New York Music Daily

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Tag: jazz

Irrepressibly Fun Cosmopolitan Swing from the Avalon Jazz Band

The Avalon Jazz Band’s new album Je Suis Swing – streaming at their music page – was made for swing dancing, first and foremost. It’s irresistibly charming, and cheery, and fun. The Franco-New York group mine a century’s worth of bouncy continental jazz sounds, from Romany guitar shuffles, to Belgian musette and classic chanson. The group’s musicianship is first-rate and fast; even if they didn’t have the winsome presence of singer Tatiana Eve-Marie out in front of the band, they’d still be a lot of fun to listen to. They’re playing this Feb 15 at 8 PM at Guadalupe Inn at the corner of Knickerbocker and Johnson Aves. in Bushwick; cover is $8. Take the L to Morgan Ave.

The album kicks off with the Djangoesque shuffle Menilmontant, Tatiana channeling the song’s wistfulness in a delivery that’s airy and sunny but just as crisp. Guitarist Olli Soikkeli’s spiraling, spiky Romany leads fly above the muted chords of fellow six-stringer Vinny Raniolo, augmented by violinist Adrien Chevalier and accordionist Albert Behar while bassist Brandi Disterheft supplies the groove.

Coquette gives clarinetist Evan Arntzen a chance to for some droll tradeoffs with Chevarlier; Tatiana sings in English. She switches back to French for the brisk title track and its period-perfect 1920s vernacular; after a jaunty Arntzen solo, one of the guys takes a turn on the mic for a verse in French, guessing that it’s Chevalier.

La Complainte de la Butte has a bittersweet, waltzling lilt fueled by Behar’s turbulent chords; Chevalier kicks in a dancing solo. Tatiana goes back to English for their version of the jazz standard I Can’t Give You Anything But Love, recast as Romany swing with a blithe alto sax solo followed by more fiery ones by Arntzen and Chevarlier. Stompin at Decca is a vehicle for precision and raw adrenaline alike from Soikkeli and Chevalier. Darling Je Vous Aime Beaucoup, with its droll code-switching, sounds like a more over-top take on something by Charles Trenet from the 40s. C’est Si Bon outdoes pretty much every other version in the chipperness department; the waltzing instrumental Songe D’Automne makes a somber contrast until the band hits the turnaround and then swings the hell out of it.

Tatiana makes the labyrinthine volleys of lyrics to Le Soleil et la Lune sound easy as the band shifts between blithe and moody. They Djangify Sweet Sue, with some coy call-and-response between Tatiana and the band; their version of Rosetta a little later is much the same. Ironically, the album’s best song is the matter-of-fact, melancholy, pastorally-tinged Seule Ce Soir (Alone Tonight).

Their version of J’ai Ta Main (Holding Your Hand) is a study in dark/light contrasts.They reinvent Clair de Lune as a balmy but wary slowdance number with Arntzen’s nuanced clarinet balanced by Soikkeli’s highwire guitar work and Chevalier’s pensively soaring violin. The album winds up with Qu’est-ce Qu’on Attend (What Are We Waiting For?), a high-class party anthem. If you might be wondering how Avalon Jazz Band stuff a grand total of sixteen tracks onto the album, it’s because only a few of them top the three-minute mark. Quick, get back out there on the floor!

A Richly Tuneful, Darkly Majestic Twinbill in Gowanus on the 22nd

In terms of majestic sweep, cinematic scope and clever outside-the-box humor, it’s hard to think of a more interesting group in big band jazz than the Erica Seguine/Shannon Baker Jazz Orchestra. They’re playing Brooklyn’s home of big band jazz, Shapeshifter Lab on Feb 22 at 9 PM. Another excellent ensemble, violinist Meg Okura‘s Pan Asian Chamber Jazz Ensemble, opens the night at 8. Cover here is usually in the $10-15 range and has yet to be determined by the venue, at least according to their concert calendar.

The most recent (full disclosure: only) time this blog was in the house at one of the jazz orchestra’s shows was on a muggy night in September of 2015 at Shrine up in Harlem. Since that was a long time ago, it’s reasonable to expect their set to be somewhat different. While it’s overly reductionistic to characterize Baker’s work as marked by tectonically shifts and Seguine’s by picturesque narratives and sardonic, sometimes dark humor, those qualities factor heavily into their respective writing. Here’s what happened at that show many months ago.

An uneasily steady, insistent piano melody gave way to lustrous atmospherics with wordless womens’ voices sailing overhead. As the piece went on, it shifted further toward the macabre: Darcy James Argue seems to be a big influence on this one. A trumpet fluttered and finally flared as the enigmatic lustre grew and the rhythmic drive rose, then the piece finally went down an echoey rabbit hole into fullscale terror as the piano anvilled sardonically through the mist.

The next number on the bill began by building a stately, steady, similarly enigmatic atmosphere that went in just as much of an ominous direction as the first, an apprehensively bending tenor sax solo over grimly massed sustain from the orchestra; then they pounced along, sax going full steam, over a beat that was practically ska. They ended it quietly and suddenly with more of that insistent piano riffage.

A stormy brass-and-vocalese intro kicked off the tune after that, but then the band pulled back quickly in favor of a hypnotic, resonantly pedaled piano melody, vocalese hovering overhead. A cascading piano melody over moody modal changes kicked off the next lush series of waves, up to a mighty crescendo, a surreal drums-and-vocals interlude, a stuck car horn-like passage, a bit of a pause and then a return to calm moodiness. Looking back, this was a pretty dark set!

From there the group took a slow, relentless series of upward climbs in the next piece, punctuated by a fluttering and eventually wailing tenor sax solo, then a slowly strolling, saturnine lustre that made a long launching pad for a trombone solo that eventually fell away mournfully. The carnivalesque, latin-tinged theme that followed had to be a Seguine composition: nobody writes like her, and this was a blazing good time spiced with wry, evil cartoon trombone, a pirate’s-boot strut, twisted nickelodeon piano and more than one peek-a-boo ending. And that was just the first set.

Considering how much time has passed since this show, it’s hard to picture just who, out of a handful of familiar faces, was in the group, other than Baker on reeds and Seguine conducting out in front of the group with a confident grace. The ubiquitous Ben Kono on alto sax, probably, and Scott Reeves on valve trombone, maybe. Seguine and Baker’s compositions are so much fun to play that they always get top-tier talent for their infrequent gigs: if big band jazz is your thing, miss this one and be sorry later.

Yet Another Smart, Playful, Tuneful Album and a Week at the Vanguard by Miguel Zenon

Alto saxophonist Miguel Zenon is the rare bandleader who’s been able to keep a group together not only for months but years. In this increasingly challenging climate, that’s a major achievement. More than anything, Zenon’s new album Tipica – streaming at NPR – documents a hard-working band at the pinnacle of jazz technique and composition, a bunch of thoroughly road-tested tunes played by a band with intuitive chemistry. Zenon’s tunes literally leap from the page, impactfully and often poignantly. Variations on circular piano riffs are a recurrent trope. Although Zenon draws on his Nuyorican heritage as well as sounds from across the Americas, it would be shortsighted to pigeonhole his work as latin jazz. Tuneful postbop may be a much broader category, but that description encompasses the many, many flavors of his music. With his quartet – pianist Luis Perdomo, bassist Hans Glawischnig and drummer Henry Cole –  he’ll be airing out those numbers at the band’s upcoming stand at the Vanguard, with sets at 8:30 and 10:30 PM starting on Valentine’s Day and running through the 19th of the month. Cover is $30 which includes a drink.

The album opens with Academia, drawing on Zenón’s work raising the next generation of jazz greats at New England Conservatory. A tensely circling piano riff, Zenon’s lithely dancing, exuberant lines and Cole’s subtle snowflake cymbal accents kick it off. There’s some judiciously multitracked, interwoven sax as it hits a jaunty crescendo; Perdomo’s drive from enigmatic back toward the dancing main theme is typical of how he builds momentum. The ending is way too fun, and too funny, to give away, especially since the band reprises it elsewhere here.

The ballad after that, Cantor sends a shout-out to Zenón’s buddy Guillermo Klein, expanding from Perdomo’s tight clusters to balmy and rippling, with a Zenon solo that finally bursts in to flame. With Perdomo’s subtle humor, neoromantic glimmer and blues, Ciclo makes a great segue; the passage where Glawischnig shadows the bandleader is a recurrent meme with this band in concert.

The album’s title track begins with Perdomo running an altered salsa riff, then Zenon wryly syncopates it, Perdomo bringing hints of vintage swing to his signature lyricism, Cole circling the perimeter with a solo as he pans the speakers. Sangre de Mi Sangre is next, a tenderly pulsing ballad inspired by the composer’s four-year-old daughter, with a whispering, tiptoeing Glawischnig solo.

Zenon recycles a Glawischnig solo from the 2009 tune Calle Calma as a central theme in Corteza, the sax bobbing and weaving with a richly cantabile feel: this really is a song without words. Likewise, Entre Las Raíces – “Between the Roots” – is assembled around a Perdomo solo from Street View: Biker, from the pianist’s Awareness album. A wryly scurrying group improvisation opens it; Zenon echoes both Albert Ayler and Joe Maneri in the kind of vein that the title implies. Zenon likens Cole’s intricate work on the album’s closing diptych of sorts, Las Ramas (The Branches) to a drum etude. One quibble with this track: let’s leave whistling on albums to the likes of Paul Simon, huh?

