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Tag: jazz

Darkness and Revelry in Equal Measure in Tomas Fujiwara’s Brilliant New Triple Double Album

Drummer Tomas Fujiwara’s music is all about creating a mood, and narratives, and destinations, and all the fun a band can have with interplay and conversations and occasional jousting on the way there. For all of those reasons, he’s one of the busiest guys in jazz. The musicianship on his new album Triple Double – soon to be streaming at Bandcamp – is as deep as his address book. Just the fact that he’s got two of the most ferocious guitarists on the planet, Mary Halvorson and Brandon Seabrook sparring with each other makes this a must-own for fans of dark, gritty, occasionally hilarious music.

It’s pretty high concept: in addition to the guitars, there are two horns – Taylor Ho Bynum on cornet and Ralph Alessi on trumpet – and two drummers, Gerald Cleaver holding down the second chair. It’s akin to a  more improvisational, less assaultive take on percussive British guitar band Action Beat, . In an interesting stroke of fate, Seabrook also put out a ferociously good new double-drum album, wryly titled Die Trommel Fatale, earlier this year. Fujiwara and the band are playing the album release show on Sept 22 at the Jazz Gallery, with sets at 7:30 and 9:30 PM; cover is $22.

The fun starts right ffom the first few bars of the squirrelly two-guitar conversation that opens the first track, Diving For Quarters. For the listener, it’s a challenge to figure out who’s who, especially as a long, rather grim crescendo slowly builds. Looming brass contrasts with a squall or two as Fujiwara swings with his work boots on, Alessi taking a long latin noir-infused solo up to a gleeful thunderstorm of drums and guitar swipes.

Likewise, Alessi chooses his moments in a long solo that bisects the leering storm and skronk of the two guitars and drumkits in Blueberry Eyes, Halvorson in the left channel, Seabrook in the right throwing blast after distorted blast at each other. Suddenly the sky clears and they’re following a circular, allusively New Orleans-tinged shuffle as Bynum comes to the front. Even as some sweet brass harmonies take over at the end, Halvorson can’t wait to let it trail out with a down-the-drain rattle.

A gloomy rainy-day ambience, astringent guitars over spare drums and cymbals, pervades Hurry Home, a psychedelic tone poem of sorts. Pocket Pass makes a flailing contrast, packed with blazing trumpet spirals, snarky kiss-off guitars, Halvorson’s bad cop against Seabrook’s deadpan good cop. All of a sudden it straightens out (as much as anything straightens out on this album) in a dark latin direction.

For Alan opens with a droll spoken-word sample of a ten-year-old Fujiwara in conversation with his mentor Alan Dawson, who encourages him to have a good time within the parameters. “If a cymbal falls in, if the pedal breaks, whatever.” This matter-of-factly rising Cleaver-Fujiwara duel stays on the rails even as flurries in each channel diverge: the chase is on! Eight-minute pieces for drums alone are rarely this entertaining.

An elegaic, mournful horn melody rises over the drums’ tumble and crush as Love and Protest coalesces, bolstered by Seabrook’s eerie, reverberating belltones and echo effects as the menacing cloud darkens. It’s finally punctured by Alessi, but even he’s eventually subsumed in the vortex. Halvorson artfully takes over the slasher role as the dirge returns.

Notwithstanding all the uneasy close harmonies, Decisive Shadow is awfully catchy, especially when the horns kick in, up to a trickily shifting, insistent vamp with a contrastingly ebullient Alessi solo. Halvorson’s shears and sputters signal the drums, and everybody else, to tunnel down into the darkness.

The group returns to the Hurry Home theme with gingerly tremoloing guitars amid the sleet of the percussion: it’s the album’s creepiest number. Sarcastic cornet opens Toasting the Mart, a twisted march, Halvfrson thinking about horror surf, the horns peeping in through respective windows. Seabrook flickers and then the whole thing dissolves in a toxic heap only to reemerge unexpectedly.

To Hours (a pun?) makes an apt concluding statement, from a loosely congealing free-improv interlude to an uneasily cantering vamp, Alessi battling the murky backdrop. This isn’t just one of the most gripping jazz albums of the year: it’s on the level of anything any of the cast here have released as leaders recently. One of the ten best, maybe five best albums of the year, to be more precise. Press play, hit repeat, you’ll get used to it.

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Entertainment and Formidable Piano Chops at an Unexpectedly Contemplative Spot with Champian Fulton

Champian Fulton brings a rare blend of daunting piano and vocal chops to the final nights of her indian summer Radegast Hall residency this Sept 18 at 8 PM. She’s also here on the 25th. Either way, it’s Monday, and it’s professional night, and while you might not expect people to come to listen, they do. Remember, every bar on a Monday could be the best bar in town.

Fulton’s latest album is The Things We Did Last Summer, a collaboration with suave tenor saxophonist Scott Hamilton recorded live onstage in Spain last year and streaming at Spotify. It’s a mix of instrumental and vocal numbers, and despite the fact that it’s mostly standards, it’s arguably the high point of Fulton’s career so far. She makes solid studio albums – her all-instrumental collection, Speechless, is a party in a box – but both co-leaders do their best work onstage. More artists – particularly players who can improvise at the level the band reaches here – should be making live records.

Fulton’s subtle, tantalizingly melismatic vocals and entertaining stage presence are what she’s best known for, but she’s also a hell of a pianist. To open the album, she brings a moody been-there, done-that, know-your-pain feel to When Your Lover Has Gone, contrasting with a spacious, playfully jaunty, ragtime-tinged piano solo. Hamilton brings in the mist from there; Fulton really works the blue notes at the end.

The ten-plus minute take of Basie’s Black Velvet is a classic example of the kind of extended excursion Fulton excels at when the night is winding down, but she’s not ready to call it quits. Bassist Ignasi Gonzalez and drummer Esteve Pi settle into a comfortable midtempo stroll as Fulton winds her way up from gimlet-eye glimmer toward jubilation, Hamilton echoing her as he takes the long way in through the fog.

Fulton gets back on the mic with a barely restrained vengefulness for I Cried for You, which the band takes scampering, Gonzalez’ wry, brisk bass ballet contrasting with Fulton’s clenched-teeth attack on the keys. There’s a Sarah Vaughan-ish told-your-so quality to the vocals, but it’s not derivative.

The album’s instrumental title track brings back the wee-hours serenity, Hamilton plush and balmy over Fulton’s lingering phrases. Then the two offer contrast, floating sax against Fulton’s lowdown bluesy vocals and joyous staccato piano in Too Marvelous For Words.

Allusive, understated bluesy angst pervades an expansive vocal take of My Future Just Passed, this one closer to the Shirley Horn version. Then the band picks up the pace with the hot jazz standard Running Wild before going back to the “Great American Songbook” for a lush excursion through The Very Thought of You, Fulton ending the night with misty suspense that Hamilton works for all it’s worth before her fingers finally bust it through the clouds. It’s a good bet she’ll do something a lot like this during the Williamsburg stand.

For those in Jersey, she’s also at the Gruin Center for the Arts on College Drive on the Ocean County College campus in Toms River on Sept 19 at 8; tix are $24/$20 srs.

Vocal Sensation Camille Bertault Brings Her Wit and Eclectic Chops to the Jazz Standard

Conservatory-trained as a pianist, Camille Bertault became a social media sensation a couple of years ago for her vocal versions of classic jazz solos. It turns out that she’s not only an inventive singer but a clever, playful songwriter as well. The title of her debut album En Vie – streaming at her music page – is a pun which translates essentially as ‘lust for life.” Although she can do all sorts of things with her voice, Bertault sing with restraint and a sharp sense of irony here: she doesn’t overemote and lets the lyrics speak for themselves. She and her combo are bringing that French charm to the Jazz Standard tomorrow night, Sept 14, with sets at 7:30 and 9:30 PM; cover is $25.

The album’s cynical opening track, Quoi de Plus Anodin (Nothing More Harmless: we’re sticking to English title style here for consistency’s sake, ok?) is fueled by pianist Olivier Hutman’s terse, insistent phrasing over the briskly shuffling drive of bassist Gildas Boclé and drummer Antoine Paganotti. The cheery tune contrasts with Bertault’s lyrics for an age of austerité:

Pas de dimanche
Pour les paluches qui s’épanchent
Plutôt crever que d’ faire la manche
Meme si y’a pas de fric en avalanche

[No day off for these poor sods; better to kick the bucket than put your hand out, even if there isn’t exactly an avalanche of dough on the way…]

Gritty, bustling bass, scrambling piano and bracing doubletracked vocalese harmonies percolate through the second cut, Course. Then Bertault hints at a cornet in the distance, then offers a bittersweet look at seeing through a child’s eyes in her lustrous, resonant soul-jazz reinterpretation of the Wayne Shorter ballad Enfant Eyes.

The album’s title track, another vocalese number, shifts between a balletesque grace, clenched-teeth intensity and syncopated swing behind Hutman’s crushing chordal attack. Cette Nuit, Bertault’s version of the Jimmy Rowles epic The Peacocks, offers contrasting, starry ambience, a lingering tone poem that springs into action when the bass and drums kick in and Bertault takes a purposefully scatting solo. Hutman’s cascades and  Paganotti’s elegant tumbles top it off expertly.

The steady, expansively moody ballad A la Mer Tume (an oceanic pun on “bitterness”) provides a launching pad for a balletesque bass solo. The band reaches toward a scamper but then pulls back throughout the catchy, vamping, latin-tinged Double Face, the last of the vocalese numbers

Bertault kicks off Tatie Cardie with a coy spoken word and drum duet and then relates a hilarious, Spike Jones-style account of unexpected events at a prim and proper aunt’s tea party, the whole band getting in on the joke. She opens her take of Prelude to A Kiss a-cappella, then the band take their moody time with it, Boclé adding a melancholy bowed solo. The final cut is Satiesque, a title that should have been taken long ago. It’s a syncopated, lyrical salute to the great surrealist composer:

Satie, est-ce que les fous ne sont pas
Plus sages qu’ils n’en ont l’air?
L’endroit est peut-être l’envers?

[Satie, are crazy people smarter than the ones who don’t let it show? Or is it the other way around?]

Lots of flavors here, all of them worth savoring. Few other artists can make phrases like “ba da da” as consistently surprising and interesting as Bertault.

Singer Sara Serpa’s New Multimedia Project Examines the Aftereffects of Imperialism

Sara Serpa is one of the most haunting singers in any style of music. She got her big break collaborating with iconic noir pianist Ran Blake – their  2010 album Camera Obscura is a masterpiece of menacing nocturnal music across all genres. Since then, her work has encompassed her own cinematic, often lush compositions, her role in John Zorn’s otherworldly Mycale chorale and an endless series of rewarding new projects and collaborations: there’s a restlessness in most everything she does. Her latest project was springboarded when she discovered a family archive of material relating to her native Portugal and its former colony, Angola, in the 1960s. You want uneasy? Serpa’s bringing that to a multimedia performance this Saturday night, Sept 16 at 7:30 PM in a trio show with harpist Zeena Parkins and tenor saxophonist Mark Turner at the Drawing Center at 35 Wooster St. in SoHo. This is one of the increasingly frequent series booked by Zorn around town; cover is $20.

Like every other major jazz artist, Serpa has to spend a lot of time on the road. Her most recent New York concert was a beguiling and unexpectedly amusing duo performance with her Mycale bandmate and longtime vocal sparring partner Sofia Rei in the West Village back in June. Completely a-cappella, the two made their way methodically through constant dynamic shifts, in a mix of originals, a handful of south-of-the-border folk tunes and several numbers from Rei’s album of radical reinventions of Violeta Parra classics. El Galivan.

