Butera (Ancient Mediterranean), Ryan O’Donnell + Friends (Ukrainian), and Guillermo Vaisman (Coastal Argentine Chamamé).

9/12, 6 PM oudist Tom Chess with tabla player Roshni Samlal at the  Rubin Museum of Art, free w/museum adm

9/12, 6:30 PM the Circle Wind Chamber Orchestra with Spanish choir Escolonia de Tomares plus taiko drummers play in memory of Fukushima and 3/11 with works by Bach, Bernstein, Saburo Takta and others at Merkin Concert Hall, $10

9/12, 7:30 PM night two of this year’s Resonant Bodies Festival of avant garde vocals features hauntingly atmospheric pan-Asian chanteuse/composer Jen Shyu, star indie classical composer/singer Caroline Shaw and flutist/singer Nathalie Joachim at Roulette, $20 adv tix rec

9/12, 7 PM pianist Katie Reimer’s reliably adventurous Mimesis Ensemble play an immigration and displacement-themed program of works including Dave Schnackenberg’s Lakota setting of the Lord’s Prayer, a Moses Hogan arrangement of the African American Spiritual, Sometimes I Feel Like a Motherless Child, excerpts from Huang Ruo’s opera, An American Soldier, Dvořák’s String Quartet No. 12 in F Major, Op. 96 “American,” Astor Piazzolla’s Oblivion, excerpts from Edith Alomar and Jorge Lockward’s cantata Manos Indocumentadas, and Kinan Azmeh’s The Fence, The Rooftop, and The Distant Sea, at Weill Hall at Carnegie Hall, $25/$12 stud/srs

9/12, 7:30/9:30 carnatic string power couple Trina Basu and Arun Ramamurthy lead their amazing Indian/jazz string band Nakshatra with cellist Marika Hughes and bassist Rashaan Carter at the Jazz Gallery, $25

9/12, 8 PM trumpet-drums duo Anteloper – Jaimie Branch and Jason Nazary  – followed by Branch’s aptly named twelve-piece Wing Walker Orchestra at Threes Brewing, 333 Douglass St, Gowanus, $10

9/12, 10 PM rising star trumpeter Adam O’Farrill‘s Stranger Days Quartet at 55 Bar

9/13, 5 PM charmingly torchy vocal trio the Ladybugs – who put a twistedly original spin on old Disney movie themes –  on Broadway betw 42/43

9/13, 7 PM lyrical, spectacular organist Renée Anne Louprette plays the 1868 Henry Erben organ in the loft at the Basilica of St. Patrick’s Old Cathedral, 260 Mulberry St. 

9/13, 7 PM bassist Michael Formanek’s Very Practical Trio with Tim Berne on sax and Mary Halvorson on guitar followed by Patricia Brennan solo on vibraphone at Spectrum, $15

9/13, 7:30 PM night three of this year’s Resonant Bodies Festival of avant garde vocals features opera fugitive Sarah Maria Sun backed by International Contemporary Ensemble, irrepressible downtown NYC stalwart Pamela Z and the amazingly mutable Gelsey Bell at Roulette, $20 adv tix rec

9/13, 7:30 PM fiery Guatemalan freedom fighter and cumbia/reggae/Spanish rock bandleader Doctor Nativo at the Lincoln Center Atrium, free, early arrival advised

9/13, 7:30 PM furiously political, funny reggae/hip-hop band Tropidelic at South House in Jersey City, free 

9/13-16, 7:30/9:30 PM timeless bassist Rufus Reid leads a quartet with Yosvany Terry on alto at the Jazz Standard, $30

9/13, 8 PM plush, balmy, oldtimey uke swing band Daria Grace & the Pre-War Ponies at Barbes

9/13, 8 PM slinky, brassy, retro 60s latin soul group Alba & the Mighty Lions plus soul bandleader Ben Pirani playing the album release show for his similarly purist, wickedly catchy classic-style soul debut album at C’Mon Everybody, $10

9/13, 8:30 PM the world’s creepiest crime jazz/film noir band, Big Lazy at Bar Lunatico.  at Bar Lunatico

9/13-14, 9 PM ferociously tuneful tenor saxophonist/composer Donny McCaslin and band at Rough Trade, $25 gen adm

9/13, 9ish singer Dida Pelled salutes obscure and cult favorite women songwriters including Connie Converse, Elizabeth Cotten, Molly Drake, Vashti Bunyan and Norma Tanega  at the Owl

9/13, 10 PM Okkervil River at the Music Hall of Williamsburg, $25 gen adm. Lazy beardos or woozily fun post-Americana? you decide.

9/14, 4 PM Afro-Dominican dance sounds with Yasser Tejeda & Palotré at Ruppert Park, Second Ave. at 90 St.

9/14, 5 PM the grand finale of this year’s amazing Bryant Park Accordion Festival with full sets by Shashmaqam (hauntin Bukharan Jewish music and and Central Asian dance), João Cirilo Pilom Batuko Band (Batuko and Funaná from Cape Verde), a lame Patti Smith wannabe on harmonium, Canzoniere Grecanico Salentino (sizzling Pugliese folk dances), and Rimel (Norteño music from Mexico).

9/14. 6 PM crystalline-voiced, noir-tinged third-stream jazz chanteuse Tessa Souter and her band at 55 Bar

9/14, 7 PM the Bobby Sanabria Multiverse Big Band play their new reinventions of Leonad Bernstein West Side Story themes at Marcus Garvey Park

9/14-15, 7:30 PM terse, purposeful rising star postbop saxophonist Melissa Aldana leads a quartet at Smalls

9/14-15, 7.9:30 PM bluegrass national champions the Mark O’Connor Family Band with gospel singer Lizz Wright and guitarist Alvin Youngblood Hart at the Allen Room at Jazz at Lincoln Center, $22 tix avail

9/14, 7:30 PM the Mannes Orchestra play Brahms’s Tragic Overture and Beethoven’s Symphony No. 3 “Eroica” at the New School’s Tishman Auditorium, University Center, 63 Fifth Avenue, Room U100, free

9/14, 8 PM twisted, carnivalesque acoustic steampunk duo the Wedding Funeral and creepy noir chamber pop/murder ballad duo Charming Disaster at Bobby Dee’s, 49 Beacon Ave, Jersey City, about a 20 minute walk from the Journal Sq. Path station, $10 

9/14, 8 PM Penelope Houston‘s legendary, still-relevant first-wave punk band the Avengers at El Cortez, $20

9/14, 8 PM eclectic, electric C&W/blues band the Jug Addicts followed at 10 by accordionist/sitarist Kamala Sankaram’s hot surfy Bollywood/cumbia/psychedelic rock project Bombay Rickey at Barbes

9/14, 8 PM lavish but feral Peruvian brass music with La Patronal at Flushing Town Hall

9/14, 8ish the City & Horses – who mix ethereal goth-tinged ballads, funky new wave and janglepop, and need a new singer – at Gold Sounds, $8

9/14, 8 PM Glass Farm Ensemble play works by Denis Schuler, Rico Gubler, and two Adagios: by Alban Berg and Stefano Gervasoni at Scholes St. Studio, $10

9/14, 8 PM recently revitalized, careening ten-piece Balkan brass crew Veveritse at Silvana

9/14, 9:30 PM eclectic, Balkan/latin/funk brass band the Underground Horns celebrate 10 years in business at Drom, $10 adv tix rec

9/15, 1 PM the Inner Mongolia Performing Arts Troupe at Flushing Town Hall, $10. Followed at 3 (separate $10 adm) by a killer twinbill withbassist Mark Wade leads his lyrical, cinematic piano trio plus the even more cinematic Yui Kitamura