Raptly Tuneful Middle Eastern-Flavored Pastorales From Surface to Air

It would have been fun to see Surface to Air at Barbes last night. The trio – guitarist Jonathan Goldberger, who rarely plays acoustic, alongside bassist Jonti Siman and tabla player Rohin Khemani – also doesn’t play out much either. Their sparse, warmly tuneful, hypnotically intriguing album is available as a name-your-price download from Bandcamp.

The opening track is aptly titled Simple: built on an elegantly catchy rainy-day minor-key theme played with meticulous touch by Goldberger, it centers around a kinetic tabla rhythm. Heysatan is even more spare, Goldberger’s gentle, purposeful, catchy tune again centered around the rhythm section’s steady anchor. Siman’s similarly easygoing bass intro is a clever fake: as the briskly saturnine, Palestinian-tinged theme unwinds, it sounds like an acoustic sketch for a David Lynch soundtrack set in the most war-torn territory in Gaza. Siman’s drone anchors a suspenseful interlude that Goldberger spins and spirals out of with hints of Django Reinhardt.

The slow, somber Odalisque is sort of a bolero counterpart to a Trio Joubran-style Middle Eastern dirge. Matanzas is Goldberger’s platform for using a catchy, melancholy flamenco-inflected theme to set up a swoopy, morose bass solo. With its steady sway, Arcana follows a steadily crescendoing folk noir tangent that brightens as it goes along.

The Sleep in Your Eyes opens with a dusky, sepulchral improvisation, builds to a spare, galloping pulse and then recedes back to spacious, pensive solo guitar. The final track is the ballad Waltz for Celia, the closest thing to postbop here, spiced with the occasional levantine or south Asian riff over rather ominous low-end percussion, with a gracefully uneasy bass solo.

Is this Middle Eastern music? Sure. Indian music? Rhythmically, yes. Jazz? Why not? Download this delicious disc and decide for yourself. Thanks to Barbes for booking this fantastic band, who otherwise would have flown under the radar here. Goldberger is in constant demand in New York as a sideman and plays with a ton of groups, notably violinist Dana Lyn’s psychedelic, ecologically themed Mother Octopus outfit.

Wild and Rapturous Improvisational Magic in Ridgewood on Super Bowl Sunday

As yesterday’s wryly named Super Bolus at Footlight Bar in Ridgewood got underway, it felt strange just to sit and watch  Typically, improvising musicians all end up playing with each other. Fifteen minutes into the show, that moment appeared. The long trip to the Cloisters a couple of weeks ago to jam a Pauline Oliveros chorale turned out to be useful practice!

After a duo set with trumpeter Daniel Levine, where Rallidae tenor saxophonist Angela Morris had introduced a jaunty Mardi Gras theme of sorts and the two had gracefully  intertwined with it, eventually taking it down to misty ambience and then back, she left the stage and went into the crowd.

Drawing us closer to her, she led what seemed for a minute to be a ditzy yoga mantra – “Beauty is above me, below me, around me,” that sort of thing. Instead, it turned out to be a round where she encouraged everyone to sing either a specific part or a sustained note. The resulting web of voices and close harmonies that converged on a warm center was as otherworldly as it was fun to be part of. In moments like this, there’s no thinking involved. Anyone can do it: the music tells you what it needs, all you have to do is pay attention. That’s pretty much what everybody on this often rapturously fun bill did in over three hours of music. 

As organizer Dave Ruder put it, the premise of the show was either improvisation, new material or reinventions of previously released compositions from other members of the Gold Bolus circle.

Anne Rhodes of Broadcloth joined voices with Anais Maviel, who anchored Sam Sowyrda’s virtuosic vibraphone work on the evening’s next improvisation with her minimalist pulse on a small-scale kora lute. Rhodes’ full, emotive soprano contrasted with Maviel’s more low-key nuance and extended technique, trombone and trumpet-like sputters included, while Sowyrda rippled and pinged and bowed his bells for sepulchral textures, at one point taking the music so far down that it was almost imperceptible. That, or he was just messing with the audience.

Kills to Kisses leader and bassist Lisa Dowling blended haunting Middle Eastern allusions and fiery but terse flamenco riffs into a dynamic set of Kate Bush-inflected art-rock loopmusic. Arguably the high point of the show was when oboeist Dave Kadden, of Invisible Circle, played volleys of microtonal tension against a central tone, his diabolical. virtuosically jajouka-esque phrasing manipulated by a guy with a laptop, which sometimes worked, and sometimes didn’t. By itself, the echo effect wasn’t ultimately even necessary, although admittedly it did add a deliciously dark resonance. This was a relentlessly searching, imploring call to arms. Amir ElSaffar played a very similar one of these solo on trumpet at a gig earlier in the year and this was every bit as inspiring. Clearly, it’s a meme among players of wind instruments.

Singing and playing guitar, Ruder – joined by Dowling and saxophonist Erin Rogers, on soprano – had fun with a number about being unable to move in a straight line, literally and metaphorically. Solo on accordion, Brian McCorkle sang a dadaesque, viciously sarcastic Rogers suite on a love-versus-money theme, and had a great time chewing the scenery: the audience loved it. In contrast, the trio of Morris, Sowyrda and keyboardist Ellen O ended the show with a raptly Eno-like ambient soundscape.

This show was typical of the Gold Bolus stable. Many of the artists lean toward the theatrical or performance art; their home base is the Panoply Performance Lab space in Bushwick. And Dowling is at the Gateway, 1272 Broadway in Bushwick on Feb 23, time TBA. Take the J to Gates Ave.

Dave Fiuczynski Lifts Off to a Better Planet Than This 

Last night at Drom Dave Fiuczynski’s Kif played one of the most exhilarating and sophisticated shows of the past several months in this city. Fiuczynski might be the best guitarist in the world: he is without the doubt the most individualistic. His musical language is completely his own. If it had words instead of notes, it would be part Hindi, part French, part Arabic and part Korean, with some Chinese and plenty of English too. His double-necked, microtonally fretted guitar enables him to play in microtonal scales without bending notes, as well as in the standard western scale. His 2012 album Planet Microjam is one of this century’s half-dozen most innovative and arguably best releases. His latest microtonal project, Flam! Blam! Pan-Asian MicroJam may not have the subtlest title, but the music continues Fiuczynski’s epic quest to find the most magical places in between the notes, drawing from just about every musical tradition around the globe.

This was a trio show. Fiuczynski opened with the Simpson’s Theme, which he proceeded to spin through a trippy prism of scales that exist only on Planet Microjam, along the way firing off energetic Indian sitar riffage, some wildly bent phrases typical of Korean gaegeum music,  and even a flurry or two of rapidfire postbop American jazz. Fiuczynski’s songs are slinkier than they are funky, and his low-key rhythm section kept a serpentine groove going throughout the set with the occasional rise to a four-on-the-floor pulse when the bandleader would hit a peak with a burning series of distorted rock chords. Throughout the set, the drummer stayed pretty chill while the bass player occasionally flavored a song with woozy textures via a wah and an octave pedal, in a subdued P-Funk vein. He also contributed one of the night’s most straight-up numbers, which the bandleader took further out toward Indian raga territory and then spiced with Asian phrasing, into territory that only Fiuczynski knows well.

After opening with the twisted tv theme, they sliced and diced a Russian klezmer melody into offcenter tonalities, with the occasional unexpected leap back toward the original minor key. Opening act Jonathan Scales joined the band during one of the later numbers and played vividly ringing Asian licks against Fiuczynski’s austere, uneasy microtonal chords and otherworldly, Messiaenic ambience. Throughout these epic themes, with their innumerable dynamic shifts, the atmosphere shifted artfully from austere and starlit to raw, stomping triumph. The best song of the night might have been Mood Ring Bacchanal, with its leap from resonant, allusively bent Asian phrasing to a tongue-in-cheek, emphatic oldschool disco interlude. The night’s last song blended wah-wah sitar licks, Orientalisms and slow spacerock with echoes of roots reggae.

Fiuczynski is a legend on the jamband circuit and will no doubt be making the rounds of summer festivals this year. Watch this space for future NYC dates. 

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

Constant updates: you might want to bookmark this page and check back every so often. If you don’t recognize a venue where a particular act is playing, check the comprehensive, recently updated list of over 200 New York City music venues at New York Music Daily’s sister blog Lucid Culture.

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

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

On select Thursdays and Sundays, an intimate, growing piano music salon on the Upper West Side featuring iconoclastically insightful, lyrical pianist Nancy Garniez – a cult favorite with an extraordinarily fluid, singing, legato style – exploring the delicious minutiae of works from across the centuries. Up next: Bartok, Haydn, Brahms and Chopin, 2/22 at 7 PM and 2/26 at 4.. Sugg don $10 (pay what you can), delicious gluten-free refreshments, beverages and lively conversation included! email for info/location. Upcoming dates: Wednesdays at 7: Mar 22,  Apr 19 , May 17,  June 21, and Sundays at 4:   Mar 26,  Apr 23,  May 21,  June 25.