It’s easy to see why Rei and Serpa are friends. Rei is a cutup and will go way outside the box without any prompting, to the remote fringes of extended vocal technique. And she can sing anything. Serpa is serious, focused, purposeful to the nth degree: she doesn’t waste notes and has an instantly recognizable sound. Yet she’s always pushing herself. “Welcome to our crazy project,” she told the crowd with a wry grin. And at one moment late in the set, while Rei swooped and dove and shifted into what could have been birdsong, Serpa rolled her eyes, echoing the melody further down the scale, as if to say, “I can’t believe I just sang that.”

Unlik what they do in Mycale, the two didn’t harmonize much. Instead, they took contrasting roles, often exchanging rhythmic blips and bounces, a funhouse mirror of gentle, emphatic, wordless notes. Without Marc Ribot’s guitar, the material from El Galivan often took on more gravitas: for example, a less rhythmic, more stately take of Casamiento de Negros, and a considerably condensed, airy version of the title track. And when there were harmonies, they were acerbic, and bracingly astringent, and warily rapturous. At the end of the set, another of Mycale’s brilliant voices, Aubrey Johnson joined them and added her signature lustre to the mix. Not having seen Johnson sing her own material in a long time, it would have been an awful lot of fun to stick around to see her lead her own band. But by then it was time to head to Brooklyn.

A Barbes Residency This Month by Intense Jazz Passengers Leader Roy Nathanson

When you think of solo saxophone, do you get shadowy visions of some guy leaning against a brick wall, playing desolate, mournful phrases that linger in the mist somewhere on upper Broadway in the wee hours? Or is that just a personal observation?

Roy Nathanson played something like that late in a very rare solo show at NYU this past spring, but he also played a lot of much more kinetic material, in a spellbinding display of extended technique. It’s not likely that the Jazz Passengers bandleader and onetime Lounge Lizard will be playing much if any solo material during his ongoing Sunday evening 5 PM Barbes residency this month, but it’s possible. That’s what famous touring artists like Nathanson do here: work up new material and push the envelope outside of what pricy jazz clubs around the world expect from them.

For example, in the summer of 2016 Nathanson played a one-off Barbes duo show with pianist Arturo O’Farrill that was a feral blast of fun, a mix of Carla Bley-esque wildness and some of the (increasingly brooding) jazz poetry that’s helped raise Nathanson’s standing as a connoisseur of New York noir. The NYU show was a showcase for what a ferociously interesting and dauntingly virtuosic player he is. The Jazz Passengers are a song band with the kind of interplay that comes from three decades worth of gigs, but Nathanson doesn’t get enough props for his technique.

Alternating between alto, soprano and baritone sax, he switched reeds in and out of his various axes, explaining his fascination with getting just the right amount of smoke or nebulosity or brightness depending on what the song calls for. The evening’s most spectacular moment was when he played alto and soprano at the same time – with equal parts squall and melody. It was also very cool to hear him play baritone: a lot of alto players double on baritone to get more gigs, but Nathanson made it clear that he was just as much at home in the growly lows as the upper midrange where he’s usually found.

The material was mostly new and unrecorded, along with the first number Nathanson ever wrote – or was at least comfortable enough with to bring to the stage. There was anger, and rigor and intensity in that one – if memory serves right, he wrote it in the wake of his brother’s death. Many of the new compositions explored Jewish themes, although the echoes of both Eastern European Jewish folk music and liturgical melodies were distant and allusive. Nathanson also treated the gathering to some poetry: the most memorable piece pondered what the hell we’re going to do and where everybody’s going to go until the real estate bubble finally bursts and this endless blitzkrieg of gentrification collapses with it. Obviously, Nathanson said all that far more imagistically and succinctly. You might get some of that at Barbes this month.

A Small Subset of the Great Microscopic Septet Plays the Lower East Side Saturday Afternoon

There are few more definitively New York outfits than the Microscopic Septet – notwithstanding that a co-founder of this “surrealistic swing” crew is Australian. They predated the swing jazz revival here, but they’re not the least bit retro. They come out of the late 70s/early 80s punk jazz scene, but they’re not the least bit skronky. And pianist Joel Forrester foreshadowed this year’s avalanche of protest jazz by writing the theme for NPR’s Fresh Air as a brooding broadside against Bush I’s Gulf War. Beyond their substantial back catalog, they reputedly have a couple hundred more compositions they’ve played live over the decades but have never recorded. Their latest album, Been Up So Long It Looks Like Down to Me: The Micros Play the Blues is streaming at Cuneiform Records.

The Micros typically reunite for an annual Manhattan show or two. They haven’t done that this year, but their two lowest-register members, baritone saxophonist Dave Sewelson and bassist Dave Hofstra are playing a real 80s throwback kind of gig, a duo improvisation on Sept 9 in the community garden at Stanton and Norfolk at around 3. Avant garde cult favorite multi-instrumentalist Cooper-Moore – a big influence on Mara Rosenbloom – duets with bassist William Parker to start the afternoon at 2; afterward at 4, trombone wizard Steve Swell joins with Parker and TA Thompson.

The Micros’ album is a about as serious as they get – which isn’t totally dead serious, considering how much of their catalog is sort of the Spinal Tap of classic jazz – in that sense, they predated Mostly Other People Do the Killing by a couple of decades. The album opens with Cat Toys, a slinky horror film theme theme with the occasional wry piano flourish, a smoky Don Davis alto solo and Hofstra’s coy strut over drummer Richard Dworkin’s sotto-voce rimshots. Blues Cubistico is full of tongue-in-cheek stop-and-starts and gives Sewelson a vehicle for his genial wit. Likewise, the slowly swaying Dark Blue, with plenty of droll echo tradeoffs with the rest of the band and a similarly sardonic outro where the four-horn frontline finally coalesces.

Don’t Mind If I Do is a rare departure into straight-ahead, blithe, New Orleans-tinged territory with a slithery solo from tenor saxophonist Mike Hashin (who’s also the not-so-secret weapon in Svetlana & the Delancey Five). Similarly, another of soprano saxophonist Phillip Johnston’s tunes here, Migraine Blues has a comfortable wee-hours strut, but with contrasting, shivery solos from Davis and Sewelson.

PJ in the 60s, a catchy, triumphant swing shuffle, is Forrester’s shout-out to his bandmate Johnston, building out of a surprisingly messy sax cauldron and featuring a balmy Johnston trading off with the rest of the horns. When It’s Getting Dark is basically variations on the Peter Gunne theme, Forrester’s sardonic piano up against Dworkin’s emphatic drumming and some cartoonish chartwork from the horns. Simple-Minded Blues, dedicated to Spectrum impresario Glenn Cornett, is anything but simple, a cheery exercise in dressing up the blues in all kinds of strange voicings, but with a purist Forrester solo as a sweet caramel center.

After You, Joel, dedicated by Forrester to painter Joel Goldstein, brings back the shuffle groove and Looney Tunes exchanges of voices. 12 Angry Birds, a low-key, marching Ellington homage by Johnston, reaches for Mood Indigo lustre, with a brooding soprano sax solo that’s arguably the album’s most riveting moment.

Quizzical, Johnston’s salute to his bandmate and Micros co-founder Forrester, threatens to get satirical early on but straightens out with a purposeful Monk influence and plenty of room for the pianist to channel that. The album winds up with a blues version of a xmas carol – which should have been left at the curb for the trash truck beside that moldy Simon & Garfunkel album  – and a hefty cover of Joe Liggins and the Honeydrippers’ 1950 R&B hit I’ve Got a Right to Cry, sung with gritty passion by Sewelson. It’s unlikely that he and Hofstra will do much of anything this composed at the Saturday show in the garden…but you never know with any of these guys.

There’s Nothing Jorge Glem Can’t Play on the Cuatro

Last night before the show at Joe’s Pub, the trippy sounds of cumbia icons Chicha Libre’s Canibalismo album wafted through the PA, a very good omen. Like Chicha Libre’s Olivier Conan, Venezuelan wizard Jorge Glem plays the cuatro, the shortscale Pan-American four-stringed instrument. The C4 Trio co-founder explained that he wants to bring that spiky little axe into every style of music around the world…and if there’s anybody who has the chops to do that, it’s Glem. You can watch the whole show at youtube.

He drew plenty of laughs for his account of how he came to play it. As a small child, he wanted to be a percussionist, but his mom wouldn’t let him use the family pots and pans. But there was a cuatro hanging on the wall of his home in Cumaná, a common sight in a neighborhood where it was more kitschy decor than anything else. With a big grin, he vigorously delivered the very first sounds he was able to get out of it: mimicking the beats of a conga by banging on the instrument’s body while muting the strings, first at the sound hole and then right at the headstock for highs and lows. Throughout the show, he also made it sound like a banjo, a mandolin, a flamenco guitar, a pandeiro, many different drums, a mosquito and a jet engine among other things.

Guest clarinetist Paquito D’Rivera also related a funny anecdote about Blues for Sonny, a Sonny Rollins tribute by Toots Thielemans that D’Rivera had recorded with the late jazz harmonica player. Michel Camilo heard it and said to D’Rivera, “That’s a Venezuelan tune! What does Sonny Rollins have to do with Venezuela?” So it would make sense for D’Rivera to play that warmly bouncing number with Glem. The two followed with A Night in Tunisia, which D’Rivera had first thrown at Glem at an impromptu performance at the National Arts Club…and was amazed to find that Glem knew it. That was a showcase for Glem’s postbop phrasing, but then again, so was Glem’s opening solo improvisation.

Joined by accordionist Sam Reider, Glem mashed up what sounded like an Irish reel, a high lonesome Applachian dance, vallenato and champeta, maybe, throwing in a boisterous improvisation midway through. Likewise, guitarist Yotam Silberstein playfully jousted with Glem throughout a shapeshifting blend of Caribbean coastal folk, postbop and some of the most fluidly legato Django Reinhardt ever played.

The final guest was singer Claudia Acuña, who held the crowd in the palm of her hand with her bittersweetly nuanced low register throughout a couple of ballads in both English and Spanish. Glem encored with a final, chord-chopping solo piece that quoted liberally from Bach and Beethoven, and maybe Yomo Toro and Dick Dale too. How Glem managed to get through that one without breaking either strings or his fingers is a mystery that has yet to be solved. No wonder there’s a documentary film being made about his crazy cuatro cross-pollinations here in New York. 

Visionary Trumpeter Amir ElSaffar Explores Indian Themes at a Familiar Lincoln Center Haunt

Amir ElSaffar’s Two Rivers Ensemble played the most epic, richly ironic show of 2017. Deep in the wicked heart of the financial district, completely unprepared for a frequent drizzle that threatened to explode overhead, they swept through a vast, oceanic suite largely based on Arabic modes in the shadow of a building festooned with the most hated name in the English language. That the visionary trumpeter/santoorist/singer’s mighty, heavily improvisational orchestra would be able to pull off such a darkly majestic, ultimately triumphant feat under such circumstances is reason for great optimism.

While this monumental suite, Not Two, references an Indian vernacular on occasion, that isn’t a major part of the work. However, ElSaffar has an auspicious concert coming up this Friday, September 8 at 7:30 PM at the Lincoln Center atrium space on Broadway just north of 62nd St., where he’ll be leading a septet much deeper into Indian-inspired themes. Fans of the most deliciously rippling sounds imaginable should be aware that this band will feature both the Egyptian kanun and the Iraqi santoor. The show is free, and ElSaffar’s previous performance here sold out: it can’t hurt to get here early.