9/15, 3:30 PM  the World Premiere of Neil Padukone’s surreal, colorful Indian/Puerto Rican mashup Salsa Masala: A Jackson Heights Block Party outdoors at 82nd St. and Roosevelt Ave in Elmhurst, 7 to Roosevelt Ave and about a 5 minute walk

9/15, 4 PM the Erik Satie Quartet – Ron Hay (trombone), Max Seigel (bass trombone), Ben Holmes (trumpet), and Andrew Hadro (bari sax) –reinvent classic and obscure Satie chamber pieces as well as rare compositions by his obscure contemporaries, followed at 6 by  the Toomai String Quintet playing “a range of Cuban styles, paying homage to the great artistic lineage of Ernesto Lecuona, Israel “Cachao” Lopez, Beny Moré, and Celia Cruz,” then at 8 byeclectic, lyrical jazz bassist/composer Pedro Giraudo leading his Tango Quartet and at 10 by Super Yamba playing their bracingly psychedelic Afrobeat jams at Barbes

9/15, 6 PM dark, intense, psychedelic guitarist/songwriter Anna Coogan at the small room at the Rockwood

9/15, 7 PM killer multi-generaitional punk triplebill: ferocious Spanish-language punks Escasos Recursos, similarly political, smart political hardcore band All Torn Up and first-wave punk-reggae band the Subhumans at the Knitting Factory, $20

9/15, 7:15ish dark psychedelic acoustic blues/klezmer/reggae/soca jamband Hazmat Modine at Terra Blues. They’re also here on 9/29

9/15, 7 PM night two of this year’s Dissident Arts Festival, a benefit for the Alliance of Families for Justice and the NYC Jericho Movement, who advocate for the unjustly incarcerated and call for urgent prison reform. The evening opens with a solo performance by drummer William Hooker, followed by pianist/composer Trudy Silver, reedman Ras Moshe’s Music Now!, the Flames of Discontent duo of Festival director John Pietaro and Laurie Towers and Balkan jazz guitarist Martina Fiserova at 5C Café & Cultural Center, E. 5 Street/ Ave C, $15 

9/15, 8 PM popular, anthemic dark folk/chamber pop songwriter Agnes Obel at Warsaw, $20

9/15, 8 PM organist Jan Michalko kicks off Barnard’s academic year with works bySlovak composers Ilja Zeljenka and L’udovít Rajter at James Chapel, Union Theological Seminary, 3041 Broadway at 122nd St., free

9/15, 8 PM haunting flamenco/Sicilian folk chanteuse Julia Patinella, eclectic, tuneful accordionist/songwriter Ali Dineen &the amazing Miriam Elhajli – who switches effortlessly from Venezuelan-influenced folk to classic Appalachian sounds at the People’s Voice Cafe, sugg don, $20, “more if you choose; less if you can’t; no one turned away.” The trio are also at the Owl at 8 on 9/27

9/15, 8 PM American Primitive guitar pioneer Don Bikoff solo plus Two Mule Team – guitarist Sue Garner and 75 Dollar Bill drummer Rick Brown with no wave guitar legend Willie Klein of Escape by Ostrich – at Wonders of Nature, $10

9/15, 8:30 PM exhilarating, edgy, sardonic alto saxophonist Elijah Shiffer leads a similarly colorful ensemble at Freddy’s

9/15, 8:30 PM wryly tuneful, purist Americana/C&W band Grain Thief at the third stage at the Rockwood, $10

9/15, 9ish catchy, edgy, darkly kinetic female-fronted Romany-tinged rock band the Trouble with Kittens at the Cobra Club, $tab

9/15, 9 PM ominously jangly Laurel Canyon psychedelic band the Mystic Braves at Rough Trade, $15 gen adm

9/15, 9 PM guitarist Luke Schwartz‘s Quiet City Ensemble and string adventurers Cory Bracken, Mariel Roberts, Sarah Dutcher at Arete Gallery, $10

9/16, 3 PM pianist Clare Longendyke plays work by Ravel, Vivian Fung and Amy Williams at Spectrum, $15

9/16, 3 PM harpist Melanie Genin leads a trio playing works by Debussy, Sebastian Currier and Saad Haddad at Concerts on the Slope, St. John’s Episcopal Church, 139 St. John’s Place downhill from 7th Ave, sugg don

9/16, 4 PM irrepressibly eclectic organist Christopher Houlihan plays works by Bach, Vierne, Howells and others at the Cathedral Basilica of the Sacred Heart, 89 Ridge Street, Newark, $15 sug don

9/16, 7 PM intense frontwoman Hannah Fairchild’s searingly lyrical punk/art-rock/noir cabaret group Hannah vs. the Many – NYC’s best power trio –at the small room at the Rockwood. This sedate little spot will never know what hit them.

9/16, 7 PM innovative, tuneful Indian-influenced drone-raga band Arranged Marriage NP followed at 9:30ish by Romany jazz/psychedelic rock guitar mastermind Stephane Wrembel at Barbes

9/16, 7 PM feral Italian tarantella string band Canzoniere Grecanico Salentino at Joe’s Pub, $20

9/16, 7:30 PM  erudite, purist torchy cosmopolitan jazz chanteuse Svetlana Shmulyian at Minton’s with saxophonist Chris McBride’s group

9/16, 8 PM jazz flutist Jamie Baum and her Septet play the album release show for their new one, Bridges at Roulette, $18 adv tix rec

9/16, 8 PM haunting, gothic doom trio Witchkiss, riff-driven Shadow Witch and doomy fuzztone stoners Destroyer of Light at Lucky 13 Saloon  

9/17, 9 PM darkly captivating Canadian singer Terra Lightfoot and band at the Knitting Factory, $12 adv tix rec

9/16, 9 PM edgy chamber jazz singer Becca Stevens and perennial post-jazz (is that a genre?) faves Kneebody at the Poisson Rouge, $18 adv tix rec

9/17, 7:30 PM the Jasper Quartet play works by Beethoven, Mendelssohn, Caroline Shaw and Missy Mazzoli at Music Mondays, Advent Church, northwest corner of 93rd and Broadway, free

9/17, 8 PM astonishingly prolific and acerbic guitarist Mary​ ​Halvorson does marathon duty in a twinbill with Bill Frisell and then with Robbie Lee at the Poisson Rouge, $20 adv tix rec

9/17, 9:30 PM Parrada Vallenata with brilliant Venezuelan Harold Rodriguez on accordion/lead vocals, Nes Gomez on caja/vocals, Sebastian Lopez on bass/vocals and JP Gomez on guacharaca/vocals at Barbes

9/17, 8 PM Red Desert play works by Lucier, Wolff, Oliveros, plus singer Charmaine Lee and Ben Bennett at the Fridman Gallery, $20

9/17, 11 PM pensive reedman Arnan Raz with his quintet at the small room at the Rockwood

9/18, 7 PM violinist Sabina Torosjan, clarinetist Thomas Piercy, and pianist Marija Ilic play works by Ivan Božičević, Gilbert Galindo, Katherine Hoover, Frances White, and Chinese composer Mao Zhu at Arete Gallery, $15

 9/18, 7:30 PM haunting, cinematic, Middle Eastern-inspired bass clarinetist Todd Marcus leads a quintet with guitarist Paul Bollenback, pianist Bruce Barth, bassist Kris Funn, and drummer Eric Kennedy at Dizzy’s Club, $30

9/18, 9 PM singer Duckie Simpson’s version of roots reggae legends Black Uhuru at Highline Ballroom, $25 adv tix recs

9/18, 10:30 PM brilliant drummer/percussionist Willie Martinez & La Familia Sextet play classic salsa grooves at the Nuyorican Poets Cafe, $10