Mondays in February 7 and 9 PM, erudite pianist Orrin Evans‘ richly tuneful, purist, stampeding Captain Black Big Band at Smoke

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

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

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

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

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

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

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

Tuesdays in February, 10 PM the great unsung hero of darkly purposeful, noir-tinged jazz guitar, Saul Rubin‘s Zebtet at the Fat Cat

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

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

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

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

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

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

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

Saturday Feb 24, reverting to weekly Saturdays at 4 PM  beginning in March 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 February, 6 PM eclectic, vivid jazz cellist/singer Marika Hughes & Bottom Heavy at Barbes

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 February 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 3 PM at the Stone a rotating cast of familiar faces from John Zorn’s circle perform from Zorn’s characteristically exhaustive, marathon collection of 300 works titled Bagatelles, recently composed between March and May 2015. “Each concert will be introduced by John Zorn, often in conversation with the musicians,” $15

Sundays in February, 7 PM spine-tingling darkly mystical art-rock/avant-garde/chamber pop songwriter Carol Lipnik – pretty much everybody’s choice for best singer in all of NYC – at Pangea

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

2/1, 6 PM works for two kotos played by Masayo Ishigure + Kyoko Kurokawa at the Rubin Museum of Art, free w/museum adm

2/1, 7:30 PM the purposefully intertwining postbop Melissa Aldana / Glenn Zaleski Sextet at the Jazz Gallery, $22

2/1, 8 PM psychedelic klezmer/bluegrass mandolin and clarinet legend Andy Statman at Barbes, $10

2/1, 8 PM enigmatic, synthy, propulsive new wave act Decorum at the Silent Barn, $10

2/1, 8:30 PM tuneful, thoughtful, lyrical Colombian pianist and composer Carolina Calvache at the third stage at the Rockwood, $10

2/1, 9 PM Dervisi feat. guitar god Steve Antonakos play “exotic Greek gangsta blues” at Troost

2/1, 9 PM first-class honkytonk cover band Scotch Bonnet play a ACLU benefit at 11th St. Bar

2/1 Gill Landry at Bowery Ballroom is sold out

2/2, 7 PM labyrinthine Nordic noir guitar and bass themes with Skúli Sverrisson at National Sawdust, $30 adv tix rec. Followed at 11 (separate $30 adv tix adm) by vibraphonist Nikara Warren (Kenny Barron’s granddaughter) and her group paying tribute to the survivors of the Greenwood, Oklahoma lynchings.

2/2, 7 PM pianist Brian Marsella’s tuneful, first-rate original postbop jazz sextet the Flail at the Fat Cat

2/2, 7:30 PM ethereally rustic sounds: “post-Americana” chamber rock ensemble Briars of North America followed by Late Bloomers’ Tommy Crane playing to projections by Tracy Maurice at the Lincoln Center Atrium, free, early arrival advised

2/2, 7:30 PM, repeating on 2/4 at 8 and 2/7 at 730 the NY Phil with soloist with Kirill Gerstein play Tschaikovsky’s First Piano Concerto & Manfred Symphony at Avery Fisher Hall, $31 tix avail

2/1, 9:30 PM Conscience Collective – a strikingly tuneful large-ish improvising ensemble – at Shapeshifter Lab, $8

2/1, 10:30 PM cutting-edge B3 jazz organist Jared Gold leads his trio at Smalls

2/2, 7 PM labyrinthine Nordic noir guitar and bass themes with Skúli Sverrisson at National Sawdust, $30 adv tix rec. Followed at 11 (separate $30 adv tix adm) by vibraphonist Nikara Warren (Kenny Barron’s granddaughter) and her group paying tribute to the survivors of the Greenwood, Oklahoma lynchings.

2/2, 7 PM André Laplante performs piano sonatas by Mozart and Beethoven alongside music of Liszt and Ravel. at Symphony Space, $15

2/2, 8 PM dark, charismatic, mischievously witty art-rock keyboardist/chanteuse Rachelle Garniez  followed at 10 by by dark urbane Romany song maven (and Berthold Brecht descendant) Sanda Weigl and her band at Barbes

2/2, 8 PM  luminous, soulful pan-Latin jazz chanteuse Claudia Acuña with Pablo Vergara on piano at Mezzrow, $20

2/2, 8ish downtown guitar hero Elliott Sharp and fellow Stone legend, multi-reedist Doug Wieselman play intriguing, colorful solos & duos at the Owl, $10

2/2, 8 PM Richard Carrick conducts Either/Or in an all-Beat Furrer program of postminimalism at the Miller Theatre, $20 tix avail

2/2, 8:30 PM a characteristically propulsive klezmer dance party with T-Klez (w/Dena Ressler, Pesachya Septimus & David Licht)  at the Jalopy, $15

2/2, 8:30 PM long-running 90s alt-country favorites Rusty Truck at Hill Country, free

2/2, 9 PM darkly eclectic latin jazz/noir cabaret pianist/singer Cristina Morrison at Guadalupe Inn, $10 

2/2, 9 PM  incisive, darkly tuneful latin jazz pianist Aruan Ortiz leads his Trio at Bar Lunatico, $10. They’re also here on 2/16

2/2, 9 PM darkly eclectic latin jazz/noir cabaret pianist/singer Cristina Morrison at Guadalupe Inn, $10

2/2, 9 PM smart, cleverly lyrical original swing chanteuse/songwriter/trombonist Emily Asher’s Garden Party at at Radegast Hall. They’re also here on 2/28

2/2, 9:30 PM hauntingly phantasmagorical art-rock/noir cabaret pianist/singer Anana Kaye at Sidewalk

2/2,  10:30 PM unfailingly tuneful tenor saxophonist Ken Fowser leads a quintet at Smalls

2/3, 5:30 PM wild, spiraling, rare rustic minor-key Polesian klezmer dances and grooves with Litvakus  with special guest Sasha Lurje at the American Folk Art Museum

2/3, 7 PM magically lustrous indie classical choir the Crossing with Taylor Levine and James Moore, electric guitars play “Ted Hearne’s exploration of the Supreme Court’s Citizen’s United decision. Hearne lifts texts from Jena Osman’s Corporate Relations, a collection of poems that follows the historical trajectory of corporate personhood in the United States. The five movements combine language taken from landmark Supreme Court Cases with words from ventriloquism textbooks “ no joke and a good time, at National Sawdust $25 adv tix rec

2/3-4, 7 PM popular lyrical pianist Bill Charlap plays solo piano at Mezzrow, $25

2/3, 7:30 PM slinky, carnivalesque Romany/Mediterranean band Dodo Orchestra at Club Bonafide, $15

2/3, 8 PM the magically haunting, soaring, eclectic all-female Mariachi Flor de Toloache at Maxwell’s, $10

2/3. 8 PM intense, eclectic klezmer/jazz/hip-hop violinist Benjamin Sutin and saxophonist Elijah Shiffer lead their respective groups at Scholes St. Studios

2/3, 8 PM Lakeside Lounge garage supergroup Los Dudes, NJ garage rock cult faves the Gripweeds and the current edition of legendary 80s LA powerpop band the Plimsouls at Bowery Electric, $10

2/3, 8:30ish steel pan wizard Jonathan Scales’ Fourchestra followed by Middle Eastern-inspired microtonal guitar god Dave Fiuczynski’s Kif at Drom, $12 adv tix rec

2/3-5, 9 PM Tredici Bacci – whose specialty is original psychedelic instrumentals inspired by Italian film soundtracks – at the Stone, $20. First and last night they’re doing their own stuff, on 2/4 they’re doing classic Morricone and Nino Rota themes and Thin Lizzy ?!?

2/3. 9 PM Middle Eastern-flavored psychedelic jams with Spaghetti Eastern Music at Silvana

2/3, 10 PM this era’s most chillingly cinematic, shadowy reverbtoned noir guitar instrumentalists, Big Lazy at Barbes

2/3, 10 PM worst segue of the year but two Americana acts worth seeing: jugband legend Peter Stampfel and ferociously populist Lee Bains III & the Glory Fires – the Alabama highway rock version of the Clash – at the Knitting Factory, $15

2/3, 10 PM awesomely abrasive noise/drone band York Factory Complaint at Alphaville, $8

2/3, 10:30 PM female-fronted power trio Castle Black – who rampage between acidic Bush Tetras postpunk, stoner metal and more straight-up, sardonic punk at Lucky 13 Saloon in Gowanus

2/3, midnight Mimi Oz – a real kitchen-sink songwriter with soul and rock and darker sounds and an omnipresent sense of humor – followed by lush, intense, artfully orchestrated psychedelic rockers Aunt Ange at the small room at the Rockwood. Aunt Ange are also at the Mercury on 2/19 at 10:30 PM for $8, which is actually a better bargain.