Another great irony is that this mid-June performance of Not Two featured lots of pairings between instruments. ElSaffar’s title reflects how few questions can be answered in black-and-white terms, and how manichaean thinking gets us in trouble every time. This is a profoundly uneasy, symphonic work with several themes: the two that jumped out the most at this show were a cynical fanfare of sorts and a swaying, anthemic Egyptian-influenced melody and seemingly endless variations.

The most poignant and plaintive duet was between ElSaffar, who played both santoor and trumpet, and his similarly talented sister Dena (leader of brilliant Indiana Middle Eastern band Salaam) on viola. Playing a spinet piano retuned to astringent microtones, Aruan Ortiz calmly found his footing, then lept a couple of octaves and circled animatedly while vibraphonist Jason Adasiewicz, at the opposite edge of the stage, maintained a warier, more lingering presence.

As the suite rose and fell, Ole Mathisen’s desolate microtonal tenor sax and Mohamed Saleh’s oboe emerged and then receded into the mist. Three of the night’s most adrenalizing solos were pure postbop jazz: ElSaffar’s cyclotronic Miles-at-gale-force trumpet swirls, baritone saxophonist Josh Sinton’s artfully crescendong development of a moody circular theme, and finally alto saxophonist Aakash Mittal’s rapidfire, surgically slashing foreshadowing of the coda. Many of the rest of the players got time in the spotlight, ranging from cautious and ominous to an intensity that bordered on frantic, no surprise in an era of deportations and travel bans. For this distinguished cast, which also comprised cellist Naseem Alatrash, oudists/percussionists Zafer Tawil and Georges Ziadeh, multi-reedman JD Parran, guitarist Miles Okazaki, buzuq player Tareq Abboushi, bassist Carlo DeRosa, percussionist Tim Moore and drummer Nasheet Waits, it was the show of a lifetime.

ElSaffar has a similarly stellar lineup for the September 8 show: Alatrash on cello plus Firas Zreik on kanun; Arun Ramamurthy on violin; Abhik Mukherjee on sitar; Jay Gandhi on bansuri flute, and Shiva Ghoshal on tabla. What’s more, this show is the first in Lincoln Center’s new series Outside India, a collaboration with the Brooklyn Raga Massive and the India Center Foundation. The game plan is to “disrupt the hierarchical nature of many Indian music collaborations and position Indian classical music as a space for inclusion and conversation in an innovative and radical new way.” Artists who will be joined by Massive members at future concerts include adventurous Afro-Cuban drummer Román Diaz on Nov 10, and Malian singer Awa Sangho on Feb 9.

JD Allen Brings His Restless, Uneasy Power and Tunefulness to Smalls This Labor Day

The restlessness and persistent unease in tenor saxophonist JD Allen’s compositions mirror how he works.  Much as he’s concretized a wickedly terse, hard-hitting, sometimes grimly ironic melodicism, he never stays in the same place for long. As a composer, Allen has few rivals in any style, let alone the postbop jazz he’s mined so intensely over the past ten years in particular. Yet he and his trio are also consummate improvisers. That bassist Gregg August and drummer Rudy Royston have a thing for the darkness in Allen’s writing explains a lot about their interplay, which borders on the telepathic. More than a decade of touring together will help get you there too.

Allen’s latest album is Radio Flyer; he and the trio are playing a rare Monday night gig at Smalls at 10:30 PM on Labor Day, Sept 4; cover is $20. If you wish you’d seen those great Sonny Rollins trios of the 50s – or the 90s – this group is on that level. It’s time that the jazz world realized that Allen deserves to be up on that same pedestal with Rollins and Ben Webster. The great ones aren’t just plaques in the hall of fame: some of them walk among us and maybe hang at the bar after.

On one hand, Radio Flyer (a brand of little red wagon) is your typical Allen album: ominous minor modes, plenty of stark bowed bass and rumbling drums, gravitas  and tunes everywhere. What’s different this time is that the songs are a lot longer than Allen’s usual three-to-four minute “jukebox jazz” pieces, and that there’s guitar on the album. Allen has never had guitar in the band before: how does it work out? Liberty Ellman is also a consummate improviser, so he gets where Allen is coming from. And if you’ve seen Allen live, constructing  a jazz symphony out of a handful of themes from one album or another, this is what that sounds like.

The album opens with Sitting Bull, Allen’s distantly American Indian-inflected, brooding sax panned hard left, Ellman hanging back in the opposite channel, August moodily in and out of the picture as Royston machetes the underbrush. Yet as dark as this is, when Allen pulls a funky swing together, there’s a joke, and it’s way too good to give away. He’s like that. August’s chugging, deep blues contrasts with Ellman’s pensively chosen phrases up to where Allen takes it out with one of his signature grey-sky riffs.

The title track leaves no doubt that this is another one of Allen’s sonata-like suites: nobody in jazz does theme-and-variations better than this guy. Ellman’s ringing, overtone-laced washes and Royston’s rumble along the perimeter contrast with the bandleader and the bass, steady at the center. Then they leave it to Royston to hold it together, Ellman’s long, enigmatic solo echoing Allen’s.

How happy is Heureux? Somewhat. Counterrhythms and echo devices abound through the loose intro, to a bustling, floating swing, yet neither August nor Royston ever lapse into a straight-up walk or shuffle. If only other rhythm sections were this interesting- or had this much fun. Ellman can’t resist, and pushes them hard when he takes flight.

The band pick up the pace with The Angelus Bell, with its artful-dodger tradeoffs between voices  – lots and lots of clever echoing and use of space on this album. Sancho Panza echoes the restrained, stormy majesty of Allen’s iconic 2007 I Am I Am album, August edging toward the Middle East with his shadowy, dancing, microtone-infused lines, Royston’s relentless prowl and Ellman’s mournful, spare jangle underpinning Allen’s bright but elegaic melody.

Royston’s tongue-in-cheek rhythmic japes set the stage for the rest of the band in Daedalus. a apt decision considering that it’s the album’s most straight-ahead number. They close it out with another American Indian reference, Ghost Dance, Roston’s sotto-voce cymbals misting August’s purposeful incisions, Ellman finally getting to take an opening solo and matching Allen’s deep, bluesy grandeur. You’ll see this album on many best-of lists, here and at NPR and elsewhere at the end of the year.

Live Music Calendar for New York City and Brooklyn for September and October 2017

Free and cheap concerts in just about every neighborhood. If you’re leaving your hood, make sure you check http://www.mta.info for service changes considering how the trains are at night.

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

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

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

On select Wednesdays and Sundays, an intimate, growing piano music salon on the Upper West Side featuring iconoclastically insightful, lyrical pianist Nancy Garniez – a cult favorite with an extraordinarily fluid, singing, legato style – exploring the delicious minutiae of works from across the centuries. Up next: Bartok, Mozart and fascinating improvisations. Sugg don $10 (pay what you can), delicious gluten-free refreshments, beverages and lively conversation included! email for info/location.

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

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

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

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

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

Also 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.

Three Mondays in September at midnight: 9/4, 9/18 and 9/25 gonzo postbop pianist Dred Scott leads his trio at the small room at the Rockwood

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

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

Wednesdays in September, 6 PM powerful, dynamic blue-eyed soul belter Sarah Wise at Shrine

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

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

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

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

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

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

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

Saturdays in September, 6 PM dark urbane Romany song maven (and Berthold Brecht descendant) Sanda Weigl is at Barbes for a series of intimate duo shows

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

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

Sundays in September, at sometime past noon at Hank’s, Nashville gothic crooner Sean Kershaw‘s legendary honkytonk brunch is back! It’s just like 1999 again!

Sundays at 5 PM in September,  iconic noir NYC saxophonist/raconteur and Jazz Passenger Roy Nathanson at Barbes

9/1, if you’re going to the stadium to see the Yankees get their asses kicked by the Red Sox, get there early because the perennially intense, tuneful godfather of edgy, lyrical, anthemic downtown NYC rock, Willie Nile is playing at 5:45 for no extra charge. His Willie Nile Plays Dylan show at City Winery is sold out.

 9/1-2, 8:30 PM John Zorn improv night with special guests – lots to choose from – at the New School’s Glass Box Performance Space, 55 W 13th St, $20

9/1, 10 PM the world’s creepiest crime jazz/film noir band, Big Lazy at Barbes

9/1, 10 PM Sekouba & Baloumba play West African roots reggae at Shrine

9/1, 10 PM one of the great saxophonists in the history of ska, Dave Hillyard & the Rocksteady 7 at  Sunny’s

9/1, 10:30 PM catchy Booker T-esque soul jazz with the David Gibson/Jared Gold, Hammond B3 organ band at the Fat Cat

9/1, 11 PM the intoxicatingly clattering, sintir bass lute fueled Moroccan trance/dance grooves of Innov Gnawa  at C’Mon Everybody, $10

9/2, 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

9/2, 7 PM intense, brilliantly lyrical, fearlessly political 1950s style original folk/blues singer Joshua Garcia followed eventually at 8 by prosaic but tuneful folkie Jeremy Aaron and then at 8:30 by clever, playful swing/oldtimey accordionist-singer Erica Mancini at Caffe Vivaldi 

9/2, 8 PM accordion genius Shoko Nagai ’s Tokala at Barbes “Tokala is the name of a mysterious country in Central Asia which had a connection to Japan via the silk road which was responsible for bringing Middle Eastern culture to ancient Japan.  The band explores the sound of this ancient connection where cultural exchange left an imprint which became integral part of Japanese culture.” With Zisl Slepovitch (clarinet); Kenny Warren (trumpet) and Stomu Takeishi (bass). Followed at 10 by epic ranchera/bolero brass crew Banda de los Muertos at Barbes

9/2, 8 PM post-Stooges riff-rock stoners the Greasy Hearts at Alphaville $10

 9/2, 9 PM ten-piece country/carnivalesque/acoustic rock powerhouse M Shanghai String Band at the Jalopy, $!0

9/2, 9 PM darkly playful, epic piano-based art-rock singer Eve Lesov  at Sidewalk. 9/24 at 7 PM she’s at the small room at the Rockwood

9/2. 8 PM high voltage skiffle/Americana band the Salt Cracker Crazies f at the Way Station

9/2, 9 PM the monthly surf shindig at Otto’s is a short one this time, with Link Wray cover band the Wraycyclers followed by guitar mastermind Mike Rosado’s volcanic, pounding Dick Dale-influenced 9th Wave at Otto’s

9/2, 9 PM Super Yamba play their psychedelic Afrobeat jams at Bar Chord

9/2, 10 PM popular fourth-wave garage rockers the Othermen at Union Pool, $10

 9/2, 11 PM ferociously dynamic, tuneful, female-fronted power trio Castle Black  at Arlene’s $10

9/3, 1 PM jangly New York original surf rock cult heroes the Supertones at Jacob Riis Beach in the Rockaways, take the Rockaway ferry for the cost of a subway ride from Sunset Park or Wall Street/Pier 11. From there, a free shuttle will take you right to Jacob Riis Park. Take the shuttle heading west to get to the beach, and east to get back to the NYC ferry.