9/19, 2 PM flutist Jiro Yoshioka and pianist Sakuya Okayasu play a 9/11 memorial concert with works by Debussy, Faure, Boulanger and others at Weill Hall at Carnegie Hall, free tix avail at the box ofc

9/19, 6 PM sitarist K.G. West with percussionists Mir Naqibul Islam, and Amanda Welch at the Rubin Museum of Art, free w/museum adm

9/19, 7:30/9:30 PM violist Melanie Dyer’s WeFreeStrings perform “original works and arrangements that embody the ethos of free jazz and the Afro-Atlantic music lexicon” at the Jazz Gallery, $15

9/19, 7:30 PM the High Zero anniversary concerts at Roulette commemorate a legendary/obscure Baltimore improvisational music spot with a 24-piece cast including Lea Bertucci (bass clarinet, alto sax, electronics), Amritha Kidambi (voice), Ikue Mori (electronics) and many, many others, $18 adv tix rec

9/19, 8 PM a good Americana songstress twinbill: the more hardcore countryish Michaela Anne followed by Courtney Marie Andrews at Rough Trade, $15 gen adm

9/19, 8/9:30 PM a rare duo with Sam Newsome on soprano sax with Angelica Sanchez on piano at Mezzrow, $20

9/19, 8 PM crystalline-voiced noir Americana songwriter Jessie Kilguss  hosts the latest edition of the Bushwick Book Club celebrating a minor 80s pop autobio with performers also including Charlie Nieland of Lusterlit and Jim Andralis at Barbes

9/19, 10 PM Rainer Maria bassist and lustrous dreampop singer Caithlin de Marrais at the Mercury, $10 adv tix rec

9/20, 5 PM purist trumpeter Drew Anderson leads his quartet on Broadway betw 42/43

9/20, 7 PM fiery jazz violinist/composer Zach Brock leads a rare trio date at 55 Bar

9/20, 7:30 a panel discussion on the devastation of gentrification featuring Vanishing New York’s Jeremiah Moss, plus Ensemble Connect play music by Julius Eastman, Tui St. George Tucker and others at the Lincoln Center Atrium, free, early arrival advised

9/20, 7:30 PM a lecture-recital by pianist Reed Tetzloff on Charles Ives and his Concord Sonatas at Stiefel Concert Hall, Arnold Hall, 55 West 13th St at the New School, free

9/20, 8 PM folk metal band Tengger Cavalry reinvent Mongolian themes at Weill Hall at Carnegie Hall, $30 tix avail. You read that right: folk metal.

9/20, 8 PM wild female-fronted Russian turbo-folk jammers Romashka at Drom, $15 adv tix rec

9/20, 8 PM playfully Lynchian, cinematic keyboardist Frank LoCrasto and Fort Gorgeous at C’Mon Everybody, $10

9/20, 8 PM deviously theatrical oldschool C&W/rockabilly parodists Susquehanna Industrial Tool & Die Co at Mable’s Smokehouse, 44 Berry St at N 11th St in Williamsburg. They’re also at Otto’s at 8 on 9/27

9/20, 8 PM the Orpheus Chamber Orchestra reinvent music by Chopin, Part and Tschaikovsky at Stern auditorium at Carnegie Hall, $25 tix avail

 9/20, 8 PM lustrously dark jazz pianist Guy Mintus leads his trio with the breathtakingly powerful Roopa Mahadevan on guest vocals at the Owl

9/20, 8 PM singer Ka Baird, multimedia artist Tamar Ettun and koto adventurer Miya Masaoka at the Fridman Gallery, $20

9/20, 10 PM Slavic Soul Party spinoff the Mountain Lions, who play hypnotic Turkish zurla music on saxes and drums, at Barbes

9/20 Red Baraat guitarist Jonathan Goldberger, Hearing Things organist JP Schlegelmilch and Alasnoaxis drummer Jim Black bought a vintage Yamaha organ and play the release show for their killer, psychedelic new trio album Visitors at Nublu 151

9/21, 7 PM sardonically lyrical chamber pop/pastoral jazz songwriter David Poe at the third stage at the Rockwood, $15

9/21, 7:30 PM trumpeter Charlie Sepulveda & the Turnaround play salsa dura at the Lincoln Center Atrium, free, early arrival advised

9/21-22, 7:30/9:30 PM edgy vibraphonist Joel Ross with Maria Grand – sax; Kanoa Mendenhall – bass; Jeremy Dutton – drums at the Jazz Gallery, $25

9/21, 8 PM sizzling oudist Mohamed Abozekry and Karade play haunting, serpentine Egyptian music from across the centuries at Roulette, $25/$20 stud/srs

9/21, 8 PM bassist Danton Boller leads a trio; drummer Jim Black, cellist Hank Roberts & saxophonist Elias Stemeseder jam at the Owl

9/21, 8 PM thunderous Brazilian drum ensembles MaracatuNY, BatalaNYC and slinky maracatu/New Orleans/surf rock mashups from Nation Beat at SOB’s, $20

9/21, 8 PM edgy, eclectic pan-Mediterranean art-rock/latin/chanson ensemble Banda Magda at Flushing Town Hall, $16/$10 srs/teens free

9/21, 8 PM rustic Brazilian jungle guitar-and-accordion sounds with Regional de NY followed at 10 by hard-hitting, brass-fueled newschool latin soul/boogaloo dance band Spanglish Fly at Barbes

9/21, 8:30 PM torchy singer Jennifer Charles’ and guitar mastermind Oren Bloedow’s long-running art-rock/noir band Elysian Fields play the album release show for their new one at Nublu 151, $15 adv tix avail at the Poisson Rouge box ofc

9/21, 8:30 PM haunting French-Tunisian saxophonist Yacine Boulares’ Ayojo at Bar Lunatico

9/21, 10 PM Revolutionary Council play Afrobeat at Shrine

9/21, 10:30 PM Camille Thurman – a double threat as nuanced singer and intense tenor saxophonist – and her group at the Fat Cat. Who knew

9/21, 10:30 PM a rare full-band show by elegant, sharply lyrical parlor pop stylist Heather Eatman at Freddy’s

9/21, 11 PM the darkly eclectic, enigmatic Lorraine Leckie  – equally adept at Slavic and Americana noir – at Sidewalk

9/22, 2 PM this year’s edition of the Brooklyn Americana Festival opens with preteen string band sensation Nora Brown, at 2:30 Sabine McCalla; 3:00 PM Giri and Uma Peters; 3:30 PM the mighty M Shanghai String Band; 4:30 PM Clarence Bucaro; 5:00 PM irrepressibly fun blues/swing pals Mamie Minch and Tamar Korn; 6:00 PM two thirds of the Be Good Tanuas Jolie Holland and Samantha Parton and at 7:00 PM City Billies at Pier 3 Plaza in Brooklyn Bridge Park

9/22, 6 PM Toomai String Quintet play all kinds of adventurous, global classical repertoire followed at 8 by boisterously funny oldschool 60s C&W and brooding southwestern gothic with the Jack Grace Band  – not as ridiculous as segue as it might seem since they all have a thing for latin music – and then at 10 by catchy, slinky, psychedelic tropicalia and cumbia band Yotoco at Barbes

9/22, 7 PM pianist Elizabeth A. Baker plays the album release show for her new one Quadrivium: “minimalist solo piano compositions, avant garde prepared piano improvisations, meditative tracks, spoken word, and electronics” at Arete Gallery, $15

9/22, 7 PM torchy German cabaret chanteuse Katharine Mehrling sings rare Piaf and Weimar songs at Joe’s Pub, $20 

9/22, 7 PM Darash, from Granada, Spain, play Andalucian, Middle Eastern and Mediterranean sounds at Silvana 

9/22, 7:30 PM Indian carnatic crooner Sanjoy Banerjee backed by tabla and harmonium at Chhandayan Center For Indian Music, $20