2/4, 4 PM quirkily cinematic, psychedelic, family-friendly instrumentalists Songs for Extraordinary People followed at 6  by eclectic, vivid jazz cellist/singer Marika Hughes & Bottom Heavythen at 8 by the wildly fun, hypnotic Brooklyn Raga Massive All-Stars then at 10 by stormy Mexican ranchera/bolero brass crew Banda de los Muertos at Barbes

2/4, 7:30 PM Marja Kaisla, piano; Domenic Salerni, violin;  Benjamin Larsen, cello   play original works plus material by Ke-chao Chen, Kaila and Dvorak at Concerts on the Slope, St. John’s Episcopal Church 139 St. John’s Place downhill from 7th Ave

2/4, 7:30 PM the mesmerizing, eclectic Min Xiao-Fen – pipa, sanxian, ruan, voice, sound effects; Satoshi Takeishi – percussion and electronics plus WORKS: Michel Gentile – flute; Daniel Kelly – piano; Rob Garcia – drumsat the Brookliyn Conservatory of Music, $15

2/4, 8/10 PM  hard-hitting, brass-fueled newschool latin soul/boogaloo dance band Spanglish Fly at SOB’s, $10 av tix recs

2/4, 8 PM the Crown Heights Saxophone Quartet followed by the Stratus String Quartet at Scholes St. Studios

2/4, 8 PM Colibri – violinist Evelyn Petcher and pianist Hannah Mindeman – play Shostakovich’s Opus 134 plus Debussy violin-piano sonatas at the DiMenna Center, sugg don

2/4, 8 PM the Ureuk Symphony Orchestra play Beethoven’s Leonore Overture No. 3 and the Tschaikovsky Violin Concerto with soloist Kyung Sun Lee at Merkin Concert Hall, $25 tix avail

2/4, 8 PM the Budapest Festival Orchestra perform the First and Fifth Symphony in an all-Beethoven program, plus pianist Richard Goode playing Piano Concerto No. 2 at NJPAC in Newark, $24 tix avail, kids free

2/4, 8PM purist jazz pianist Marcus Roberts leads his trio at the Miller Theatre, $20 tix avail

2/4 Unsteady Freddie‘s monthly surf rock extravaganza at Otto’s begins at 9 with the Obsidians, at 10 the savagely Link Wray-inspired Howlin Thurstons, at 11 the purist reverbtoned Strange but Surf, and finally the monstrously creepy, awesome Inframen sometime after midnight.

2/4, 9 PM catchy, anthemic, charismatic folk noir band Thee Shambels – sort of the missing link between Nick Cave and the Pogues – followed by darkly torchy southwestern gothic/Europolitan songwriter/guitarist Miwa Gemini at Postmark Cafe, 326 6th St. north of 4th Ave in Park Slope, free

2/4, 9 PM ten-piece country/carnivalesque/acoustic rock powerhouse M Shanghai String Band at the Jalopy, $10

2/4, 9 PM in reverse order at American Beauty: psychedelic funk band Kwame Binea Shakedown, roots reggae with Judah Tribe and tectonically shifting improvisational soundscapes with Burnt Sugar the Arkestra Chamber, $15

2/4, 9 PM first-call postbop tenor sax player John Ellis’ Double Wide at Bar Lunatico, $10. They’re also here on 2/18

2/4, 9:30 PM concise, tuneful jazz pianist Marta Sanchez leads a quintet at the Cell Theatre, $15

2/4, 10 PM careening, savage electric blues guitarist Jeremy Bar-Ilan at Arlene’s, $10

2/4, 11 PM wryly lyrical urban country pioneer Alex Battles & the Whiskey Rebellion celebrate six years of Freddy’s Bar at the current location

2/4 the Bush Tetras at Bowery Electric are sold out

2/5, 1 (one) PM a wild bunch of first-class improvisers from the Gold Bolus scene join forces in variously noisy collaborations: Anaïs Maviel, Angela Morris (Rallidae), Anne Rhodes (Broadcloth), Carl Testa, Daniel Levine (Knuckleball), Dave Ruder, ellen o, Erin Rogers (thingNY), Joe White, Lisa Dowling (kills to kisses), Matthew D. Gantt, Sam Sowyrda, at Footlight Bar, 465 Seneca Ave, Ridgewood, $8 

2/5, 2 PM LES outsider jazz hero Willie Klein channels Woody Guthrie with his acoustic songs for troubled times at Mayflower Bar, 132 Greene Ave in Ft. Greene, free

2/5, 2 PM pianist Alexander Melnikov plays Rachmaninoff: Variations on a Theme by Chopin, Op. 22 and Variations on a Theme by Corelli, Op. 42 [;is Debussy: Preludes for Piano, Book 2 at the Town Hall, $15 tix avail

2/5, 3 PM the Greenwich Village Orchestra play Sibelius – Swan of Tuonela;† R. Strauss – Don Jua; Debussy – Rhapsody; Ravel – Daphnis & Chloé Suite No. 2 at Washington Irving HS Auditorium, 16th St./Irving Place, $15 sugg don., reception to follow

2/5, 4 PM pianist Steven Masi plays Beeethoven sonatas at the Dreck Center at the Brooklyn Public Library, free, no under-sixes.

2/5, 4 PM  Italienisches Liederbuch — a collection of 46 lieder by composer Hugo Wolf (1860-1903), sung by Jesse Blumberg, baritone, Donna Breitzer, mezzo-soprano with Grant Wenaus, piano at the Old Stone House in Park Slope, $20/$10 stud/srs

2/5, 5 PM intense, lyrical, smartly Waits/Dylanesque Americana songwriter Pete Lanctot with superb violinist Ginger Dolden at LIC Bar

2/5, 7 PM superbly counterintuitive drummer/composer Vinnie Sperrazza leads Apocryphal with Loren Stillman­ alto saxophone; Brandon Seabrook­ guitar; Eivind Opsvik­, bass followed at 9:30 by Romany jazz/psychedelic rock guitar mastermind Stephane Wrembel at Barbes

2/5, 8 PM bracingly atmospheric art-rock guitarist Samara Lubelski at Union Pool, $15

2/5, 11 PM the darkly eclectic Merrymaker’s Orchestrina – who veer from catchy jangle uneasy cinematics to fullscale noir rock at Leftfield

2/6, 7 PM Allen Lewis Rickman directs a brand-new English version of Isaac Zolotarevsky’s ribald 1910 Yiddish play Money, Love, and Shame! starring Everett Quinton and Samantha Maurice.“Not for the weak of heart, it’s a wild ride with a group of dysfunctional Jewish immigrants. Though considered “shund” or “trash” by critics, it was one of the most popular and most often produced plays on the Yiddish stage.” At the Center for Jewish Culture, 15 W 16th St., $15/$10 stud/srs.

2/6, 8 PM performance artist Anya Liftig at the PPL Space, 104 Meserole St. in Bushwick, sugg don. This is the woman who made out with a cactus – for a long time. You can watch it on youtube if you have the nerve. Scary/powerful stuff. She also does somewhat more lighthearted things with food.

2/6, 8 PM the mighty 180-voice New York Choral Society sing Haydn’s Lord Nelson Mass and Maurice Duruflé’s Requiem with soloists Vanessa Vasquez, soprano, Abigail Fischer, mezzo-soprano, Zach Borichevsky, tenor, and Sava Vemic, bass. at Stern Auditorium at Carnegie Hall , $30 tix avail

2/6-7, 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

2/6, 9:30 PM Level 5 play catchy, funky organ/guitar grooves, part vintage Meters, part JBs, with a psychedelic edge at the Bitter End. 2/20, 10 PM they’re at the small room at the Rockwood 

2/6, 10 PM explosive, theatrical, phantasmagorical indie/metal band A Deer A Horse at St. Vitus, free

2/6 10:30 PM JD Allen Trio – this era’s most important, and purposeful, and darkly intelligent tenor sax group – at Smalls

2/6, midnight noir piano jazz with the Dred Scott Trio back at their old spot, the small room at the Rockwood They’re here again on 2/26

2/7, 7 PM guitarist Jonathan Goldberger’s excellent, uneasy, Indian and Middle Eastern-tinged pastoral guitar jazz trio Surface to Air followed by explosive, wryly eclectic, Ellington/hip-hop influenced Balkan brass band Slavic Soul Party at Barbes

2/7, 7 PM the Manhattan Chamber Players revisit the heartbroken year of 1877 through Gabriel Faure’s music at the Poisson Rouge, $15 adv tix avail

2/7 7:30/9:30 PM A-list avant crooner Theo Bleckmann leads his Elegy Quintet with Ben Monder – guitar; Shai Maestro – keyboard; Chris Tordini – bass; John Hollenbeck – drums at the Jazz Standard, $25

2/7, 7:30 PM the up-and-doing Verona Quartet performs works by Beethoven, Ravel, and a world premiere by Michael Gilbertson at Weill Recital Hall at Carnegie Hall.