9/3, 5 PM darkly jangly, catchy, new wave-ish rockers Melissa & the Mannequins followed by boisterous, erudite oldtimey jazz trombonist J. Walter Hawkes and band at LIC Bar

9/3, 7 PM witty Microscopic Septet pianist Joel Forrester  at Cleopatra’s Needle

9/3, 7 PM pastoral gothic accordion art-rock with Sam Reider & the Human Hands  followed at 9:30 by Romany jazz/psychedelic rock guitar mastermind Stephane Wrembel at Barbes. Reider is also here on 9/19

9/3, 9 PM perennially lyrical, prolific tenor postbop tenor saxophonist/composer Tom Tallitsch and his quintet at 55 Bar

9/4, 1 PM intense charismatic danceable metal cumbia/skaragga/latin rockers Escarioka at Jacob Riis Beach in the Rockaways, take the Rockaway ferry for the cost of a subway ride from Sunset Park or Wall Street/Pier 11. From there, a free shuttle will take you right to Jacob Riis Park. Take the shuttle heading west to get to the beach, and east to get back to the NYC ferry.

9/4, 4 PM fiery, psychedelically bluesy oldschool soul/southern rockers Lizzie & the Makers  followed eventually at 7 bythe uneasily cinematic art-rock Pi PowerTrio  – film composer and former Raybeat Pat Irwin (guitar, electronics), Sasha Dobson (drums, vocals) and Daria Grace (bass, vocals) at LIC Bar

9/4, 7 PM excellent oldschool blues guitarist Aaron Frazer (of the fiery, dirty Charley Patton’s War) leads a two-violin band followed by charming oldtimey swing brass band Tuba Skinny a at a house concert at 169 Spencer St. at Willoughby, C to Myrtle-Willoughby (G train not running). Tuba Skinny are at the Jalopy the following night, 9/5 at 9 for $12. 

9/4, 7:30 PM magical Balkan singer Corinna Snyder’s haunting Macedonian duo Glas followed by wild Bulgarian wedding band Kabile at Sisters Brooklyn, 900 Fulton St., Ft. Greene, A/C to Clinton-Washington

9/4, 9 PM sweeping, swinging vibraphonist Behn Gillece leads his quintet at the Fat Cat. 9/12, 7:30 PM they’re at Smalls

9/4, 9:30 PM Dilemastronauta Y Los Sabrosos Cosmicos with members of M.A.K.U and Combo Chimbit play space cumbia at Barbes

9/4, 10:30 PM this era’s hardest-hitting, most purposeful, some might say darkest tenor saxophonist/composer JD Allen leads his quartet at Smalls

9/5, 6 PM ferocious, Middle Eastern-inspired jazz violinist Elektra Kurtis  and Ensemble Elektra with microtonal sax powerhouse Lefteris Bournias and bassist Brad Jones at Cornelia St. Cafe, $10 + $10 min. 9/19, 7:30 PM they’re at  Symphony Space, $27/$15 stud/srs

9/5-9 irrepressible drum icon Jeff “Tain” Watts leads an Elvin Jones alumni band including Ravi Coltrane and Dave Liebman on altos at the Jazz Standard, $30

9/5, 7:30 PM eclectic Venezuelan cuatro star Jorge Glem leads a kinetic, first-class pan-Latin band band with special guests saxophonist Paquito D’Rivera and accordionist Sam Reider at Joe’s Pub, $30

9/5, 7:30 PM night one of this year’s Resonant Bodies festival of new vocal music with avant crooner Theo Bleckmann , Irish singer Jennifer Walshe and bass-baritone Davóne Tines at Roulette, $20 adv tix rec

9/5, 7:30 PM charismatic, adventurous postbop/avant garde trombonist/crooner Frank Lacy leads his quintet at Smalls

9/5-17, 8/10 PM perennially popular, lyrical pianist Bill Charlap leads his trio at the Vanguard, $30

9/5. 8 PM Patricia Santos and Tara Hanish’s amazing, intense, soul-infused cello-rock/cello-metal duo the Whiskey Girls  followed by darkly torchy southwestern gothic/Europolitan songwriter/guitarist Miwa Gemini  at the Way Station

9/5. 8 PM Triple Paste play hot 20s jazz and parse the Lennie Tristano’s songbook, featuring Eric Pakula, Matt Darriau, Katie Down, Rafe D’Lugoff, Arthur Kell and Vinnie Sperazza followed at 9:30 by clever, fiery, eclectic ten-piece Balkan/hip-hop/funk brass maniacs Slavic Soul Party  at Barbes

9/5, 8 PM lyrical jazz piano icon Fred Hersch ’s Pocket Orchestra with vocalist Jo Lawry, trumpetist Mike Rodriguez and percussionist Rogerio Boccato at Mezzrow, $25

9/5, 9 PM popular 90s/zeros post-Velvets psychedelic band Brian Jonestown Massacre at Brooklyn Steel $28 adv tix rec

9/5. 10 PM acerbic alto saxophonist David Binney leads his quartet at at 55 Bar. He’s also here on 9/12

9/6, 1 PM the up-and-coming Argus String Quartet play works by Haydn, Keith Livengood, Garth Knox at the at Greene Space, free, res req 

 9/6, 7 PM pianist Minji Kim leads her lustrous, cinematic quartet at Shapeshifter Lab, $10

9/6, 7:30 PM Venezuela in Motion: Carmela Ramirez, fiery guitarslinger Juancho Herrera, pianist Gabriel Chakarji and Edward Ramirez at Club Bonafide, $10

9/6, 7:30 PM night two of this year’s Resonant Bodies festival of new vocal music with Hai-Ting Chinn’s vocal trio, iconic, ageless singer/composer Joan La Barbara, and Odeya Nini solo at Roulette, $20 adv tix rec

9/6, 8 PM psychedelic klezmer/bluegrass mandolin and clarinet legend Andy Statman at Barbes, $10

9/6, 8ish singer/keyboardist Sara McDonald does double duty, with her lush 17-piece art-rock/chamber pop band the New York Chillharmonic and then with whirlwind Munich techno orchestra the Jazzrausch Bigband at the Good Room, $10. They’re also at the Sheen Center on Bleecker just off Bowery at 7:30 on 9/8 with a dadrock band for twice that. 

9/6 ,8 PM luminous, soulful pan-Latin jazz chanteuse Claudia Acuña with pianist Pablo Vergara & bassist Pablo Menares at Mezzrow, $20

9/6, 9 PM  hot 20s swing with trumpeter Jason Prover and his Sneak Thievery Orchestra at Radegast Hall

9/6, 9ish Dervisi feat. guitar god Steve Antonakos play haunting underground Greek  revolutionary anthems and hash-smoking songs from the 20s and 30sat Troost

9/6, 10 PM guitar mastermind Danny Weiss’ and magical Americana singer Mary Olive Smith’s soulful retro bluegrass band Stillhouse Serenade at Sunny’s

9/6, 10 PM psychedelic soul-rockers Madam West at C’Mon Everybody, $10

9/7, 7;30 PM terse, purposeful sitar virtuoso Roopa Panesar at the Lincoln Centra Atrium, free, early arrival advised

9/7, 7:30 PM singer Fran Pado’s dark comedy Floodpants “featuring pothead dads, the evil Green Hook Man [legendary NJ serial killer boogieman from the 70s], blue-collar N.J. in the ’70s, and a 9yr. old girl  who must save the world from space aliens,” with music by her similarly haunting psychedelic art-rock band Goddess at Dixon Place, free

9/7, 7:30 PM night three of this year’s Resonant Bodies festival of new vocal music with indie opera soprano Mary Bonhag and headliner Kayleigh Butcher performing new music by 21st century composers, and in the middle spectacular chanteuse Kamala Sankaram and her wild cumbia/psychedelic Bollywood band Bombay Rickey – the loudest act ever to play this venue – at Roulette, $20 adv tix rec

9/7, 7:30/9:30 PM drummer Ulysses Owens Jr. leads an unorthodox trio with Joel Ross on vibes and Ruben Rogers on bass at the Jazz Gallery, $15

9/7, 8 PM pianist Marc Peloquin plays new solo works by David Del Tredici at Symphony Space, $20 adv tix rec

9/7, 8 PM brilliantly cinematic, kinetic violinist Dana Lyn‘s pssychedelic, ecolotically themed Mother Octopus quartet at the Owl

9/7, 8 PM intense Balkan chanteuse Jenny Luna‘s haunting, traditional Turkish band Dolunay followed at 10 by intense, intricately orchestrated, low register-loving psycho mambo band Gato Loco at Barbes

9/7, 8 PM long-running 90s alt-country favorites Rusty Truck at Hill Country

9/7, 8:30 PM mostly-female pan-latin rockers Ladama, – who mash up cumbia, maracatu, onda nueva and joropa with jaunty acoustic rock – at the third stage at the Rockwood, $10

9/7, 8:30 /10 PM conscious hip-hop lyricist Talib Kweli with his band at the Blue Note, $30 standing room avail

 9/7, 9 PM intense, haunting Americana/honkytonk singer Ruby Rae at Hank’s

9/7, 10 PM the great unsung hero of darkly purposeful, noir-tinged jazz guitar, Saul Rubin leads his Zebtet at the Fat Cat. He’s also here on 9/12 at 7

9/7, 10:30 PM catchy, cinematic, noir-inclined saxophonist/composer Nick Hempton leads his quintet at Smalls

9/8, 6 PM crystalline-voiced, noir-tinged third-stream jazz chanteuse Tessa Souter and her band at 55 Bar

9/8, 7 PM Changing Modes – NYC’s funnest, most unpredictable, sharply lyrical new wave art-rock band – at Highline Ballroom, $15 adv tix rec

9/8, 7:30 PM haunting trumpeter/santoorist Amir ElSaffar leads a rapturously improvisational ensemble: Firas Zreik, qanun; Naseem Alatrash, cello; Arun Ramamurthy, violin Abhik Mukherjee, sitar; Jay Gandhi, bansuri; Shiva Ghoshal, tabla mashing up Iraqi and Indian themes at the Lincoln Center Atrium, free, early arrival a must

9/8, 7:30 PM  brooding Hungarian folk-influenced saxophonist Mihály Dresch leads a quartet with Chris Potter on sax, Joe Martin on bass, and Gerald Cleaver on drums at Hungarian House, 213 E 82nd St, free

9/8, 7:30 PM pianist Nicole Bancato, trumpeter Gregory Hammontree and soprano saxophonist Barry Hartglass play multimeida works by pieces by Clara Schumann, Terry Riley and Charlie Parker at Scholes St. Studios

9/8, 8 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 10 by awesomely slinky, psychedelic Israeli Ethiopiques groove instrumentalists Anbessa Orchestra at Barbes

9/8, 8 PM Brooklyn’s funnest band, psychedelic organ-driven Middle Eastern-tinged surf rock trio Hearing Things at the Knockdown Center, free

 9/8, 8 PM Mediterranean chanteuse Zana plays “gypsy pop” at Shrine 

9/8-9, 8:30 PM irrepressible slide trumpeter Steven Bernstein leads his group at the New School’s Glass Box Performance Space, 55 W 13th St, $20

9/8, 10 PM hard-hitting psychedelic/blues guitarslinger Debra Devi  plays the album release show for her new one Wild Little Girl followed by similarly guitarishly brilliant surf rockers the Black Flamingos at Maxwell’s, $10

9/8, 10 PM fiery electric bluegrass and C&W with Demolition String Band at Finnegan’s, 908 Willow Ave at 8th St. in Hoboken

9/8, 10 PM wild, noisy, genuinely Hendrixian virtuoso lead guitarist Viva DeConcini and her band  at the Way Station

 9/8-9, 10:30 PMe clectic, paradigm-shifting B3 jazz organist Brian Charette leads his quartet at Smalls

9/9, noon-4 PM the haunting Bukharan Shashmaqam Ensemble, otherworldly Georgian Dancing Crane Ensemble and wild, spiraling, rare rustic minor-key Polesian klezmer dances and grooves with Litvakuson the boardwalk at Coney Island  in front of the gazebo at Brighton 4th St. You can also register to vote here.