9/22, 7:30 PM two-piano team Allison Brewster Franzetti and Carlos Franzetti play a program TBA at the Lounge at Hudson View Gardens, 128 Pinehurst Ave @ W 183rd St, A train or #1 train (to 181st St) or the M4 bus (to 183rd St), $15/$12 stud/srs

9/22, 8 PM eclectic Americana guitarist/singer Kirsten Maxwell at the People’s Voice Cafe, sugg don, $20, “more if you choose; less if you can’t; no one turned away” 

9/22, 8:30 PMslinky psychedelic Americana rockers American String Conspiracy  acoustic followed by hard honkytonk with Sarah Durning at Freddy’s

9/22, 8 PM musique concrete composer MV Carbon, mesmerizing sound sculptor/singer Lesley Flanigan  and Michael Schumacher at the Fridman Gallery, $20

9/23, 2 PM this year’s edition of the Brooklyn Americana Festival continues with Rosetta and Evelyn followed by short sets: 2:30 PM noir Americana with accordion from Ali Dineen and Feral Foster; 3:00 PM all-female Americana allstars the Maybelles; 4:00 PM bluesman Will Scott w/ Charlie Burnham; 5:00 PM Jefferson Hamer; 6:00 PM The Wild Goats; 7:00 PM sophisticated soul/Americana band the Woes at Pier 3 Plaza in Brooklyn Bridge Park

9/23, 2 PM intense, lyrical, politically fearless tenor saxophonist Roxy Coss leads her quintet at Flushing Town Hall, $5

9/23, 5 PM Musica Viva NY​ ​kicks off its 2018-19 season with romantic lieder by Brahms, Schumann, and P.D.Q. Bach – uh huh -​ at All Souls Church​, 1157 Lexington Ave (at 80th St) feat. soprano Devony Smith, mezzo-soprano Michèle Eaton, tenor Nathan Siler, and baritone Brian Mextorf, accompanied by Artistic Director Alejandro Hernandez-Valdez and Trent Johnson, free

9/23, 7 PM hauntingly lyrical art-rock songwriter/multi-instrumentalist Joanna Wallfisch at the third stage at the Rockwood, $10

9/23, 7 PM brilliant steel guitarist and Thelonious Monk reinventor Mike Neer and quartet followed at 9:30ish by Romany jazz/psychedelic rock guitar mastermind Stephane Wrembel at Barbes

9/23-29, 8 PMish amazing microtonal Afrobeat guitar band 75 Dollar Bill plays a week at Troost with a ton of cool special guests. Choice picks: 9/25 they’re joined by Yo La Tengo’s Ira Kaplan; 9/26 their hypnotic microtonal guitarist Che Chen opens with a solo set followed by no wavers Two Mule Team; 9/28 they open the night followed by singer Carolina Oliveros’ mighty 13-piece Afro-Colombian trance/dance choir Bulla en el Barrio; 9/29 bass goddess Felice Rosser’s ageless reggae-rock-groove band Faith open the night

9/23, 10:30 PM noir-inspired alto saxophonist/composer Nick Hempton leads leads a quartet at Smalls 

9/24, 7:30/9:30 PM erudite, reliably tuneful postbop pianist Orrin Evans leads the mighty, purist, bluesily tuneful Captain Black Big Band at Dizzy’s Club, $35

9/24, 7 PM a rare NYC appearance by dark Norwegian bassist SIgurd Hole: a solo set followed by a trio show with Mark Feldman – violin; Jarle Vespestad – drums at Shapeshifter Lab, $15

9/24, 8 PM pianist Jasna Popovic leads a seventeen-piece ensemble (including Indian soul singer Shilpa Ananth) playing 700 years’ worth of Serbian music at Weill Hall at Carnegie Hall, $35 tix avail.

9/24, 8:30 PM brilliant multi-reedman Peter Hess leads a rare trio date with Matt Moran on vibes and Jeff Davis on drums at Bar Lunatico

9/25, 7 PM unstoppably edgy, deservedly iconic, witty downtown guitarist Marc Ribot leads his fearless Songs of Resistance protest jazz project at the National Jazz Museum in Harlem, sug son

9/25, 7:30 PM flamenco singer Barbara Martinez and band at Drom, $10 adv tix rec

9/25, 7:30 PM if there’s any night this year to make a whole evening of jazz, this is it: fiery alto saxophonist Lucas Pino’s twin-guitar No No Nonet followed by this era’s most intensely powerful tenor saxophonist/composer, JD Allen leading his group at Smalls

9/25, 7:30 PM pianists Huan Li and Zhu Wang play a program TBA at Paul Hall at Juilliard, free

9/25, 8 PM unpredictably fun, funny psychedelic art-rock band the Academy Blues Project at Shrine

9/25, 8 PM Moroccan electro dude Hatim Belyamani, Russian Romany multimedia artist Valentina Kvasova and Vitche Boul-Ra at the Fridman Gallery, $20

9/25, 8 PMr oaring 20s hot jazz with Sweet Megg & the Wayfarers at Radegast Hall

9/25, 8:30 PM impressively diverse, adventurous latin jazz pianist Aruan Ortiz at Bar Lunatico

9/25-29, 8:30 PM thereminist Pamelia Stickney  plays with a variety of ensembles at the Stone at the New School, $20. Choice pick: the 9/29 show by Transcendental Dissonance Quartet doing a  “Soundtrack to a Silent Film” with Sarah Bernstein (violin) Stuart Popejoy (piano, keys) Danny Tunick (vibraphone)

9/25, 9 PM wryly psychedelic cinematic Italophile instrumentalists Tredici Bacci  play the album release show for their new one at Elsewhere, $12

9/25, 9:30 PM hypnotic, pulsing, sousaphone-driven Guadelupian/New Orleans band Delgres at Joe’s Pub, $20

9/25, 11:30 River Cult play their ferocious, feral, cinematically psychedelic doom metal/postrock at St. Vitus, $10

9/26, 7 PM fascinatingly lyrical, individualistic pianist Sylvie Courvoisier at National Sawdust, $25

9/26, 7:30 PM pianist Niklas Sivelov plays  music by Bach, Beethoven, Scriabin and Bartok at Flushing Town Hall, free

9/26, 7:30 PM an allstar Taiwanese/Japanese orchestra play works by composers from their respective countries plus Chausson’s Concert for Violin, Piano, and String Quartet at Merkin Concert Hall, $20 tix avail

9/26, 8 PM fiery, noirish Canadian Balkan/Romany band Lemon Bucket Orkestra at Drom, , $15 adv tix rec

9/26, 8 PM Junkbucket – an unorthodox allstar organ trio featuring Art Bailey (organ), Chris Stromquist (drums), Sean Moran (gtr).at Barbes

9/26, 8 PM the Mivos Quartet premieres Leila Bordreuil’s synesthetically-themed new work, Episodes et Mutations at Issue Project Room

9/26, 8 PM lyrical pianist Angelica Sanchez  leads a mighty nine-piece band with Thomas Heberer (trumpet), Kirk Knuffke (cornet), Chris Speed (tenor saxophone), Michael Attias (alto saxophone), Ben Goldberg (clarinets), Omar Tamez (guitar), John Hebert (bass), Sam Ospovat (drums) at Greenwich House Music School, $25/$20 stud/srs

9/26, 9:30ish explosive, creepy, colorful psychedelic rembetiko metal band Greek Judas at Hanks

9/27, 5:30 PM erudite, purist torchy cosmopolitan jazz chanteuse Svetlana & the Delancey 5 at Birdland They’re also at the Jazz Standard at noon on 9/30 for brunch

9/27, 7 PM the all-female Resistance Revival Chorus sing epic, inspiring populist gospel tunes and anti-trumpie broadsides followed by afropop singer Angelique Kidjo doing her reinvention of the Talking Heads’ Remain in Light at Central Park Summerstage

9/27, 7:30 PM the debut of paradigm-shifting carnatic jazz alto saxophonist Aakash Mittal’s big band at the Lincoln Center Atrium, free, early arrival advised. Anthony Braxton, you’ve got competition!