2/7, 8 PM roaring 20s hot jazz with Sweet Megg & the Wayfarers at Radegast Hall

2/7-12 9 PM perennially tuneful, improvisational pianist Kris Davis leads a series of groups at the Stone, $20. Choice pick: 2/8 with mysterious, fearlessly relevant pan-Asian singer Jen Shyu

2/7-12, 9/11 PM the Vanguard Jazz Orchestra play a weeklong stand on their home turf featuring compositions by their founder Thad Jones, leaders Bob Brookmeyer, Jim McNeely and others from their massive catalog of of over 300 tunes, $30

2/7, 9 PM edgy lefty guitarist Damian Quinones and his psychedelic latin soul band at Freddy’s

2/7, 9 PM conscious dancehall reggae star Anthony B – who still wants to burn down Babylon – at B.B. King’s, $25 adv tix rec

2/7, 9:30 PM the fascinating, tuneful Giacomo Merega plays solo bass at Shapeshifter Lab, $10

2/7, 10 PM majestic, cinematic surf instrumentalists the TarantinosNYC  at the Knitting Factory, $10

2/7, 10ish psychedelic, atmospheric downtown postpunk supergroup Heroes of Toolik at the Silent Barn, $10

2/7, 10:30 PM saxophone powerhouse Lucas Pino‘s two-guitar No No Nonet at Smalls

2/8, 7:30 PM amazing, eckectically kinetic Tunisian oudist/singer Dhaffer Yousef at the Poisson Rouge, $20 adv tix avail

2/8, 8ish crystalline-voiced noir Americana songwriter Jessie Kilguss leads an all-star cast – Heather Eatman, Freddie Stevenson, Adam Rubenstein, John Brodeur, Jon Crider, Bird of Youth, John Wray, Hilary Downes, Cliff Westfall and others – singing a Leonard Cohen tribute at Hifi Bar

2/8, 8 PM gamelanesque downtown percussion icon Susie Ibarra‘s lustrously string-driven Dreamtime Ensemble at Roulette, $20 adv tix rec

2/8 8:30 PM a short set fom brilliantly eclectic, cinematic cellist Emily Hope Price followed at 9 by ethereally enchanting art-folk autoharpist/singer Elizabeth Devlin,at Sidewalk

2/8, 11:30 PM intense art-funk/psychedelic soul chanteuse Imani Uzuri at Brownsville Recreation Center in Brownsville Playground, 1555 Linden Boulevard (Christopher/Mother Gaston), East New York, free, 4/5 to New Lots Ave

2/9,  7 PM soaringly explosive jazz composer/torch singer Nicole Zuraitis at 55 Bar

2/9 7:30 PM, repeating 2/10-11 at 8 Semyon Bychkov conducts the NY Phil playing Tschaikovskiy’s Pathetique Symphony at Avery Fisher Hall, $30 tix avail

2/9, 7:30 PM, the New Orford String Quartet play R. Murray Schafer: String Quartet No. 1; Beethoven: String Quartet in C major, Op. 59, No. 3 (“Razumovsky”) at the Lincoln Center Atrium, free, early arrival advised

2/9, 7:30 PM colorful drummer Aaron Alexander leads his Klez Messengers, with clarinet god Michael Winograd and the similarly pyrotechnic Patrick Farrell on accordion at the Jalopy, $15

2/9, 8 PM wild, intense, frequently satirical newgrass/oldtimey hellraisers the Dustbowl Revival at Union Pool, $15

2/9, 8 PM pianist Jihee Heo‘s lustrous, lush Passion Septet at Shapeshifter Lab, $10

2/9, 8 PM deep-space solo guitar epics with David Grubbs at the Old Stone House in Brooklyn, $10

2/9, 8 PM plush singer Daria Grace’s torchy, delightful oldtime uke swing band the Pre-War Ponies Barbes

2/9, 8 PM intense, brilliantly lyrical, fearlessly political 1950s style original folk/blues singer Joshua Garcia at Caffe Vivaldi

2/9, 8:30 PM ethereal chamber pop songwriter/pianist Neha opens for the broodingly compelling, Elliott Smith-influenced Emily Mure at the third stage at the Rockwood, $15

2/9, 9 PM  hot 20s swing with trumpeter Jason Prover and his Sneak Thievery Orchestra at Radegast Hall

2/9, 9 PM wild, noisy, genuinely Hendrixian virtuoso lead guitarist Viva DeConcini and her band at the Way Station. She’s also there on 2/18 at 10

2/9, 10 PM ferociously catchy. fearlessly populiat ska-punk/latin rock band Outernational at Bowery Electric, $8

2/9, 10 PM unstoppably edgy, deservedly iconic, witty downtown guitarist  Marc Ribot  at Sunny’s. He’s also here on 2/23

2/9, 10:30 PM noir-inspired alto saxophonist/composer Nick Hempton leads his group at Smalls

2/9, 11 PM guitarslinger Mallory Feuer’s fiery power trio the Grasping Straws – sort of a mashup of Patti Smith and Hole’s first album – at Muchmore’s, $5

2/9, 11 PM high-voltage circus rock/Balkan brass monsters This Way to the Egress at Mehanata, free. Then they rush up to at the small room at the Rockwood for a midnight show

2/10, 6 PM  tuneful original delta blues and acoustic Americana from Jon LaDeau at the American Folk Art Museum

2/10, 6 PM crystalline-voiced, noir-tinged third-stream jazz chanteuse Tessa Souter and her band at 55 Bar

2/10, 6;30 PM jazz, oldtime folk and other material performed by an allstar band including jazz piano luminaries Bennett Paster and Deidre Rodman Struck and bassist Jim Whitney, M Shanghai String Band’s Philippa Thompson and many others plus guest drummer Scott Neumann at PS 130 Upper School Auditorium, 713 Caton Ave at E 7th St, Windsor Terrace; F to Ft. Hamilton Pkwy; Admission free, all donations benefit the PS 130 PTA

2/10, 7:30 PM short sets by high plainst gothic songstress, Karen Dahlstrom, art-rock pianist Greta Gertler, soaring cello rocker Serena Jost, Gato Loco low-register sax powerhouse Stefan Zeniuk, powerpop guitar genius Pete Galub, hypnotic art-rock pianist Matt Kanelos, folk noir piano songwriter Juliet Strong, jazz pianists Brittany Anjoy and Deidre Struck and maybe others at Greenwood Church, 461 6th St. (chapel entrance on 7th btw 5th/6th sts, Park Slope, $10 all proceeds to C.H.I/P.S, B/D/Q to 7th Ave

2/10, 7:30 PMsweeping, swinging vibraphone jazz with Behn Gillece and his quartet at Smalls

2/10, 7:30/9:30 PM pianist David Virelles leads his quartet with Roman Filiu on alto at the Jazz Gallery, $22

2/10, 8 PM  RighteousGIRLS – pianist Erika Dohi and flutist Gina Izzo – and cellist Jillian Blythe’s Love Every Note presents an anti-Valentine’s Day show with a program including Ravel’s Duo Sonata for Violin and Cello pllus works by Andy Akiho, Todd Reynolds and others at the Firehouse Space, $10

2/10, 8 PM pianist Thomas Sauer plays Joseph Haydn: Sonata in C major, H. XVI: 48 (1789); Hans Abrahamsen: Selections from Ten Studies for Piano (1984-1998); Stephen Hartke: Sonata for Solo Piano (1998;  Beethoven: Sonata in C Minor, Op. 111 (1821-22)at the New School auditorium at 66 W 12th St., free

2/10, 8:30 PM vicious noiserock jamband the the Skull Practitioners– led by Steve Wynn sparring partner/genius guitarist Jason Victor at Matchless, $8

2/10, 8:30 PM Anti-Social Music drinks alone with works by performs a set of solo pieces written by Patrick Castillo, Ty Citerman, Max Duykers, Andrea La Rose, Pat Muchmore, Ed RosenBerg and Charlie Waters. Performers include Ty Citerman (guitar), Domenica Fossati (flute), Steven Gosling (piano), Mihai Marica (cello), Pat Muchmore (cello), and Ed RosenBerg (reeds).followed by Josh Sinton‘s horn trio at I-Beam, $15

2/10, 9 PM enigmatic latin jazz singer Linda Briceno at Pine Box Rock Shop

2/10, 9 PM guitar mastermind Danny Weiss’ and magical Americana singer Mary Olive Smith’s soulful retro bluegrass band Stillhouse Serenade at the Jalopy, $10

2/10, 9 PM Brandi & the Alexanders play their torchy oldschool soul and groove music followed by blue-eyed soul guy Ernest Ernie & the Sincerities at the Bell House, $12 adv tix rec

2/10, 10 PM jaunty Hawaiian swing sounds with King Isto’s Tropical String Bandat Sunny’s. They’re also here on 2/16

2/10. 10:30 PM catchy, irresistibly fun female-fronted oldschool rocksteady/roots reggae band the Big Takeover at the big room at the Rockwood

2/10 11 PM awesomely unhinged horror surf/hotrod instrumentalists the Mad Doctors at the Gutter, $5

2/11, 10 AM (in the morning) a family-friendly interactive concert/jazz workshop for all ages by haunting oldtime gospel/blues/jazz group Jaimeo Brown’s Transcendence at PS 130 Upper School Auditorium, 713 Caton Ave at E 7th St, Windsor Terrace; F to Ft. Hamilton Pkwy; Admission free, all donations benefit the PS 130 PTA