9/9, noon, fearlessly haunting, dynamic, charismatic Romany/Balkan chanteuse Eva Salina with pyrotechnic accordionist Peter Stan followed by oldschool Cuban son band Conjunto Guantanamo at Rufus King Manor,150-03 Jamaica Avenue, Jamaica Queens, free, rsvp reqd, E/J to Jamaica/Parsons 

9/9, noon-10 PM the inaugural Hudson West Folk Festival at Cathedral Hall, 380 Montgomery St. in Jersey City, just a couple of blocks from the Grove St. Path train, $30. In reverse order: newgrass harmony band the Mammals, fiddler Laura Cortese & the Dance Cards, Red Molly’s jazzy dobro player Abbie Gardner, wishful drinker Matt Nakoa, mandolin-driven string band Sleeping Bee, purist front-porch folksinger Diana Jones, the sardonic, relentlessly relevant Paul Sachs, ten-piece country/carnivalesque/acoustic rock powerhouse M Shanghai String Band, incomparable country/jazz/janglerock icon Amy Allison, hauntingly harmony-driven folk noir supergroup Bobtown and Tim Erbach

9/9, 2 PM jazz improvisation outdoors: the William Parker / Cooper-Moore duo followed at 3 by the Microscopic Septet’s baritone saxophonist Dave Sewelson and bassist Dave Hofstra with special guest Bobby Kapp and then at 4 trombone wizard Steve Swell with William Parker and TA Thompson at the community garden at Stanton and Norfolk

9/9, 3 PM the first annual Ft. Greene Jazz Festival in Ft Greene Park featuring latin jazz with a big cast of singers, players and Maraku Watanabe on keys

9/9, 3 PM catchy, anthemic, charismatic folk noir band Thee Shambels – sort of the missing link between Nick Cave and the Pogues at the small room at the Rockwood

9/9, 6 PM dark urbane Romany song maven (and Berthold Brecht descendant) Sanda Weigl in a special intimate duo show with Shoko Nagai on piano followed at 8 by pianist Lucian Ban  and saxophonist Abraham Burton’s own duo project, Blacksalt and then Felipe Fournier‘s Supermambo vibraphone band playing a  Tito Puente tribute at Barbes

9/9, 7:30 PM songwriter Yu-Wei Hsieh and band make kinetic rock out of ancient Taiwanese themes at Flushing Town Hall, $10

9/9, 7 PM charming oldtimey trio the Crimson Ragdolls:  Joanna Sternberg, Ali Dineen & Lucine Yeghiazaryanne at Terra Blues

 9/9, 7:30/9:30 PM drummer Tom Rainey leads his frequently electrifying trio with saxophonist Ingrid Laubrock and guitarist Mary Halvorson at the Jazz Gallery, $22

9/9, 8 PM perennially dark, soaring noir soul singer/bandleader Nicole Atkins at the Mercury, $15, get there early.

9/9, 8 PM hot 20s and 30s swing with Naama Gherber and the Misbehavin’ Seven at the Cell Theatre, $15/$10 stud.srs. Followed at 9:30 (separate $15 adm) by dynamic jazz chanteuse Lady Cantrese and her purist oldschool quartet.

9/9, 8 PM intense, soaringly lyrical dark Americana songwriter Lara Ewen followed eventually at 10 by the even more ferocious, angst-fueled Jessi Robertson – a real force of nature – at Salzy Bar

9/9, 8 PM Jane Lecroy’s edgy, intensely lyrical art/punk band Ohmslice play the record release show for their new one followed by Brooklyn’s original punk Balkan horn group Hungry March Band, at Halyards in Gowanus

 9/9, 8:30 PM state-of-the-art trumpeter Dave Douglas  with fellow brass peeps  Stephanie Richards, Jeremy Pelt, Nate Wooley, and David Adewumi with Brad Jones on bass and Gerald Cleaver on drums at the New School’s Glass Box Performance Space, 55 W 13th St, $20

9/9, 9 PM the Transylvanian Üsztürü Band with Marianna Nyitrai (vocal), Levente Fazakas (violin), and Mihály Dresch (flute) play a wild Hungarian dance party at Hungarian House, 213 E 82nd St, free. There’s also an allday street fair on 82nd where there’s a good chance they’ll be doing a set sometime in the day as well.

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

9/9, 9 PM Mar Salá plays her acoustic flamenco rock at Shrine

9/9,10 PM oldschool psychedelic soul/groove band Empire Beats at the Way Station

9/10, 3 PM wickedly jangly surf/twang/country instrumentalists the Bakersfield Breakers at Zeppelin Hall, 88 Liberty View Dr, Jersey City, about 12 blocks from the Exchange Place Path station, free

9/10, 3 PM brilliant, dynamic Indian violinists Trina Basu & Arun Ramamurthy of Karavika at the Noguchi Museum, 9-01 33rd Rd,, Long Island City,  N to Broadway and about a 15-block walk, free w/museum adm

9/10. 6 PM OMFG a double bass doubleheader! Bass duo Thomas Helton and Michael Bisio followed by two bass clarinet/bass/drums quartet Dou B: Lisa Mezzacappa, Josh Sinton, Aaron Novik and Jason Levis at Downtown Music Gallery, free

 9/10, 7 PM guitarists Jason Loughlin and John Shannon play Chet Atkins tunes followed at 9:30 by Romany jazz/psychedelic rock guitar mastermind Stephane Wrembel at Barbes at Barbes

9/10, 7 PM pianist Éva Polgár plays works by Franz Liszt and Zoltán Kodály at Hungarian House, 213 E 82nd St, free

9/10, 7 PM elegant, sharply lyrical parlor pop stylist Heather Eatman at the small room at the Rockwood

9/10, 8 PM pianist Jorn Swart’s darkly edgy Malnota Trio with the Turtle Island Quartet’s Benni von Gutzeit on viola and Lucas Pino on bass clarinet at Cornelia St. Cafe, $10 + $10 min

9/10, 10 PM ferocious Americana rock guitarist and acerbically hilarious songwriter Tom Clark & the High Action Boys at the Treehouse at 2A

9/11, 8/10:30 PM ageless, perennially hard-hitting jazz piano sage and ex-Coltrane bandmate McCoy Tyner at the Blue Note, $30 standing room avail.

9/11,  8:30 PM amazing, psychedelic instrumentalists Sandcatchers – who blend cinematic, pastoral Americana and Middle Eastern themes – at Bar Lunatico

9/11, 9:30 PM cumbia band Los Cumpleanos – with new wave synths & retro organ sounds with effect-laden trombone and trumpet as well as a three piece percussion section – at Barbes 

9/12. drinks at 5:30 PM, music at 6, the up-and-coming Argus String Quartet play music of Ted Hearne, Andrew Norman and others at the Miller Theatre, free

9/12, 7 PM intense, edgily tuneful Texas tenor saxophonist Stan Killian leads his postbop quartet at 55 Bar

9/12, 8 PM crystalline-voiced noir Americana songwriter Jessie Kilguss followed by the ageless, catchy, Beatlesque Bubble at Union Hall, $8

9/12. 9 PM edgy female-fronted funk band Eliza & the Organix – feat. swirly alto sax player Kristen Tivey – at the Way Station

9/12, 9:30 PM the Bronx Conexion play their mighty salsa big band jazz at the Nuyorican Poets Cafe, $10

9/12, 9:30 PM tenor saxophonist Logan Strosahl leads his quintet with Jessica Pavone, viola;  Aquiles Navarro, trumpet;  Lim Yang, bass;  Allan Mednard, drums at Cornelia St. Cafe, $10 + $10 min

9/12-16, 11:30 PM the massive Evan Sherman Big Band at Dizzy’s Club, $10/$5 stud

9/13, 6 PM the opening reception for Meriem Bennani’s dynamic video installation Siham and Hafida, exploring female roles in Moroccan culture: an intimate view into the intergenerational experiences of two women in Moroccan shikha music and dance, at the Kitchen, free

9/13, 7 PM night one of this year’s Festival of New Trumpet Music at Shapeshifter Lab with the Oskar Stenmark Quartet – Oskar Stenmark (lugelhorn), Billy Test (piano), Vicente Archer (bass), Robin Baytas (drums) followed at 8:15 by Signal ProblemsDanny Gouker (trumpet), Eric Trudel (tenor sax), Adam Hopkins (bass), Nathan Ellman-bell (drums) and at 9:30 the fourteen-piece Wing Walker Orchestra feat. Jonathan Finlayson, $10

9/13, 7 PM the Night Kitchen play “Hank Williams, old timey and country with three distinctly amazing performers  Gene Yelin – guitar & vocals Trip Henderson – harmonica; Joanna Sternberg – bass and vocals” at Barbes – reputedly they are amazing

9/13, 7:30 PM tunefully psychedelic composer/avant-harpist Zeena Parkins and Thomas Dunn at the Drawing Center, 35 Wooster St, $20

9/13, 8 PM Tris McCall – New Jersey’s version of Elvis Costello, hard at work on his 50-song cycle, each set in a US state – at Sidewalk

9/13, 8/9:30 PM  the world’s funniest improvising ensemble, Mostly Other People Do the Killing, – down to just a trio this time, with Ron Stabinsky, piano;  Moppa Elliott, bass;  Kevin Shea, drums at Cornelia St. Cafe, $10 + $10 min

9/13. 8 PM irrepressible, historically informed, folk noir/art-rock songwriter Elisa Flynn hosts one of her reliably entertaining multi-act theme nights

9/13, 8 PM haunting Nashville gothic songwriter Jaye Bartell & Night Shop at Berlin, $10. 9/18 at 9ish they’re at Troost for the tip jar

9/13, 8 PM cellist Peggy Lee leads her improvisational septet at Roulette $20 adv tix rec

9/13, 9 PM trippy, epic, enveloping art-rock/spacerock band Debris of Titan at the Delancey, $10 

9/13-14, 9:30 PM amazingly eclectic female-fronted latin/Mediterranean/Romany and charming French ye-ye pop ensemble Banda Magda play a two-night album release stand for their new one Tigre at Joe’s Pub, $20 adv tix rec

9/13, 11 PM baritone crooner Sean Kershaw‘s Serpentones play “hi octane Brooklyn honkytonk”at Otto’s

9/14, 7 PM night two of this year’s Festival of New Trumpet Music at Shapeshifter Lab with the Allison Philips Trio/; Allison Philips (rumpetp), Gal Shaya (bass), Connor Parks (drums), at 8:15 the  Jason Palmer Quintet with Noah Preminger (tenor sax), Max Light (guitar), Simòn Willson (bass), Lee Fish (drums) and at 9:30- the fourteen-piece Wing Walker Orchestra feat. Jason Palmer, $10

9/14,  7 PM drummer Dan Pugach leads his nonet with Nicole Zuraitis on the mic at 55 Bar

9/14, 7:30 PM unstoppably edgy, deservedly iconic, witty downtown guitarist  Marc Ribot at the Drawing Center, 35 Wooster St, $20

9/14, 7:30/9:30 PM Camille Bertault – who rocketed to youtube virality with her spot-on vocalizations of famous jazz solos – with her similarly playful group at the Jazz Standard, $25

9/14, 8 PM plush, balmy, oldtimey uke swing band Daria Grace & the Pre-War Ponies followed at 10 by accordionist/sitarist Kamala Sankaram’s hot surfy Bollywood/cumbia/psychedelic rock project Bombay Rickey – a launching pad for her spellbinding four-octave voice – at Barbe