9/27, 8 PM art-rocker Pierre de Gaillande’s Bad Reputation playing witty chamber pop English translations of Georges Brassens classics followed at 10 by followed by the haphazardly funny Eastern Blokhedz  – who do psychedelic covers of 60s Russian psychedelic pop songs and specialize in the catalog of legendary Polish singer Edita Piaha – at Barbes

9/27, 8 PM conversational pianist Jeffrey Siegel performs works by Rachmaninoff and Debussy “including the famous Clair de Lune, the Prelude in C Sharp Minor, the popular 18th Variation from the Rhapsody on a Theme of Paganini, the humorous Golliwogg’s Cake Walk,” at Scandinavia House, $25

9/27, 8 PM Miya Masaoka‘s Four Moons of Pluto— which explores deep and relational resonances – performed by all-star cohort of 5 bass players: Robert Black, Shayna Dulberger, Rebekah Griffin-Greene, James Ilgenfritz, and Zach Rowden. Masaoka also presents a new piece for string quartet, with a quartet featuring Stephanie Griffin (viola), Alex Shiozaki (violin), and Michael Haas (cello) followed by Reidemeister Move (Robin Hayward – microtonal tuba; Christopher Williams – contrabass) performing Arcanum 17: a 45-minute piece composed by Christopher Williams & Charlie Morrow, with texts from André Breton’s book of the same name, at Roulette, $20 adv tix rec

9/27, 8 PM Roya – a Habibi spinoff – and careeningly noisy guitar jamband faves Jeff the Brotherhood at Elsewhere, $17

9/27, 8:15 PM the irrepressible, cinematic, comedic Broken Reed Saxophone Quartet with special guest Wade Ridenhour at Shapeshifter Lab, $10

9/27, 8:30 PM jangly, catchy, anthemic Americana rock bandleader Christian Lopez – like a less attitudinous, less covers-focused Deer Tick – at the big room at the Rockwood, $10 

9/27, 8:30 PM dark Americana swing cult favorite Jolie Holland at Bar Lunatico

9/28, 7 PM day one of Futurefest at the Jazz Gallery: singer Kat Lee’s enigmatically anthemic abstract rock band TINY GUN, trombonist Abdulrahman Amer’s classically-inspired BA AKHU quartet, and at 10 PM Blake Opper’s Questionable Solution nonet, “one logistical dumpster fire that you do not want to miss,” $25

9/28, 7 PM Indian carnatic violin duo the Mysore Brothers backed by an “explosive rhythm section” at the Rubin Museum of Art, $28 adv tix rec

9/28, 7:45 PM flamenco guitar luminary Javier Limon leads his quartet playing his Middle Eastern and Romany songs at Drom, $15 adv tix rec

9/27, 8 PM the NYUO2 orchestra play Debussy: Petite Suite; Saint-Saëns: Piano Concerto No. 2 in G minor, Op. 22; Haydn: Symphony No. 100 in G major, “Military” at the NYU Loewe Theatre, 25 W 4th St., free

9/28-29, 8/9:30 PM intense pianist Gerald Clayton solo at Mezzrow, $20 at the bar

9/28, 8 PM the NYUO1 orchestra play Dvořák’s Symphony No. 8 in G major, Op. 88 at the NYU Loewe Theatre, 25 W 4th St., free 

9/28, 10 PM the world’s creepiest crime jazz/film noir band, Big Lazy – whose forthcoming album goes deep into dub as well as sardonic groove instrumentals – at Barbes

9/29, 5 PM retro swing with the Harlem Renaissance Orchestra at Marcus Garvey Park

9/29, 6 PM the Toomai String Quintet with special guests Matt Moran & Peter Stan of Slavic Soul Party on horns – wow, Latin/Slavic madness -at Barbes

9/29, 7 PM day two of Futurefest at the Jazz Gallery:rising star trumpeter Adam O’Farrill and guitarist Gabe Schnider duel it out followed by obscure Japanese jazz unit Secret Mall and then at 10 by vibraphonist Sasha Berliner leading a quartet, $25

9/29 7:30 PM hilarious, politically astute girlpunks the 50 Ft. Furies, hard-hitting, gutter bluesy piano/guitar/drums band Drum and a Tantrum at 8:15, eclectic reggae/troopical psychedelia maven Alex Tea at 9, Desir Decir – who put more of a powerpop/Guided By Voices edge on Springsteen four-on-the-floor rock – at 9:45, feral psychedelic guitarslinger Debra Devi at 10:30 and catchy, swirling twin-guitar dreampop band Overlake at White Eagle Hall in Jersey City, $15         

9/29, 7:30 PM fiery, eclectic Egyptian chanteuse/bandleader Dina El Wedidi at the Cathedral of St. John the Divine, $20

9/29, 8 PM an amazing twinbill at the People’s Voice Cafe: the Elias Ladino Ensemble and cantor emerita Mara Goodman leading a high-energy string band playing classic and obscure Yiddish songs, sugg don $20, “more if you choose; less if you can’t; no one turned away” 

9/29, 8 PM energetic, perennially relevant, boisterously amusing acoustic Veracruz-style folk-punk band Radio Jarocho  at Guadalupe Inn

9/29, 8 PM a mesmerizing, unorthodox lineup of  sitar, shehnai (Indian oboe) and tabla – Mita Nag, Hassan Haider and Subhen Chatterjee at Roulette, $30

9/29, 8:30 PM epically prolific, fearless, monumentally tuneful pianist Satoko Fujii leads a trio at I-Beam, $15

 9/29, 9 PM a killer female-fronted triplebill in a weird spot:hard-hitting bassist Dawn Drake & Zapote‘s hot Afrobeat-tinged funk grooves , psychedelic Brazilian tropicalia band As Lolas and wild, noisy, genuinely Hendrixian virtuoso lead guitarist Viva DeConcini and her band at the Way Station 

9/29 lush, dynamically eclectic Korean folk/art-rock band Coreyah mash up lustrous, often plaintive themes with hard-charging hip-hop and dance tunes, plus fiery Guatemalan freedom fighter and cumbia/reggae/Spanish rock bandleader Doctor Nativo at the Chile Pepper Festival at the Brooklyn Botanic Garden, time/price tba

9/30, 3 PM flutist Maarika Järvi, violinist Caterina Szepes, and pianist Aurelia Mika Chang perform works by J.S. Bach, Gaubert, Tchaikovsky, Massenet, Shostakovich and Martinu, reception to follow at St. Paul’s Chapel downtown, free

9/30, 4 PM charismatic singer/actor/six-string harpist Benjamin Bagby performs his high-voltage recreation of Beowulf at Corpus Christi Church, 529 W 121St St $10 tix avail  

9/30, 7 PM lustrous singer and badass cello-rock bandleader Serena Jost at the Owl

9/30, 7 PM tango violinist Machiko Ozawa with Argentine pianist Pablo Cafici at Bar Thalia

 9/30, 8:30 PM veteran electric Chicago blues guitarist Joe Louis Walker at City Winery, $20 standing room avail

10/3, 10 PM pyrotechnic clarinetist Ismail Lumanovski’s ferociously kinetic NY Gypsy All-Stars at Drom, $10 adv tix rec