2/11, 1 PM the opening of the new exhiibit Brooklyn Abolitionists/In Pursuit of Freedom. Titled Weeksville: Transforming Community/In Pursuit Of Freedom, exploring the origins of one of the first free black communities in the country. Plus tours of the Historic Hunterfly Road Houses, a screening of “Digging For Black Pride” which chronicles the community centered archaeological dig of 1968, a family arts workshop, and BRIC’s “Black TV Matters”, a screening of community produced shorts that portray various facets of Black American life. At 2 pm, a deep listening session and discussion of oral histories collected as part of BHS’s Voices of Crown Heights public history project. at Weeksville Heritage Center, 158 Buffalo Ave at St. Marks, Crown Heights, A/C to Utica Ave, free

2/11, 3 PM the eclectic, Balkan/latin/funk brass Underground Horns at Radegast Hall. 2/24 they’re at Nublu 151 at around 10

2/11, 6 PM amazingly eclectic cellist and brilliant songwriter Marika Hughes  followed by badass resonator guitarist and delta blues/oldtime hillbilly music maven Mamie Minch  and then otherworldly Tuvan throat-singing group Alash,

2/11, 7 PM up-and-coming chamber music trio Longleash with guest violist Anne Lanzilotti perform works by Scandinavian composers Saariaho, Abrahamsen and Thorvaldsdottir paired with Americans Wollschleger and Marshall at Scandinavia House, 58 Park Ave (37/38), $20

2/11, 7 PM lush string-driven Indian classical ensemble Akshara featuring powerhouse musicians Arun Ramamurthy, Dave Eggar and Kabilan Jeganathan perform along with dancers Sonali Skandan, Sahana Sridhar, Aishwarya Madhav and Janani Comar at Salaam Bombay, 319 Greenwich St at Reade, $25/$18 Seniors and Students/children under 12 free, 1 train to Chambers

2/11,7:30 PM incomparable country/jazz/janglerock icon Amy Allison with Lee Feldman on piano at Dixon Place. Briliant new material! Devastatingly funny between-song banter!

2/11, 7;30 PM powerhouse flamenco guitarist Javier Limon explores the roots of the style at Merkin Concert Hall, $25 tix avail

2/11, 7:30 PM the great unsung hero of darkly purposeful, noir-tinged jazz guitar, Saul Rubin‘ leads his Zeb Trio at Smalls

2/11, 7:30/9 PM Brooklyn’s own purist up-and-coming jazz chanteuse (and Gil Scott-Heron reinterpreter) Charenee Wade and her combo at Ginny’s Suppper Club, $20

2/11, 8 PM fiery southwestern gothic-inflected jazz guitarist Nick Millevoi’s Desertion Trio at Greenwich House Music School, $15/$12 stud/srs

2/11, 8 PM short sets from sardonically funny Beatlesque/Costelloesque powerpop songwriter Walter Ego – solo on piano – andMac McCarty of folk noir band Abraham’s River at Sidewalk

2/11, 8 PM the Musical Chairs Chamber Ensemble play a fantastic program of string quartets: Shostakovich – String Quartet no. 8, Rosciszewski – *String Quartets nos. 1 & 2 (world premieres); Gorecki – String Quartet no. 2 at the Staten Island Museum, 1000 Richmond Terrace, Building “A”$15 

2/11, 8 PM Lauren Alfano-Ishida and Rachel Alexander play music for voice & violin by Blacher – Hovhannes – Vaughan-Williams –Villa-Lobos, at the DiMenna Center, $20

2/11, 8:30 PM pianist Yoon Sun Choi‘s Owls At Night trio followed by brilliantly cinematic, kinetic violinist Dana Lyn ‘s pssychedelic, ecolotically themed Mother Octopus quartet at I-Beam, $15

2/11, 9 PM intense charismatic danceable metal cumbia/skaragga/latin rockers Escarioka at Mehanata, $10

2/11, 9 PM fiery flamenco jazz with the James Labrosse Collective followed at 10 by oldschool psychedelic soul/groove band Empire Beats

2/11, 8ish intense, charismatic, fearlessly populist art-soul crooner/songwriter Chocolate Genius at the Owl, $10

2/11, 9 PM lyrical, soaring alt-country multi-instrumentalist/bandleader Alana Amram& the Rough Gems at Union Pool, $10

2/12, 2 PM elegant, atmospheric art-rock violinist/songwriter Concetta Abbate at Mayflower Bar in Ft. Greene

2/12, 6 PM noir guitar legend Jim Campilongo leads his trio at 55 Bar

2/12, 6 PM erudite, witty art-rock pianist/songwriter/composer Lee Feldman at Cornelia St. Cafe, $20 incl a drink

2/12, 7 PM up-and-coming alto saxophonist Caroline Davis leads her quintet at the Fat Cat

2/12, 7:30 PM Unheard-of Ensemble perform Messiaen’s Quartet for the End of Time as a tribute to the place where many of New York’s great new music ensembles and new works got their start. at the Firehouse Space, $10

2/12, 8 PM perennially interesting improvisers: solo sets from Chris Pitsiokos, trumpeter Nate Wooley,bassist Leila Bordreuil at the Knockdown Center, $10

2/12, 8 PMeclectic, soulful, lyrical original oldtime Americana/folk band the Woes at the Mercury, $8

2/12, 8:15 PM the Amazonas Strings with guest pianist Cesar Orozco play elegant, enveloping latin pastoral jazz at Shapeshifter Lab, $10

2/12, 10 PM intense, hypnotic, otherworldly instrumental solo electric guitar blues with Catriona Sturton at Alphavilla, $8

2/13, 7 PM popular postrock/avant minimalists Bing & Ruth play their new album No Home of the Mind in its entirety at the Greene Space, free but res req 

2/13, 7 PM tuneful postbop pianist Jim Ridl leads his group from behind the Rhodes at 55 Bar

2/13, 8 PM American Contemporary Music Ensemble play featuring Meredith Monk’s Stringsongs plus music by Caroline Shaw, Caleb Burhans, and Timo Andres from ACME’s new album Thrive on Routine at Roulette, $20 adv tix rec

2/13, 9 PM darkly jangly, catchy, new wave-ish rockers Melissa & the Mannequins followed at 10 by explosive, creepy, colorful psychedelic rembetiko metal band Greek Judas at LIC Bar

2/13, 9:30 PM Los Cumpleanos – new wave synths & retro organ sounds with effect-laden trombone and trumpet as well as a three piece percussion section – at Barbes

2/14, drinks at 5:30 PM, show at 6, all-female punk classical French horn quartet Genghis Barbie play works from Bizet to Queen to Badfinger at the Miller Theatre, free

2/14, 7 PM intense Balkan chanteuse Jenny Luna‘s haunting, traditional Turkish band Dolunay followed by ten-piece funky Balkan brass/Ellington jazz monsters Slavic Soul Party at Barbes

2/14, 7 PMeclectic, hard-hitting, lyrical composer/tenor saxophonist Stan Killian and group at 55 Bar

2/14, 9 PM eclectic, paradigm-shifting B3 jazz organist Brian Charette‘s Mighty Grinders grind it out at Bar Chord

2/14, 8ish cinematic, eclectic Balkan- and latin-tinged string band Ljova & the Kontraband  at the Owl, $10

2/14-19, 9/11 PM state-of-the-art alto saxophonist/composer Miguel Zenon leads his quintet at the Vanguard, $30

2/14, 9:30 PM the Bronx Conexion play their mighty salsa big band jazz at the Nuyorican Poets Cafe, $10

2/14, 10 PM excellent, purist honkytonk crooner/bandleader Clifford Westfall at 11th St. Bar

2/15, 6:30 PM  up-and-coming guitarist/songwriter Alicyn Yaffee -the rare artist who successfully bridges the gap between lyrically-fueled chamber pop and jazz – at the Bar Next Door, free

2/15. 8 PM retro continental swing sounds with singer Tatiana Eva-Marie & the Avalon Jazz Band at Guadalupe Inn, $5

2/15, 8 PM inspired, cutting-edge trombonist/composer Ryan Keberle & Catharsis  at Barbes

2/15, 8 PM  hauntingly phantasmagorical art-rock/noir cabaret pianist/singer Anana Kaye at LIC Bar

2/15, 8 PM powerhouse Nina Simone-influenced oldschool soul/jazz belter Spring Brooks at the Way Station 

2/15, 9 PM the Monk-inspired Greg Lewis Organ Trio featuring guitar monster Marc Ribot at Bar Lunatico, $10

2/15, 9ish epic Indian-inspired spacerock band Humeysha at Brooklyn Bazaar

2/16, 7 PM the all-female Ensemble Leonarda explore works by composers who sought out brave new worlds:  Handel (in England), Hotteterre (who went to Rome), & French baroque opera founder, Jean-Baptiste Lully (who emigrated from Florence, Italy to the French court of Louis XIV).  Plus a special rendition of Dvorak’s “Largo” from his “New World” Symphony, featuring hilarious performance artist Kelly Dwyer at the National Opera Center, 333 7th Ave, $25/$15 stud/srs 

2/16, 7 PM intense theatrical Bartok-influenced drummer/composer Sean Noonan’s “Soap” with Alex Marcelo piano Peter Bitenc bass at Shapeshifter Lab, $10