9/14, 8 PM fearlessly relevant, populist trumpet visionary/improviser Matana Roberts leads a killer sextet  with Jaimie Branch – trumpet; Peter Evans – trumpet; Gabriel Guerrero – piano; Henry Grimes – bass; Mike Pride – Drums playing her new suite, Breathe, about the dangerous rise of militarized police in the US at Roulette $20 adv tix rec

9/14,  8:30 PM a rare,starkly intimate, haunting klezmer duo show with singer Polina Shepherd and Klezmatics frontman/accordionist Lorin Sklamberg at the Jalopy, $15

9/14, 8:30 PM legendary 80s paisley underground psychedelic rocker Russ Tolman – Steve Wynn collaborator and mastermind behind the immortal True West – at Pete’s

9/14, 9 PMsmart, cleverly lyrical original swing chanteuse/songwriter/trombonist Emily Asher’s Garden Party at Radegast Hall

9/14, 10 PM fiery, psychedelically bluesy oldschool soul/southern rockers Lizzie & the Makers at the small room at the Rockwood. 9/16 at 2 PM they’re in the park outside Ikea in Red Hook, free

9/14, 11 PM dark, fiery, female-fronted female-fronted surf rockers High Waisted at Berlin $10

9/15, 6:15 PM the Brooklyn Art Song Society sing at a bourbon tasting at the Brooklyn Historical Society, 128 Pierrepont St. at Clinton in downtown Brooklyn, any train to Borough Hall, free

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

9/15, 7:30 PM repeating on 9/16 at 8:30 the reliably entertaining, adventurous Chelsea Symphony perform Tim Kiah — Endangered Song (world premiere); Ralph Vaughan Williams — Concerto for Oboe and Strings in A Minor with Phil Rashkin as soloist; Claude Debussy — La mer, trois esquisses symphoniques pour orchestre at the DiMenna Center, $20 sug don. Saturday’s show switches out the Vaughan Williams for Sally Beamish’s Viola Concerto No. 2

9/15, 8 PM lush, dynamic female-fronted art-rockers Arc Iris at C’Mon Everybody, $12

9/15, 8 PM playfully lyrical, fearlessly political superduo Kill Henry Sugar – guitar/banjo mastermind Erik Della Penna and drummer Dean Sharenow –followed at 10by amazingly psychedelic,  mystical Moroccan trance-dance band Innov Gnawa at Barbes

9/15, 8 PM Stillness in Queens –  pianist/composer JunYi Chow and video artist, Karen Y. Chan‘s enveloping video and sound art piece exploring the beauty and quietude of NYC’s most authentic oldschool borough, Queens, at Flushing Town Hall, $15/$10 stud

9/15, 8 PM early music ensemble Collectio Musicorum plays works from the Reformation by Luther, Zwingli, William Child, Claude Goudimel, Eustachio Romano, and Conrad Rein at Christ & St. Stephen’s Church, 120 W 69th St., free

9/15-16, 8 PM brilliantly lyrical latin jazz pianist Luis Perdomo  with Drew Gress & Billy Drummond at Mezzrow, $20 at the bar

9/15-16, 8:30 PM enigmatically witty klezmer-influenced pianist Uri Caine and band at the New School’s Glass Box Performance Space, 55 W 13th St, $20

9/15, 10 PM LES punk/surf guitar legend Simon Chardiet’s Rooftoppers – who give him a chance to show off his prowess with jazz and proto-rock and western swing – at Sunny’s

9/16, 7 PM pianist Polly Ferman‘s historically-infused, all-female, all-encompassing tango ensemble  Glamourtango at St. Peter’s Church, 54th/Lex, $20

9/16, 7 PM Elena Sartori plays classical organ works at James Chapel at Columbia, 3041 Broadway at 121st St., free

9/16, 7 PM catchy, anthemic Americana rock with the Cornell Bros. at the small room at the Rockwood. Later roots reggae group Royal Khaoz play at 11. Run em in, run em out.

9/16, 7 PM a screening of bassist Mimi Jones’ new documentary about octogenarian postbop pianist Bertha Hope, plus a set by by the Mimi Jones Band & the Black Madonna Project at BMHC Lab, 1303 Louis Niné Blvd in the Bronx, free; 2 or 5 train to Freeman St

9/16, 7:30 PM ethereal, raptly haunting singer Sara Serpa with harpist Zeena Parkins and tenor saxophonist Mark Turner at the Drawing Center, 35 Wooster St, $20

9/16, 8 PM 60s folk legend Carolyn Hester celebrates her 80th birthday with her daughters, Amy and Karla Blume at the People’s Voice Cafe, sugg don, $20; $12 for subscribers; “More if you choose; less if you can’t; no one turned away”

9/16, 8:30 PM irrepressible noir keyboardist/crooner Tom Warnick joins forces with high-voltage oldtimey barrelhouse swing group the 4th St. Nite Owls at Freddy’s  A brilliant collaboration.

9/16, 10 PM Hayes Carll – who’s taken his brooding, purist, lyrical Americana to the next level recently – at Bowery Ballroom, $22 adv tix rec

9/17, 2 PM a panel discussion on the evolution of salsa in New York followed by a performance by oldschool 70s style Cuban psychedelic salsa band Ola Fresca  and a reception afterward at the Museum of the City of New York, $25/$20 stud/srs

9/17, 3 PM Martha Cargo, flute;Benjamin Larsen, cello play works by Esmail, Andersen, George and Ding at Concerts on the Slope, St. John’s Episcopal Church, 139 St. John’s Place downhill from 7th Ave, sugg don

9/17, 5 PM the Daedalus String Quartet perform music of Mendelssohn, Beethoven and Ives at the Lounge at Hudson View Gardens, 128 Pinehurst Ave at W183rd St, $12, reception to follow

9/17, reception at 5:30, show at 6, a rare NYC concert by Japanese classical flutist Nobutaka Shimizu with Mayumi Shimizu, piano playing works by Debussy, Widor, Dutilleux, Raymond Guiot, Gary Schocker, Kazuo Fukushima and Ryohei Hirose at Baruch Performing Arts Center, 55 Lexington Ave (entrance on E. 25th St),  $25/$15 stud/srs

9/17, 6 PM ferocious, anthemic, lyrical post-mod band Wormburner – the American counterpart to the Jam – at LIC Bar

9/17, 7 PM the lavish, kinetic Liberte Big Band led by pianist Liberté-Anne Lymberiou at the Wiliamsburg Music Center at the big room at the Rockwood

9/17, 7:30 PM eclectic jazz multi-keyboardist Brian Marsella at the Drawing Center, 35 Wooster St, $20

9/17, 8 PM weird segues, good bands: skronky Chicago guitar improvisers Tacoma Narrows,  cinematic newgrass jamband the Jon Stickley Trio and Minneapolis newgrassers the Last Revel at the Knitting Factory, $12 adv tix rec,   

9/17, 9 PM sharply lyrical janglerock/Americana/soul songwriter Matt Keating and guitarist Steve Mayone’s catchy new project the Bastards of Fine Arts at the Treehouse at 2A 

9/17, 10 PM ageless Rocket from the Tombs/Dead Boys lead guitar legend Cheetah Chrome leads what’s left of the Dead Boys at Bowery Electric, $12 adv tix req, this will sell out

9/17, 10 PM the album release show for Ancient Ocean’s enveloping, slowly tectonic ambient instrumental debut album Titan’s Island at Union Pool, $10 

9/18, 6 PM  party for our right to fight:  volcanic brass street band Rude Mechanical Orchestra, Ras Moshe Burnett, The Black Lives Matter Band and open jam session, and speakers from the Stop Mass Incarceration Network and #WhoisUncleTom followed by discussion at the Living Gallery Outpost, 246  E 4th St

9/18, 7 PM guitarist/songwriter Alicyn Yaffee -the rare artist who successfully bridges the gap between lyrically-fueled chamber pop and jazz –  and her group followed by guitarist Pravin Thompson’s tuneful, sometimes sardonic quartet at Shapeshifter Lab, $10 

9/18, 8 PM charmingly nuanced, erudite singer/pianist and Dinah Washington reinventor  Champian Fulton leads her trio at  Radegast Hall. She’s also here on 9/25.

9/18, 8 PM the DaCapo Chamber Players perform music by up-and-coming composers abroad including Will Healy, Scott Lee, Tonia Ko, Hannah Lash, Mario Diaz, Anthony Cheung, Mike Bono and Christian Lee at Merkin Concert Hall, $20

9/18, 9:30 PM Chicha Libre spinoff Locobeach play trippy electro-cumbia at Barbes

9/18, 10:30 PM intense, lyrical tenor saxophonist Roxy Coss leads her quintet at Smalls

9/19, 6 PM eclectic Florida roots reggae band the Ellameno Beat at Shrine. 9/26, same time they’re at Silvana

9/19, 6 PM not a music event but worth knowing about: economists Angus Deaton and Anne Case discuss their recent work, Mortality and Morbidity in the 21st Century, which identifies a shocking trend known as “deaths of despair.” “While racial minorities in the U.S. have seen improvements in lifespan over the last two decades, more white middle-aged Americans have been dying younger, especially those with a high school education or less. Widespread addiction, suicide, alcoholic liver disease and heart disease, coupled with long-term stagnant economic opportunities, have shaped shorter lives characterized by more pain and anguish…The ability to translate pain into death is accelerated” At the Lang Community Center, room I-202 at the New School, 55 W 13th, free

9/19, 7 PM pianist Polly Ferman plays a multimedia show encompassing about a century worth of tango up to the present day, including works by Emmanuel Chabrier, Isaac Albeniz, Luis C. Mortet, Luis Mattos Rodriguez, Ernesto Nazareth, Alberto Ginastera, Pintin Castellanos, Anibal Troilo, Astor Piazzolla and Daniel Binelli at the National Opera Center, 333 7th Ave., $20 

9/19, 8 PM a rare guitar/bass duo show by tuneful, terse guitarist/singer Camila Meza and bassist Noam Wiesenberg, at Cornelia St. Cafe, $10 + $10 min

9/19, 8 PM pianist Ana Cervantes plays works by Faye-Ellen Silverman, Hilary Tann, Rain Worthington, and Joelle Wallach as well as music of Alba Potes (Colombia) and Georgina Derbez, Marcela Rodríguez, and Gabriela Ortiz of Mexico at Christ & St. Stephen’s Church, 120 W 69th St., $15/$10 stud/srs

9/19, 10:30 PM brilliant drummer/percussionist Willie Martinez & La Familia Sextet play classic salsa grooves at the Nuyorican Poets Cafe, $10

9/19, 11 PM haphazardly careening, occasionally theatrical dreampop/noiserockers Gold Dime  at  at Alphaville, $10

9/19-20, 11:30 PM pianist Miki Yamanaka leads her Quartet at Dizzy’s Club, $5. She plays organ, leading a trio on 9/21-23

9/20-21, 7:30 PM former Dizzy Gillespie guitarist Ed Cherry with his trio at Smalls. 9/20 a similarly terse but far more eclectic guitarist, Will Bernard follows with his quartet at 10:30. 9/25, 11 PM Bernard and group are at the small room at the Rockwood

9/20, 6:30 PM Eljuri play their ferocious, brilliantly guitar-driven, fearlessly populist rock en Espanol at  a ACLU benefit at Drom, $15 adv tix rec

9/20, 7 PM Arone Dyer’s Dronechoir followed by popular postrock/avant minimalists Bing & Ruth at the Poisson Rouge, $15 adv tix rec

9/20. 7:30 PM popular late 90s jangle/art-rock vets Elk City at Bowery Electric, $8 adv tix rec