10/4, 6:30 PM saxophonist Evan Rapport joins Shashmaqam for an evening of otherworldly, intensely crescendoing Bukharian Jewish epics. “Before the musical celebration begins, enjoy a spread of traditional Bukharian food and drink” at the Eldridge Street Synagogue, $25/$15 stud/srs

10/4, 7:30 PM firebrand Egyptian accordionist/songwriter Youssra El Hawary – best known for her hilarious revolutionary youtube hit Piss on the Wall – at the Lincoln Center Atrium, free, early arrival advised

10/5, 7:30 PM a high-voltage Puerto Rican country music dance party: Viento de Agua spinoff La Máquina Insular plays classic and new plenas, followed by all female bomba group Ausuba at the Hostos Community College auditorium, 450 Grand Concourse in the Bronx, $20//$5 stud

10/5, 8 PM irrepressibly devious, lyrically hilarious multi-instrumentalist songwriter Walter Ego – who spans from darkly elegant art-rock to classic Britrock sounds – at Sidewalk

10/5, 10 PM high-voltage Neapolitan tarantella string band Newpoli play the abum release show for their new one at Drom, $15 adv tix rec

10/6, noon a high-voltage Puerto Rican country music dance triplebill: Plena de la R, La Raiz and Bombalya at the Hostos Community College auditorium, 450 Grand Concourse in the Bronx, $20//$5 stud$15/$5 stud

10/6, 7:30 PM Indian carnatic violinist L. Shankar with tabla player Abhijit Banerjee and percussionist Chris Garcia at the Schimmel Center at Pace University on Spruce St. in the financial district, $30 tix avail

10/9, drinks at 5:30 PM, show at 6, rustic Brazilian jungle guitar-and-accordion sounds with Regional de NY at the Miller Theatre, free

10/11, 7:30 PM reedman McCoy Mrubata and pianist Paul Hanmer lead an all South African jazz quintet at the Lincoln Center Atrium, free, early arrival advised

10/11, the global 25-member cast of the Onebeat socially conscious music collective at  Bronx Museum. 10/12 they’re at the Queens Museum 

10/12, 7:30 PM the best latin jazz guitarist ever to play big league ball, Bernie Williams and His All-Star Band at the Schimmel Center at Pace University $30 adv tix rec

10/13, 2:30ish sardonically catchy powerpop/janglerockers the Hell Yeah Babies, long-running, wickedly jangly, tuneful Americana rockers the Sloe Guns in Tompkins Square Park and Giftshop – the missing link between Blondie and the Distillers – at Tompkins Square Park

10/13, 3 PM iconic second-wave Afrobeat band Antibalas on the plaza at 300 Ashland Pl next door to BAM, free

10/13, 7 PM night one of this year’s amazing, free Momenta Festival featuring the Momenta Quartet playing works by Anna Clyne, Cristobal Halffter, Villa-Lobos and Beethoven’s String Quartet Op. 130 at the Tenri Cultural Institute, 43 W 13th St

10/15, 7 PM night two of this year’s amazing Momenta Festival featuring the Momenta Quartet playing oceanic and heartbreak-themed works by their excellent violist Stephanie Griffin plus Carl Bettendorf, Alba Potes, Guy Barash and Wagner at the Americas Society, 680 Park Ave

10/17, 7 PM night three of this year’s amazing, free Momenta Festival featuring the Momenta Quartet playing works by Robert Sierra, Jean Martinon, Ann Southam, Kaija Saariaho and a solo violin piece by Nicola Matteis the Younger at the Americas Society, 680 Park Ave

10/18, 7:30 PM BRIC JazzFest Marathon Night 1 with – in reverse order – Christian Scott aTunde Adjuah, Stefon Harris & Blackout, Mark de Clive-Lowe, Lakecia Benjamin & SoulSquad, Madison McFerrin, JD Allen, Melanie Charles & Make Jazz Trill Again, and the Yotam Ben-Or Quartet.at Bric Arts, $30 adv tix req

10/18, 8 PM In what may be the first-ever combination of voice, period wind instruments, and saxophones, poet Katie Ford’s The Anchoress – a haunting portrait of a medieval divination tradition – performed by soprano Hyunah Yu;, early music ensemble Piffaro, the Renaissance Band; and the PRISM Sax Quartet at the DiMenna Center, $22

10/19, 7 PM concluding night  of this year’s amazing, free Momenta Festival featuring the Momenta Quartet playing Bartok’s sinister String Quartet No. 4, Alvin Singleton’s Glory Bound and George Enescu’s Octet for Strings, Op. 7 at the Tenri Cultural Institute, 43 W 13th St

10/19, 7:30 PM BRIC JazzFest Marathon Night 2 with – in reverse order – Cyrus Chestnut Trio, Keyon Harrold, The Jazz Passengers, Xenia Rubinos, Camila Meza, Michael Sarian & The Chabones, and Yasser Tejeda & Palotré.at Bric Arts, $30 adv tix req

10/20, 7:30 PM BRIC JazzFest Marathon Night 3 with – in reverse order – Terence Blanchard ft. the E-Collective, Brownout Presents: Fear of a Brown Planet ft. Third Root (Black Sabbath covers, go figure, they’re great), Deva Mahal, coma-inducing corporate singer Kat Edmonson, Arnetta Johnson & SUNNY, Resident Alien ft. Ali Sethi & Sunny Jain, and Noa Fort at Bric Arts, $30 adv tix req

10/21, 2 PM purist postbop tenor saxophonist Alexa Tarantino and her quartet at Flushing Town Hall, free

10/22, 8:30 PM amazing classical accordionist Hanzhi Wang with he Zorá String Quartet play works by Bach, Gubaidulina, Moszkowski, Piazzolla and Martin Lohse and at Zankel Hall at Carnegie Hall, $10 tix avail

10/28, 5 PM the Merz Trio play piano trios by Mozart, Brahms, Schumann and Charlotte Bray at the Lounge at Hudson View Gardens, 128 Pinehurst Ave @ W 183rd St, A train or #1 train (to 181st St) or the M4 bus (to 183rd St), $15/$12 stud/srs 

10/31, 10ish thunderous, titanic Rhode Island Balkan street band What Cheer Brigade at the Market Hotel. Ten years in business and this spot finally, finally books a good band

11/6, 7:30 PM the Silesian String Quartet play a rare all-Polish program of works by Szymanowski, Lutosławski, Bacewicz and Penderecki at the Morgan Library, $35

11/10, 1 PM dazzlingly eclectic chamber pop/latin/classical violinist Concetta Abbate and drummer Ben Engel at Flowers for all Occasions, 1114 De Kalb Ave at Broadway, Bushwick, J/M to Kosciuszko St.

11/18, 2 PM terse, tuneful jazz guitarist Amanda Monaco and her quartet at Flushing Town Hall, free

11/20, drinks at 5:30 PM, show at 6, flutist Isabel Lepanto Gleicher and ensemble plays works by Hildegard Von Bingen, David Lang, Rzewski and others at the Miller Theatre, free

12/4, drinks at 5:30 PM, show at 6, perennially interesting piano/percussion ensemble Yarn/Wire play works by Crumb, Saint-Saens and Tschaikovsky at the Miller Theatre, free

12/6, 6 PM klezmer violinist Jake Shulman-Ment with rippllng tsimbl (Ukrainian Jewish dulcimer) player Pete Rushefsky at Poe Park in the Bronx.

12/21, 2 PM brilliant baritone saxophonist Lauren Sevian‘s LSQ at Flushing Town Hall, free

A Stormy, Epically Relevant Jazz Standard Show by Darcy James Argue’s Secret Society

In their late set last night at the Jazz Standard, Darcy James Argue’s Secret Society threw caution to the wind with a stormy, careeningly dynamic career retrospective of sorts. Which isn’t what you might expect from the conductor’s intricate, tightly clustering compositions. But this era’s most thrilling, relevant large jazz ensemble’s approach perfectly fit his material’s relentless angst, white-knuckle suspense and cynically cinematic, Shostakovian portraiture.