2/16, 7:30 PM rippling tsimbl dulcimer player Pete Rushefsky & the Ternovka Ensemble play eclectic Russian, Ukrainian and Eastern European klezmer sounds at the Jalopy, $15

2/16, 8 PM deviously lyrical, historically spot-on, cleverly sultry oldtimey/Americana songwriter/bandleader Robin Aigner and Parlour Game folllowed at 10 by brilliant klezmer reedman Matt Darriau’s Who Is Manny Blanc, a homage to the legendary/obscure LES psychedelic Jewish jazz/esoterica compose at Barbes

2/16, 8 PM shapeshifting indie classical luminaries Ensemble Mise-en with brilliant, lustrous clarinetist Vasko Dukovski showcase the works of Djuro Zivkovic and Thomas Agerfeldt Olesen in a double portrait concert at Scandinavia House, 37th St./Park Ave., $15/$10 stud

2/16, 8 PM deviously theatrical oldschool C&W/rockabilly parodists Susquehanna Industrial Tool & Die Co at Otto’s

2/16, 9  PM stoner soul and classic blaxpolitation soundtrack grooves with vibraphone legend Roy Ayers at Bric Arts, $15 adv tix rec

2/16, 9 PM powerpopmeister Pete Galub followed eventually at around 11 by edgy, guitar-fueled peak era King Crimson-ish art-rockers Woodhead at Muchmore’s

2/16, 10 PM oldtime blues guitar/banjo/piano genius Jerron Blind Boy Paxton at Iridium, $25. He’s finally playing for the tourists now.

2/17, 6 PM author and record producer Ian Brennan – responsible for the Zomba Prison Project compilation, among others – discusses his book How Music Dies (or Lives)  at Arnhold Hall 55 West 13th Street, Room I-202, at the New School, free

2/17, 7 PM eclectic jazz/blues resonator guitarist Elizabeth Wise at Caffe Vivaldi

2/17, 7:30 PM organist Jason Roberts plays a live score to the Charlie Chaplin classic The Gold Rush at St. Bartholomew’s Church $20/$10 stud/srs

2/17-18, 7:30/9:30 PM a rare weekend engagement by the Mingus Big Band on their home turf at the Jazz Standard, $30

2/17, 7:30 PM catchy oldschool roots reggae jams with a fearlessly populist Senegalese feel from Meta & the Cornerstones at the Poisson Rouge, $12 adv tix rec

2/17, 8 PM Mike Rimbaud – NYC’s current powerpop/new wave counterpart to Joe Strummer – at Bowery Electric

2/17, 8 PM playfully literate superduo Kill Henry Sugar – guitar/banjo mastermind Erik Della Penna and drummer Dean Sharenow –at Barbes

2/17, 8 PM Nadya Meykson, violin; Andrey Tchekmazov, cello Victoria Schwartzman, piano play trios by Brahms and Shostakovich at Scholes St. Studios

2/17, 9 PM epic, cinematic Indian violin-fueled art-rock themes with Rini and her explosive band at Silvana

2/17, 9ish Barmaljova – irrepressiblle indie classical/art-rock/klezmer string band violist Ljova and his similarly amazing wife, singer Inna Barmash – at the Postcrypt Coffehouse

2/17, 9 PM brilliant extrovert jazz drummer Allison Miller leads her band at Bar Lunatico, $10

2/17, 9/10:30 PM ethereal, raptly haunting singer Sara Serpa  leads an unorthodox trio with Ingrid Laubrock, tenor sax;  Erik Friedlander, cello at Cornelia St. Cafe, $10 + $10 min

2/17, 10 PM roots reggae group Royal Khaoz at Shrine

2/18 not a music event but important and relevant: the poignant photo exhibit Muslim in New York, covering from the 80s to the present opens at the Museum of the City of NY, 1220 5th Ave. $18/$12 stud, under 20, free 

2/18, 7:30 PM up-and-coming jazz violinists lead their groups, in reverse order: Tomoko Omura Roots and the  Lisanne Tremblay Trio at the Cell Theatre, $tba

2/18, 8ish  lyrical pianist Jacob Sacks’ Chamber Quartet with Miranda Sielaff – viola, Kristi Helberg – violin, Mike McGinnis – at the Owl, $10

2/18, 8 PM Michael Malis plays solo piano followed by kinetic, darkly incisive guitarist Jessica Ackerley leading her trio, playing the album release for her new one Coalesce at Scholes St. Studios, $10

2/18, 8 PM high-energy original Fairport Convention-stye Britfolk with Divining Rod at the Way Station 

2/18, 9 PM searing, theatrical Romany/Balkan guy/girl-fronted punk rockers Bad Buka at Mehanata

2/18, 9/10:30 PM intense, fearlessly relevant Middle Eastern clarinetist Kinan Azmeh‘s kinetic, picturesque City Band at Cornelia St. Cafe, $10 + $10 min

2/18, 9:30 PM pensive, smart multi-instrumentalist Kristen Tivey – of the edgy female-fronted Talking Heads-ish Eliza & the Organix – fronts her own folk/jazz band followed eventually by her main act at Pine Box Rock Shop

2/18, 10 PM enigmatically jangly, female-fronted rainy-day lo-fi band Belle Mare at the Music Hall of Williamsburg, $15

2/18, 10:30 PM singer Rev. Mary and her Blue Crew “unveil a steamy array of vintage bawdy blues, paying homage to performers like Mae West, Sophie Tucker, Bessie Smith, Rosa Henderson, Ruth Brown, Stella Johnson and Barrel House Annie, to name a few” at Freddy’s

2/19, 2:30 PM intense indie classical/art-rock cellist Leah Coloff at Mayflower Bar in Ft. Greene

2/19, 3 PM harpist Kate Sloat performs contemporary works for solo harp by Lowell Liebermann, Brian Erickson, and many more! at Spectrum, $15

2/19, 3 PM The North/South Chamber Orchestra play premieres by Arthur Gottschalk, David Maves, Winnie Yang , Margarita Zelenaia at Christ & St Stephen’s Church, 120 West 69th St, free

2/19, 4 PM the Emerson String Quartet’s Eugene Drucker, violin; Roberta Cooper, viola; and Gili Melamed Lev, piano; play works by Beethoven and Brahms at the Dreck Center at the Brooklyn Public Library, free, no under-sixes

2/19, 5 PM brilliantly lyrical latin jazz pianist Luis Perdomo + the Controlling Ear Unit at St. Peter’s Church, 54th/Lex, free

2/19, 5:30  PM the fantastic and irrepressible Momenta Quartet play a fascinating program of new Japanese chamber music by Shoichi Yabuta, Yuta Bandoh and Yoshiaki Onishi, on a program also featuring Molly Morkoski, Miya Masaoka, Akikazu Nakamura, Elizabeth Brown, Wendy Stern, Brian Ellingsen and Eriko Sato in other works by Jo Kondo, Tetsuya Yamamoto, Shohei Amimori and Miya Masaoka at Scandinavia House, 37th St./Park Ave.$20/$15 stud/srs

2/19, 7  PM brilliant pedal steel player Mike Neer’s Steelonious – who do Monk covers in the same vein as Buddy Emmons – at Barbes

2/19, 9/10:30 PM the long-awaited return of the world’s funniest improvising ensemble, Mostly Other People Do the Killingplaying the album release hsow for their new one Loafer’s Hollow with Steven Bernstein on trumpet at Cornelia St. Cafe, $10 + $10 min

2/19,  10 PM the intoxicatingly clattering Moroccan trance grooves of Innov Gnawa; eclectic indie classical percussion ensemble Tigue open at 9 at Threes Brewing

2/20, 8 PM fiery, charismatic soul siren Meah Pace and her oldschool band at LIC Bar

2/20, 10 PM tuneful, state-of-the-art bassist Linda Oh leads her killer quartet with Jon Irabagon on alto sax at 55 Bar

2/21, 7 PM Carsie Blanton – who’s shifted her slinky act from oldtimey swing to torchy retro rock – at the Mercury, $12

2/21, 7:30 PM a fantastic Middle Eastern music benefit for the International Refugee Assistance Project from the seven banned countries featuring the Brooklyn Nomads feat. Hadi Eldebek, Mohammad Eldebek, Ramzi Edlibi, Nick Chbat and Shelley Thomas at the Poisson Rouge, $20 standing room avail

2/21, 7:30 PM the Mannes American Composers Ensemble play Andrew Norman: Try; Harrison Birtwistle: Carmen Arcadiae Mechanicae Perpetuum; Louis Andriessen: Workers’ Union at r63 Fifth Avenue, Room U100 at the New School, free

2/21, 8 PM wickedly lyrical French chanson/Romany jazz/cinematic new wave band Paris Combo at City Winery, $25 standing room avail. 