9/21, 7 PM sintirst Hassan Hakmoun leads his psychedelic gnawa rock band at Joe’s Pub, $20. Followed at 9:30 by slinky, oud-fueled Middle Eastern/Nile Delta dance orchestra Alsarah & the Nubatones ($15 separate adm)

9/21, 7:30 PM Benjamin Larsen, cello and Hyungjin Choi, piano play the Prokofiev Cello Sonata plus originals and jazz at the Cathedral of the Holy Virgin Protection, 59 E 2nd St

9/21-23, 7:30/9:30 PM “the king of nouveau swing,” saxophonist Donald Harrison leads a quintet with special guest Brian Lynch on tenor at the Jazz Standard, $30

9/20, 8 PM pointilllistic, Bjork-esque electro-psych act Toska, Jane Lecroy’s edgy, intensely lyrical art/punk band Ohmslice  and at 11 creepy lo-fi horror-folk band Lucky Witch & the Righteous Ghost at Footlight Bar 

9/20, 8 PM ageless, perennially fun rockabilly/oldschool soul/C&W band Big Sandy & His Fly-Rite Boys at Union Pool, $10

9/21, 8 PM darkly counterintuitive pianist Sylvie Courvoisier and brilliant, savagely eclectic guitarist Mary Halvorson create new elements and improvise at the Owl, $20

9/21, 8 PM the Radamés Gnattali Quartet performs works by Villa-Lobos at Weill Hall at Carnegie Hall, $25

9/21, 8 PM pensive apocalyptic piano pop with the Mynabirds  – Amanda Palmer minus the drama – at Sunnyvale, $14

9/21, 8:30 PM feral, wildly improvisational, tuneful pianist Mara Rosenbloom leads her ferocious trio followed by her bassist Sean Conly leading his at I-Beam, $15

 9/21, 9 PM velvety noir jazz singer (and Tickled Pinks member) Stephanie Layton’s impressively eclectic torch/swing jazz band Eden Lane at at Pete’s

9/21, 9:30 PM Paraguayan harpist Silvio Solis accompanied by Argentinian guitarist Dani Cortaza and popular Paraguayan band Grupo Americanta at the Lincoln Center Atrium, free, early arrival advised

9/21, 10 PM  guitarist Sean Cronin“raised on country, trained in classical, steeped in punk, and brought to maturity as a jazz musician, leads the band Very Good which is actually quite good, playing a Leonard Cohen tribute at Barbes

9/22, 3 PM the Mannes Orchestra play Rimsky-Korsakov’s Scheherazade at the New School auditorium at 63 Fifth Avenue, Room U100, free

9/22, 6 PM Argentine Americana songwriter Rodrigo Aranjuelo and folk noir duo Thoughtdream at the American Folk Art Museum

9/22, 7 PM well-loved Boston alt-country vets Session Americana  followed at 8 by gritty Mississippi hill country style blues guitarist Will Scott and at 9 by fiery oldtimey 19th century style string band the Four O’Clock Flowers  under the Manhattan Bridge in Dumbo, follow the sound toward the water

9/22, 7 PM intense blue-eyed soul singer and Dr. John collaborator Shannon McNally at the big room at the Rockwood, $18. Later at 11 jaunty female-fronted retro rocksteady band Big Takeover plays for the tip jar

9/22, 7 PM bassist Abby Hollander and her eclectic Americana band at Pete’s

9/22, 7:30 PM Bronx Nuyorican salsa legends Charanga America at the Lincoln Center Atrium

9/22, 7:30/9:30 PM the album release show for drummer Tomas Fujiwara’s Triple Double album – Brandon Seabrook and Mary Halvorson on guitars,wow – at the Jazz Gallery, $22

9/22, 7:30 PM piano duo of feral, wildly improvisational, tuneful pianist Mara Rosenbloom and Cooper-Moore followed by the ensemble of Cooper-Moore, Mara Rosenbloom, cellist Nioka Workman and vocalist/percussionist Anais Maviel (second set) at Greenwich House Music School, $20/$15 stud/rs

 9/22, 8 PM rustic Brazilian jungle guitar-and-accordion sounds with Regional de NY followed at 10 by psychedelic latin bandleader Zemog El Galle Bueno at Barbes

9/22, 8 PM oldschool 70s style Cuban psychedelic salsa band Ola Fresca at Flushing Town Hall, $16

9/22, 8 PM pianists Jeri-Mae G. Astolfi and Betty Wishart play colorful instrumental suites by Wishart at Christ & St. Stephen’s Church, 120 W 69th St., free

9/22, 8 PM in reverse order at the Owl: Brandon Lopez, the sax/drum duo of Ingrid Laubrock & Tom Rainey; thoughtful, often riveting microtonal violinist Sarah Bernstein and her Quartet, $10

9/22-23, 8:30 PM multi-reed maven Ned Rothenberg and band at the New School’s Glass Box Performance Space, 55 W 13th St, $20

9/22-23, 8:30/10 PM tenor sax improv legend George Garzone with John Lockwood, bass;  Francesco Mela, drums at Cornelia St. Cafe, $10 + $10 min

9/22, 10  PM Nashville gothic band Karen & the Sorrows play the album release show for their new one at C’Mon Everybody, $10

9/22, 10 PM well-loved Boston alt-country vets Session Americana at Sunny’s

9/23, 3 PM, hauntingly harmony-driven folk noir supergroup Bobtown under the Manhattan Bridge arch in Dumbo, free

9/23, 3 PM John Hodel – the Bukowski of what’s left of the late 90s LES singer-songwriters – in the community Garden on E 8th St. between Ave B and C. You know the song – Tuesday Morning in a Bar

9/23, 3 PM the Orchestra of St. Luke’s presents a free multimedia chamber concert focusing on trailblazing composer Florence Price at Flushing Town Hall

9/23, 6 PM dark urbane Romany song maven (and Berthold Brecht descendant) Sanda Weigl followed at 8 by wryly funny, psychedelic covers of 60s Russian pop with the Eastern Blokhedz – who specialize in the catalog of legendary Polish singer Edita Piaha – and then at 10 by Rana Santacruz – the Mexican Shane MacGowan, but without the booze if you can imagine that.

9/23, 6 PM an oldschool swing jazz dance party with the Harlem Renaissance Orchestra at Marcus Garvey Park

9/23, guessing at around 7 Stevie Wonder plays on the great lawn at Central Park after a whole bunch of tedious corporate acts. The show isn’t free and will undoubtedly be fenced off – it’s being staged by a ostensibly leftwing organization that tracks you on your phone and could make big bucks selling your data to Trump. This is the kind of situation where if you have some free time in the evening, it might be interesting to hang on the perimeter, maybe use your tree-climbing skills and see what’s happening.

9/23, 7:30 PM indie classical cello/percussion duo New Morse Code (Hannah Collins, cello; Michael Compitello, percussion) play the album release show for their new one at the DiMenna Center, $10 cover includes beverages and “specialty snacks!”

9/23-24, 7 PM noir cabaret legend Ute Lemper sings heartbroken narratives by Bukowski, Coehlo, Leo Ferre, Jacques Brel, Nick Cave, and Tom Waits at Joe’s Pub, $30

9/23, 8 PM intense, brilliantly lyrical, fearlessly political 1950s style original folk/blues singer Joshua Garcia followed by sardonic, socially aware blues/folk singer Jan Luby at the People’s Voice Cafe; sugg don, $20; $12 for subscribers; “More if you choose; less if you can’t; no one turned away” 

9/23, 8 PM the Ureuk Symphony Orchestra play works by Weber, Nanpa Hong, Stephen Foster, Elgar, and Prokofiev at Merkin Concert Hall, $25 tix avail

9/23. 8 PM identities corrode and economies collapse in Steven Warwick’s apocalyptic interactive electronic work Elevator to Mezzanine, “that offers observations of millennial placelessness, an inescapably fearful media climate, the emotional disaffection and degradation of the pressures of wage labor, contemporary uncertainty and urban isolation. It suggests collapse in lieu of the obligation to offer answers, which in itself opens up a space where bodies are still amongst each other and together.” At Secret Project Robot, 1186 Broadway, (Larayette/Van Buren), Bushwick, J/M to Kosciusko St., $$15/12 stud/srs

9/23, 10:30 PM brooding rainy-day Celtic-tinged songs of desperation and intrigue from Adam Masterson at Bowery Electric, $10 adv tix rec

9/24, 1-6 PM Abraham Brody’s The Violinist Is Present – “violinist Abraham Brody invites members of the public to sit in front of him, one at a time, and he will create musical improvisations based on what he sees in their eyes.” at Happy Lucky No. 1 Gallery. The harder the stare, the more intense the jam?

9/24, 1:30 PM jazz improv in the garden: saxophonist Ingrid Laubrock and drummer Tom Rainey, then at Miriam Parker and William Parker, at 3:30 Melanie Dyer / Jason Kao Hwang / Brandon Lopez / Michael Wimberly and 4:30pm – Henry Fraser / Dan Pencer / Connor Baker at the First Street Garden, 33 E 1st St

 9/24 the Brooklyn Americana Festival at Pier 6 in Brooklyn Bridge Park to the south of the bridge, on the manmade peninsula starts at 2 with purist, harmony-driven “honkytonk power trio” Dylan Charles and the Layton Sisters3:00 PM banjo player/singer Hilary Hawke & the Wild Goats; 4:00 PM fiery oldtimey 19th century style string band the Four O’Clock Flowers ; 5:00 PM ten-piece country/carnivalesque/acoustic rock powerhouse M Shanghai String Band and eventually at 7 brilliantly lyrical dark oldtimey songwriter/multi-instrumentalist Pete Lanctot and the Stray Dogs

9/24, 7 PM haunting acoustic juke-joint folk/blues songwriter Tyrone Cotton at Sunny’s 

9/24, 7 PM guitarist Jonathan Goldberger’s excellent, uneasy, Indian and Middle Eastern-tinged pastoral guitar jazz trio Surface to Air at Barbes. Be aware that the Bill Frisell/Jenny Scheinman show afterward is sold out. Big surprise.