Argue’s albums are meticulously orchestrated and produced – which is not to imply that they suffer from the digital sterility of so many big band albums these days. Even so, this show was especially fresh and full of surprises. The group opened somewhat counterintuitively with an older tune, Flux in a Box – Argue explained that he took the title of the subtly polyrhythmic, Jim McNeely-like number, with its cell-like mini-spirals and bursts, from a vast, sarcastic fictitious filmography in a David Foster Wallace novel. Alto saxophonist Alexa Tarentino chose her moments carefully for variations on staggered, fragmented phrases, pianist Adam Birnbaum offering comfortably lyrical contrast.

Then they immediately launched into the ferocious, fearlessly political material Argue has made a name for himself with in recent years. First was a series of tunes from his withering critique of gentrification, Brooklyn Babylon, kicking off with Matt Clohesy’s mighty bass chords, Sebastian Noelle’s resonant guitar astringencies, a vividly nightmarish portrait of grand construction schemes run horribly amok. Seemingly hell-bent on getting to the end, they leapt through tense pairings of instruments among the band’s eighteen members to a harried take of Coney Island, which was strangely more enigmatic here than the album’s horror-stricken, plaintive coda.

Three pieces from the group’s latest conspiracy and conspiracy theory-themed album, Real Enemies were next on the bill. Amped up to a level remarkable at this sonically pristine spot, The Enemy Within came across as a mashup of the Theme from Shaft and the Taxi Driver theme as done by an epic version of John Zorn’s Spy Vs. Spy, maybe. Dark Alliance had wry woozy P-Funk textures grounded by relentless Bernard Herrman-esque glimmer and ghostly flickers, alto saxophonist Dave Pietro resisting any possible urge to find any kind of resolution in his exquisitely troubled, modal solo. A duel with trombonist Ryan Keberle followed – not waterboarder and waterboardee, but allusively so.

The last of the triptych was the mighty, swaying Trust No One, Carl Maraghi’s serpentine baritone sax solo giving way to a sudden dip to creepy knock-knock riffs, deep-space pointillisms from Birnbaum and Noelle jumpstarting a flitting poltergeist choir from the saxes. They closed with Transit and its fiery, cloudbursting drama. Argue explained that he’d written it on a Fung Wah bus enroute from Boston to Chinatown – no wonder it’s so scary! In that context, the constant dodges between phrases rushing by, not to mention the irresistibly fun trick ending, made perfect sense. Trumpeter Jason Palmer’s solo turned out to be more of an expert series of Route 495 twists and turns than the launching pad for pyrotechnics that it usually is in concert. The takeaway: a frequently riveting performance by a crew also including but not limited to multi-reedman Sam Sadigursky, trumpeters Seneca Black and Nadje Noordhuis; trombonists Jacob Garchik, Mike Fahie and Jennifer Wharton and drummer Jon Wikan.

A Mesmerizing Start to the Final Installment of This Year’s Charlie Parker Festival

The final night of this year’s Charlie Parker Festival this past weekend was front-loaded. Young lions and then a veteran lioness set the bar impossibly high for whatever followed. By five in the evening, the usual wall-to-wall mob that has come out for the festival’s original flagship space, Tompkins Square Park, hadn’t materialized. Maybe it was the stormclouds overhead. Maybe, more ominously, the shrinking turnout reflects how many of the longtime East Village residents who supported this festival year after year have been driven out by gentrifiers. As we all know, gentrifiers have no interest in the arts: there’s infinitely more perceived immortality in taking a selfie in front of a hundred dollar brunch spread than while watching some guy blowing weird notes on a horn at a show which costs nothing to attend.

So an aging bunch of East Village holdovers (that’s what they call us), kids and tourists got to revel quietly in the trio of trumpeter Adam O’Farrill, tenor saxophonist Immanuel Wilkins and vibraphonist Joel Ross team up with drummer Craig Weinrib, conguero Roman Diaz and a slinky bassist throughout a set that shifted artfully from rapturous, misty atmospherics, to tantalizingly allusive Afro-Cuban grooves punctuated by darkly masterful solos. O’Farrill set the tone, leading a hazy, distantly disconcerted tone poem to open the show, then finally brought it back at the end of their roughly 45 minutes onstage. In between, they reinvented hauntingly elegaic Coltrane as AACM cloudscape, spiced with wickedly incisive Arabic-tinged modal horn work, Then they took a jaunting, biting clave theme and made a lattice of disorienting polyrhythms out of it. The bassist managed to hold the center, pedaling his riffs while Weinrib and Diaz made their meticulous rhythmic negotiation look effortless. This really is the future of jazz, and it’s in good hands with these relatively young, restlessly hungry cats.

Which is not to say that ageless septuagenarian Amina Claudine Myers isn’t still pushing the envelope. What a trip it was to watch open her se by swinging her way through gutbucket Jimmy Smith B3 organ grease, leading a trio with Jerome Harris on guitar and Reggie Nicholson on drums. Then she took the party into the tectonically shifting ambience she’s best known for, building a storm on the horizon with peaks in between for stark, magisterial 19th century gospel and practically the complete Chopin C Minor Prelude. Rather than twisting the harmonies to suit the rest of the material, she played it exactly as written, letting its anguished series of chords linger. “Have mercy,” she sang over and over again throughout the set’s last number, as much a command as an entreaty.

There were a couple of other acts on the bill afterward, but pianist Orrin Evans’ originals are a thousand times more interesting than the material he was scheduled to run through as a replacement at this money gig. O’Farrill is at the Jazz Gallery on Sept 29 at 7 PM on day two of Futurefest there, dueling it out with guitarist Gabe Schnider, followed by obscure Japanese jazz unit Secret Mall and then at 10 by vibraphonist Sasha Berliner leading a quartet. Cover is $25.

Monty Alexander Brings Jamdown Jazz Full Circle at the Charlie Parker Festival

Yesterday evening at the uptown Saturday night edition of this year’s Charlie Parker Festival, Monty Alexander explained that his most recent free outdoor concert here had been in Central Park. He didn’t bother to mention that his mid-90s performance there with guitarist Ernie Ranglin was one of the landmark musical events in this city over the past 25 years.

The pianist and leader of the Harlem-Kingston Express told the crowd that when he’d been booked for yesterday’s show, he’d asked the festival organizers where he’d be playing. When he found out that it would be Marcus Garvey Park, his response was, “Marcus Garvey Park? But Marcus Garvey is Jamaican!”

The exuberant reggae-jazz icon added that he hoped the park’s name wouldn’t be changed back to what it used to be (it was still Mount Morris Park back in 1967 when Alexander led a completely different band several blocks west at Minton’s).

Shifting into serious mode, he and the group launched into an amped-up version of the Burning Spear classic Marcus Garvey. Joshua Thomas, the group’s electric bassist sang it in a strong, soulful tenor, then in a split second the group segued into So What and took the tune doublespeed.  All this dovetailed with the circumstances: Wynton Kelly, the pianist on Miles Davis’ original, was also Jamaican.

Until around the time of that legendary Central Park show, Alexander was regarded as a traditionalist and an expert at ballads. The collaboration with Ranglin, a fellow Jamaican icon, was a game-changer, and their reinvention of Bob Marley classics won both of them a global following far beyond the jazz world. Yet, as Alexander explained, he’s no less a jazz guy for loving reggae riddims. For Alexander, just like Ellington, there are two kinds of music.

This band is very much the first kind. There are two drummers, two basses and two keyboards including Alexander. Most of the time the Jamaican guys play the reggae material and the Americans do the swing stuff, but there’s plenty of overlap, and when both drummers and both bassists are going strong the sound can be epic.