9/24, 8 PM bassist Jeonglim Yang leads her ELV Trio with Elias Stemeseder, piano; Vinnie Sperrazza, drums: “an aspiring new piano trio formed to create ‘straight ahead’ jazz into their whimsical interpretation,” at Cornelia St. Cafe, $10 + $10 min

9/25, 9:30 PM singer Carolina Oliveros’ mighty 13-piece Afro-Colombian  trance/dance choir Bulla en el Barrio  at Barbes

9/26, 7:30 PM indie classical group Wet Ink Ensemble play the release show for leader Alex Mincek’s new Torrent album with special guests trumpeter Nate Wooley and String Noise at Scholes St. Studios, $10/students get in free

9/26, 9:30 PM fiery alto saxophonist Lucas Pino’s twin-guitar No No Nonet at Smalls

9/26-30, 11:30 PM up-and-coming postbop tenor saxophonist Immanuel Wilkins leads his combo at Dizzy’s Club, $5  

9/27, 6 PM ambitiously lyrical, cutting-edge rising star jazz composer/singer Annie Chen and her septet at  leads her quintet at Cornelia St. Cafe, $10 + $10 min

9/27, 7 PM jazz pianist Rory Cowal premieres eight through-composed pieces for the Vernal Equinox, Followed by perennially tuneful, lyrical piano improviser/composer Kris Davis and her quintet from Capricorn Climber plus special guest Michael Nicolas play new material at National Sawdust, $25 adv tix req

9/27, 7:30 PM this era’s most spellbinding oldschool country singer, Laura Cantrell at Sid Gold’s Request Room, 165 W 26th St (6/7th Aves), $10

9/27, 8 PM smart, eclectic songwriter Greta Keating plays her biting, tuneful, lyrical acoustic rock followed by brooding, morose pianist/singer Sara Donnellan – man, does she have a franchise on clinical depression –  at Silvana 

9/27, 8 PM  brilliant pedal steel player Mike Neer’s Steelonious – who do Monk covers in the same vein as Buddy Emmons – at Barbes

9/27, 8 PM Tom Blancarte plays his new work for solo bass followed by the auspicious debut of trumpet monster Peter Evans’ new group with Joel Ross on vibraphone, Jordan Morton on bass and Max Jaffe on drums at Roulette, $20 adv tix rec

9/27, 9 PM Australian psychedelic/art-rock legends the Church – minus 12-string guitar icon Marty Willson-Piper –at the Poisson Rouge, $30 adv tix req. 9/28 at 9 they make their Brooklyn debut at the Bell House, $30 adv tix req

9/27, 9 PM the Space Merchants – the missing link between the Stooges and X – at  Sunnyvale, $10

9/27, 10 PM artsy, edgy, catchily enigmatic 90s indie favorites Rainer Maria  at Bowery Ballroom, $20

9/28, 7:30 PM Niger’s Tuareg psychedelic guitar sensation Mdou Moctar at the Lincoln Center Atrium

9/28, 7:30 PM the Claremont Trio play works by Felix and Fanny Mendelssohn plus a Kati Ogocs NY premiere at Music Mondays, Advent Church, northwest corner of 93rd and Broadway, free 

9/28, 8 PM the elegant but fiery Austin Piazzolla Quintet  play classic nuevo tango and originals followed at 10 by the  deviously eclectic, psychedelic Tredici Bacci playing original psychedelic instrumentals inspired by Italian film themes from the 60s and 70s at Barbes

9/28, 9:30 PM the darkly eclectic, enigmatic Lorraine Leckie  – equally adept at Slavic and Americana noir and dark cabaret – at Pete’s

9/28, 10 PM lustrous, harmony-driven, alternately haunting and badass oldschool honkytonk band the Sweetback Sisters atthe big room at the Rockwood, $14

9/29, 6:30 PM dark Americana guy/girl harmony duo the Tall Pines at the American Folk Art Museum

9/29, 7:30 PM amazingly psychedelic,  mystical Moroccan trance-dance band Innov Gnawa followed by a rare US performance by legendary, cinematic Moroccan art-rockers Group Doueh at the Poisson Rouge, $30 adv tix rec

9/29, 8 PM the NY Classical Players with pianist Haesun Paik as the soloist in Beethoven’s Piano Concerto No. 4 on a bill that also includes works by Shostakovich, a Renaissance-inspired premiere by Eric Nathan and Saint-Saens’ Introduction and Rondo Capriccioso at Advent Church, 93rd/Broadway, free

9/29, 8 PM the premiere of For Trumpet Player by Christian Wolff, a performance of Ashley Fure’s Piece for Percussion and Dynamic Subwoofers and Annea Lockwood’s Bayou-Borne, for Pauline, and a debut duo performance by Michael Pisaro and Christian Wolff at Issue Project  Room, $15/$12 stud/srs

 9/29-30, 8 PM Ian Antonio and Russell Greenberg, of experimental piano-percussion quartet Yarn/Wire perform Adjacencies, the only surviving score by pioneering ambient electroacoustic composer Maryanne Amacher at the Kitchen, $20

9/29-30, 8:30 PM intense, poignantly cutting-edge guitarist Mary Halvorson and her group at the New School’s Glass Box Performance Space, 55 W 13th St, $20

9/29, 8:30 PM eight-piece bluegrass band the Toomtown Hellraiasers at Caffe Vivaldi

9/29, 8:30 PM crystalline, enigmatically enchanting jazz singer and vocalese specialist Aubrey Johnson leads her eclectic band – Tomoko Omura, violin; Michael Sachs, alto sax, bass clarinet; Chris Ziemba, piano; Matt Aronoff, bass; Jeremy Noller, drums at Cornelia St. Cafe, $10 + $10 min

9/29, 9 PM popular Tuareg duskcore road warriors Songhoy Blues at Bowery Ballroom, $25 adv tix rec

9/29, 10 PM Yotoco, the bastard child of Umoja Orchestra, Bioritmo, and Cumbiagra playing a melange of salsa, Afro-Cuban rumba, boleros, and cumbia at Barbes

9/30, 6 PM dark urbane Romany song maven (and Berthold Brecht descendant) Sanda Weigl with violist Mat Maneri and Transylvanian pianist Lucian Ban play Kurt Weill followed at 10 by hard-hitting, brass-fueled newschool latin soul/boogaloo dance band Spanglish Fly at Barbes

9/30, 7 PM dark psychedelic acoustic blues/klezmer/reggae/soca jamband Hazmat Modine at Terra Blues

9/30, 8 PM wild accordion-driven Chilean psychedelic sounds with Pascuala Ilabaca y Fauna making their US debut at Drom, $15 adv tix rec

10/1, 2 PM popular indie classical orchestra the Knights  play Mendelssohn’s Italian symphony; special guest tenor Nicholas Phan joins them for Benjamin Britten’s Les Illuminations at Bric Arts, $12 adv tix rec. There’s also a 10/5, 8 PM show there for six bucks more in advance. 

10/1, 3 PM the New York Classical Players plus pianist HaeSun Paik play Beethoven’s Piano Concerto No. 4, a premiere of Eric Nathan’s “Omaggio a Gesualdo” plus works by Shostakovich and Saint-Saens at Flushing Town Hall, free w/rsvp 

10/1, 5 PM forward-looking indie classical piano trio Longleash play the album release show for their new one at the Poisson Rouge

10/1, 7 PM the fantastic and irrepressible Momenta Quartet with Elizabeth Brown, theremin play works by Biber, Schoenberg, Kee Yong Chong, Michael Small, Elizabeth Brown at Dixon Place, free

10/1, 7:30 PM wryly playful, hauntingly atmospheric, otherworldly Tuvan throat-singing group Alash at Merkin Concert Hall, $25

10/2, 7 PM the Momenta Quartet  with Vicky Chow, piano, and Hilliard Greene,bass play a liberation-themed program of works by Schoenberg, Alvin Singleton, Agustín Fernández and a violin/bass improvisation at the Americas Society, 680 Park Ave, free

10/2, 8 PM the NYU01 Ensemble play Berlioz: Roman Carnival Overture, Op. 9; Grieg: Piano Concerto in A minor, Op. 16; Elgar: Variations on an Original Theme, Op. 36, “Enigma” at the NYU Loewe Theatre, 35 W 4th St, free

10/3, 7 PM the Momenta Quartet with Samuel Rhodes, viola, and ​Marcy Rosen​, cello play works by Britten, Tschaikovsky and Claude Baker at the Italian Academy at Columbia University, 1161 Amsterdam Ave north of 116th St., free

10/4, 7 PM the Momenta Quartet  with Nana Shi, pianist play works by Milhaud, Per Norgard’s awesome String Quartet No. 8, Hiroya Miura and João Pedro Oliveira at West Park Presbyterian Church, 165 W 86th St at Amsterdam

10/5, 6:30 PM not a music event but an important one: a panel discussion on the criminalization of poverty with Brooklyn Law School professor Jocelyn Simonson plus Josmar Trujillo of the Coalition to End Broken Windows, Alyssa Aguilera of VOCAL-NY, Imani Henry of Equality for Flatbush: E4F, and Ben Ndugga-Kabuye of the Black Alliance for Just Immigration (BAJI) at the Brooklyn Historical Society, 128 Pierrepont St. in downtown Brooklyn, free

10/6, 7 PM the Art Ensemble of Chicago, legends of avant garde jazz, make their first NYC stop in decades. Lineup this time out is Roscoe Mitchell, flutes, saxophones; Famoudou Don Moye, drums, percussion; Hugh Ragin, trumpet; Tomeka Reid, cello; Junius Paul, double bass; Joseph Jarman, spoken word, at Columbia’s Lenfest Center for the Arts , 615 W 129th St, $25/$15 stud

10/6, 7 PM pianists Brent Funderburk and Miori Sugiyama back the Brooklyn Art Song Society in works by Ravel and Debussy at the Brooklyn Historical Society,  128 Pierrepont St. in downtown Brooklyn, $25

10/6, 8 PM 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 Terry Riley’s In C at the Poisson Rouge, $20 adv tix rec. You want psychedelic?

10/6, 8 PM percussion and piano quartet Yarn/Wire play the world premiere of Enno Poppe’s Feld, “filtered through microtonal organs or paired with dense, perpetually moving piano complexity” at the Kitchen, $20/$15 stud/srs

10/8, 4 PM pianist Steven Masi plays Beeethoven sonatas at the Dreck Center at the Brooklyn Public Library, free, no under-sixes.

10/8, 5 PM flutist Joseph Piscitelli, cellist Michael Finckel and pianist Helene Jeanney play; music by Haydn, Weber and Damase at the Lounge at Hudson View Gardens, 128 Pinehurst Ave at W183rd St, $12, reception to follow

10/8, 7:30 PM the intrepid Queensboro Symphony Orchestra  plays Fabrizio Ferraro’s guitar concerto Hachiko with the composer as soloist; also on the program iare Mozart’s Violin Concerto No. 3 featuring Hanako Miyajima and Brahms’ Symphony No. 1 at Mary’s Nativity Church, 46-02 Parsons Blvd. (at Holly Ave.), Flushing, sugg don, 7 to Flushing/Main St. and a comfortable 10-minute walk, or take the Q27 or Q65 bus

10/13, 7 PM pianist Monica Verona plays fugues by Bach, Beethoven and Barber – who knew? – at Bloomingdale School of Music, 323 W108th St, free

10/14, 8 PM Rohab Ensemble featuring members of legendary Iranian group Dastan Ensemble – Hossein Behroozinia (barbat – lute), Said Farajpoori (kamancheh – spike fiddle) and Behnam Samani (tombak – goblet drum) – with Hamid Behrouzinia (tar – lute) and entrancing vocalist Sepideh Raissad at at Roulette, $32

10/22, 4 PM violinist Rolf Schulte and pianist Nicolas Namoradze perform works by Medtner, Debussy, and Schumann.at the Dreck Center at the Brooklyn Public Library, free, no under-sixes.

 10/29, 4 PM the American Brass Quintet perform an eclectic program of consort music of Elizabethan and Jacobean England, canons of the 16th century, and contemporary works by Steven Franklin at the Dreck Center at the Brooklyn Public Library, free, no under-sixes.

10/30, 6 PM Oscar Wilde’s kid sister was the “pet of the house;” she died at nine of a brain aneurysm. Kari Swenson Riely stars in Isola, with text by Oscar and his mom and a live score by pensive, atmospheric soprano saxophonist David Aaron. Followed by a brief set with his quartet Flip City at Cornelia St. Cafe, $10 + $10 min

11/7, 8 PM the incomparable, lush, eclectic Jenifer Jackson – a connoisseur of Americana, Beatlesque janglerock, bossa nova and Texas noir – at the Owl

11/18, 8 PM Athens’ #1 gangster hash-smoking 1920s/30s style rebetiko music band, Rebetiki Istoria at Roulette, $25

12/2, 8 PM Gamelan Kusuma Laras with Javanese gamelan luminaries Darsono Hadiraharjo, “the best young Javanese gamelan player of his generation;” master musician Midiyanto; and rising star singer Heni Savitri; at Roulette, $25