One of the evening’s most anthemic, incisive numbers sounded like a version of the Abyssinians’s Satta Massagana: as with much of the other material, Alexander made a doublespeed swing blues out of it, then returned back to the original theme to wind it down. A little later, they used the opening riff from Marley’s Could You Be Loved to stir up a similar stew. 

The most riveting solo of the night was from bassist Hassan Shakur, juxtaposing crushing chords and ghostly harmonics with a bluesy drive way up the fingerboard. Drummer Carl Radle played thunderous vaudeville against the beat, all but drowning the rest of the crew during his one irresistibly fun solo moment. Similarly, saxophonist Wayne Escoffery went for adrenaline, especially during the Coltrane solo in So What; the band’s trombonist was a bluesy, more low key foil.

Meanwhile, the electronic keyboardist played mostly clickety-clack clavinova behind Alexander’s spacious chords and regal blues phrases, adding organ on the biggest hit with the crowd, No Woman No Cry. They closed with a coy calypso medley that veered into Hava Nagila for a few bars, Alexander spiraling around on his melodica.

This was a tantalizingly short set, especially for these guys, which may portend what’s in store this afternoon at Tompkins Square Park where the festival began in 1993. Festivities start at 3 with a trio of young guns: trumpeter Adam O’Farrill, saxophonist Immanuel Wilkins and vibraphonist Joel Ross. Iconic, rapturous AACM pianist/organist Amina Claudine Myers follows at 4, there’s a corporate jazz act whose new pianist is way better than the last one, then postbop sax vet Gary Bartz leading a quartet to close things out at around 6. You might want to bring a folding chair if you have one because blanket space on the lawn will be limited.

An Epic, Darkly Profound New Solo Live Album and a Rare Brooklyn Gig by Iconic Pianist Satoko Fujii

Pianist Satoko Fujii’s epic new solo live album Invisible Hand – streaming at Spotify – is dark and dead serious. She improvises as purposefully and tunefully as anyone who ever lived. If historical accounts are accurate, that puts her on the level of Bach and Schubert, along with Monk, and Brubeck, and Ellington. Those comparisons are deliberate – the astonishingly prolific Fujii’s work combines brooding classical intensity with in-the-moment jazz fearlessness. Her latest project is to release an album a month this year, a promise she’s fulfilled so far. She’s making one of her increasingly rare New York appearances this Aug 29 at 8:30 PM at I-Beam, leading a trio with husband Natsuki Tamura on trumpet and Yoshi Shutto on drums. Cover is $15; be aware that she routinely sells out this venue.

The new album is the debut release on Cortez Records, a new label that’s just as impromptu as Fujii’s music can be. Teruhiko Ito, proprietor of the intimate venue Cortez in the small city of Mito, Japan, essentially launched it to release Fujii’s epic solo concert there from the winter of 2016. In the midst of a snowstorm, a crowd nevertheless came out and responded rapturously.

“Recently I have been hearing that people everywhere in the world are losing interest in music and culture, and the situation is getting worse and worse,” Fujii relates in the liner notes.. “However, around Cortez, there are no signs of that.”

Here are a few reasons why. While Fujii has made scores of albums, almost all of them are with other players. Surprisingly, while perhaps best known as an improviser, she virtually never plays a full set of solo improvisation. The first of this double-cd collection captures only the fourth time in a 25-plus year career that she’s done that.

Which is a paradox, for many reasons, not the least because her improvisation here can sound meticulously composed, while the compositions are spiked with off-the-cuff flourishes and some occasionally pretty wild displays of extended technique. Fujii opened that wintry night with a piece titled Thought, rising through frequent allusions to Satie’s Gymnopedie No. 1, to an intense but judicious crescendo and an ominously quiet, chromatically bristling conclusion. From there she did some scampering and some leapfrogging, but also built a methodical thematic variation and a crashing coda

The album’s towering, thirteen-minute title cut has spare, somber, low-mid register melody and some absolutely macabre moments, set to a autoharp-like rainy-day wash of sound that Fujii resonates on the strings inside the piano. In almost sixteen minutes of Floating, she creates a mystical ambience with spare, serioso phrasing and then a muted temple bell-like melody, again played with inside the piano. It sounds practically like a koto.

Fujii’s shift toward a steady anthemic drive that’s practically a stadium rock ballad is striking – how much is she messing with the audience, and how much just with herself? Yet, she ends it with her signature gravitas. She concludes the set with Hayase, working a rather grimly percussive raga-like melody against a central tone.

The second cd opens with a somber single chord, then Fujii makes her way into the ineluctably uneasy, spacious I Know You Don’t Know, leaving her phrases and spare clusters to linger. Flickers of Charles Ives contemplation contrast with waves of Cecil Taylor agitation

Summer Storm juxtaposes cascading, neoromantically-tinged phrasing with circular, Glass-ine melody. The subtle syncopation and ever-present angst of Inori bring the Satie echoes into even closer focus, with a cell-like Reichian precision. After the tumbling bustle of Green Cab, seemingly the most improvisational piece here, Fujii closes with a gospel-infused take of Gen Himmel, the title track to her hushed, rapturous 2013 album.

Fujii is no stranger to a magnum opus. Her densely orchestrated, harrowing 2017 Fukushima suite is her darkest masterpiece to date and was ranked best album of the year here. Her 2008 double cd Minamo, a duo with violist Karla Kihlstedt, is almost as shattering. This one is close behind, another notch in the hall of fame credentials of a rugged individualist who is as consistently interesting and relevant as she is prolific.

Majestic Menace and a Free Download From an Iconic Big Band

Darcy James Argue’s Secret Society rank with the Maria Schneider Orchestra as this era’s greatest big bands, even if Argue’s eighteen-piece behemoth hasn’t been around as long as hers. While his recorded catalog is understandably smaller, he has more albums than you might be aware of, including a trio of live collections. OK, their 2011 release, Live at the Boston Museum of Fine Arts is an ep – and you can download it for free at Bandcamp. Argue is bringing this mighty crew to the Jazz Standard on Aug 29, with sets at 7:30 and 9:30 PM. Cover is not cheap – $30 – but if there’s any band alive who’re worth it, it’s this one.

The ep has only three tracks, but they’re epic. Recorded on a brief East Coast tour, they constitute some of the most sinister material from the 2009 Infernal Machines album. The first number, Ferromagnetic is pure Lynchian menace, opening with a sinister Bernard Herrmann noir twinkle, then Sebastian Noelle’s guitar twangs and the reeds flutter. A mean guitar riff circles as the orchestra pulses and the skies redden, then everybody drops out for a suspenseful bass-and-synth interlude. Is that Ingrid Jensen on the solo trumpet, echoing and sputtering, before the guitar, low reeds and brass move in with a grim anthem?   

Right where Jon Wikan’s polyrhythmic intro to the album’s mightiest number, Phobos, is about to shift from suspense to “drum solo,” bassist Matt Clohesy steps in with his macabre, modal riffs, echoed by the guitar.The title refers to the Mars moon destined to someday either crash into the planet or shatter from the force of gravity as it falls, an angst underscored by John Ellis’ big tenor sax crescendo. A bit later Noelle reemerges to shadow its increasingly frantic Tourette’s, the rest of the group following an ineluctable course.

The final cut is Transit, another dark masterpiece with the same blueprint: whispery intro, ominously chromatic, mantra-like riffage and variations. Space: the final destination. Jensen’s roller-coaster of a trumpet solo has to be heard to be believed: people practice their whole lives and never play something so thrilling. Recommend this to your friends who might not know the band. It’s as close to a bite-size introduction as there is and a rare gem in the ever-more-imposing Argue catalog.