2/21, 8 PM magicallly crepuscular, cinematic Montreal slowcore/postrock/pastoral jazz trio Desert Foxx followed by similar, hyperkinetiically shapeshifting multi-instrumentalist/songwriter Thana Iyer at Muchmore’s. Iyer is playing the album release show for her new one on 2/23 at midnight at the small room at the Rockwood 

2/21, 8 PM lyricallyy sharp chamber pop/art-rock/jazz songwriter Joanna Wallfisch with Kenny Werner on piano at Mezzrow, $20

2/21, 8 PM the Weasel Walter improvisational Large Ensemble featuring Steve Swell on trombone, Leila Bourdreuil on cello and Brandon Seabrook on guitar at Roulette, $20 adv tix rec

2/21, 8/10:30 PM drummer Dan Weiss leads a tuneful trio with Jacob Sacks, piano;  Ben Street, bass at Cornelia St. Cafe, $10 + $10 min

2/21-26, 9 PM vibraphonist Chris Dingman leads a series of ensembles at the Stone, $20. Choice pick: his cinematic, enveloping Subliminal & Sublime project on 2/23

2/21, 10:30 PM 10:30 PM charismatic, adventurous postbop/avant garde trombonist/crooner Frank Lacy leads his group at Smalls

2/21 Lake Street Dive at the Music Hall of Williamsburg is sold out

2/22, 7 PM smart, lyrically edgy Americana rock songstress/bandleader Abbie Barrett at the Mercury, $10

2/22-25, 7 PM Duchess – Amy Cervini, Hilary Gardner and Melissa Stylianou – sing the album release stand for their new one Laughing at Life – their charming update on the Boswell Sisters’ harmony swing – backed by an excellent quintet at 55 Bar

2/22, 7 PM unstoppable guitar and banjo shredder Brandon Seabrookquartet with  Dan Levin- cello;Vinnie Sperrazza- drums and Henry Fraser – bass at Barbes

2/22, 7:30 PM, repeating on 2/25 at 8 the NY Phil play Beethoven Symphonies No. 8 and 8 at Avery Fisher Hall, $31 tix avail2/22, 9 PM singer Renee LoBue’s popular, catchy, anthemic early zeros powerpop/southwesten gothic band Elk City at Hifi Bar

2/22, 8 PM maybe the best big band jazz night of the year: violnist Meg Okura‘s Pan Asian Chamber Jazz Ensemble & the Erica Seguine/Shannon Baker Jazz Orchestra – arguably the most original, interesting and shapeshiftingly fun, cinematic large jazz ensemble in NYC, right up there with Darcy James Argue –at Shapeshifter Lab, $tba

2/22, 10 PM fiery punk/blues/soul bandleader Black Joe Lewis – sort of a mashup of Iggy Pop and Albert Collins – at the Music Hall of Williamsburg, $20 adv tix at the Mercury M-F 5-7 PM highly rec.

2/23, 7 PM riveting, smart, Indian-influenced psychecelic soul singer/bandleader Shilpa Ananth  – the Indian Sade, maybe – plays a rare trio show with piano and tabla at Kava Shteeble on 94 Ralph Ave, Brooklyn

2/23, 7 PM epic Indian-inspired spacerock band Humeysha at the Mercury, $10

2/23, 7 PM scorching female-fronted psychedelic doom metal band Electric Citizen open for the Crazy World of Arthur Brown – still crazy after all these years – at the Poisson Rouge, $25 adv tix avail

2/23, 7 PM pianist Yoonie Han performs the world premiere of Theodore Wiprud’s Miss Ellen Terry as Lady Macbeth and selections from Enrique Granados’ Goyescas; plus the composer, pianist and art historian Professor Gail Levin all discuss the influence of visual art on music af the Recital Hall at Baruch College, E. 25th St between 3rd and Lexington Ave, use code CC20 for $20 tix

2/23, 7:30 PM the Catalyst Quartet play their string quartet arrangement of Bach’s Goldberg Variations at the Lincoln Center Atrium, free, early arrival advised

2/23, 8 PM charismatic, torchy, occasionally Lynchian jazz bassist/singer Kate Davis (of the Lady Bugs) with her combo followed at 10 by Chia’s Dance Party spinoff the Cumbia River Band playing rustic Colombian acoustic grooves at Barbes

2/23, 8 PM an explosive collaboration between drummer Greg Fox and low-register noise composer Eli Keszler at Roulette, $20 adv tix rec

2/22, 8 PM ex-Dylan lead guitarist Larry Campbell with singer Teresa Williams and guest pianist Bill Payne of Little Feat at City Winery $22 standing room vail

 2/23, 9 PM ace drummer/bandleader Tim Kuhl and his enveloping John Hollenbeck-ish 1982 art-rock project at Troost

2/23, 9 PM soulful chanteuse Kelly Sloan’s cachy, kinetic downtempo/neosoul group K Sloan & the Melodics at the Bitter End

2/23, 9ish cleverly lyrical, murderously witty murder ballad/chamber pop allstars Charming Disaster  at the Jalopy

2/23, 10 PM intense, lyrical, smartly Waits/Dylanesque Americana songwriter Pete Lanctot at Pete’s

2/23, 10 PM tunefully simmerimg improvisations from drummer Nick Fraser with Pat Briener – saxophone, Myk Freedman – lap steel at Happy Lucky No. 1 Gallery

2/23, 10 PM hypnotic, catchy loopmusic cellist Laura Wolf at Pine Box Rock Shop

2/24, 7 PM brilliant, haunting oudist Ara Dinkjian and his legendary singer dad Onnik Dinkjian perform a rare Armenian and Turkish program at the CUNY Grad Center, 365 5th Ave north of 34th St;, $25

2/24, 7 PM the world premiere of the new global warming-themed opera Upon this Handful of Earth by Norwegian composer Gisle Kverndokk and librettist Aksel-Otto Bull at the Church of St. Ignatius Loyola, 980 Park Ave $25 tix avail

2/24-25, 7 PM Cantata Profana bings a brand new staging of Leos Janácek’s song cycle, The Diary of One Who Disappeared, and one of J.S.Bach’s most sublime cantatas, BWV170 “Vergnügte Ru” to Symphony Space, $20 adv tix rec

2/24, 7:30 PM Happy Traum’s multimedia event Coming of Age in the Greenwich Village Folk Revival and the Woodstock Scene (1954 – 1971): “With colorful anecdotes and incisive memories, and the aid of vintage photos and music clips, Traum relates some of his adventures as an active member of the New York folk revival; his participation in the “Great Folk Singers Riot” in Washington Square; and his friendships with some of the leading folk artists of the day such as Brownie McGhee, and a young Bob Dylan. Happy punctuates his remembrances with songs and guitar solos from the folk era and beyond,”  at St. John’s Lutheran Church, 81 Christopher St $25/$15 stud.

2/24, 7:30 PM high voltage latin jazz with the Pedrito Martinez Group at the Lincoln Center Atrium, free, early arrival advised

2/24, 8 PM fearless Malian psychedelic desert rock bandleader/freedom fighter Noura Mint Seymali at the Poisson Rouge, $20 adv tix avail

2/24, 8 PM fearless punk classical cellist Valerie Kuehne at the PPL Space, 104 Meserole St in Bushwick, sugg don. She’s at Spectrum the following night, 2/25 at 8:30 PM for $15

2/24, 8 PM soaring alto saxophonist/jazz chanteuse Grace Kelly leads her quartet at Flushing Town Hall, $16, free for teens age 13-19 with ID.

2/24, 8 PM 8 PM rustic Brazilian jungle sounds with Regional de NY at Barbes

2/24, 9 PM the Dirty Waltz Project- a seven-piece band playing more than a dozen instruments in 3/4 time in countless genres from Balkan, Irish, jazz, blues and American folk traditions – at the Jalopy, $10

2/24, 9 PM popular, shambling stoner boogie/Americana rockers Jeff the Brotherhood at Sunnyvale, $15

2/24, 9 PM tuneful, intriguing third-stream jazz pianist Noa Fort leads her trio at Pete’s

2/24, 9:30 PM intense, charismatic Tunisian art-rock songwriter – and Arab Spring heroine – Emel Mathlouthi at Joe’s Pub, $18

2/24, 10 PM jangly, sharply lyrical folk-rock/chamberpop band the Morning Sea – like a more stripped-down, less druggy Elliott Smith – at the small room at the Rockwood

2/24, 10 PM Dead Man Winter -Trampled By Turtles’ Dave Simonett’s second-generation Wallfowers rock side project – at Bowery Ballroom, $18

2/24, 11 PM high-voltage Tex-Mex and zydeco sounds with the Whiskey Killers at Guadalupe Inn, $5

2/25, 5 PM a free dance party with the Harlem Renaissance Orchestra at the community center in the middle of Marcus Garvey Pak, free

2/25, 6 PM 6 PM amazingly eclectic cellist and brilliant soul/art-rock/jazz songwriter Marika Hughes followed at 8 by eclectic, electric C&W/blues band the Jug Addicts and at 10 by trippy North African dance grooves from Innov Gnawa at Barbes

2/25, 7 PM percussionist Jaimeo Brown’s Transcendence (ft. Chris Sholar & Jaleel Shaw) – who make haunting jazz soundscapes out of rustic African-American gospel themes – at the Poisson Rouge, $15 adv tix avail

2/25, 7 PM enigmatic female-fronted psychedelic pop/new wave band the New Tarot play the album release show for their new one at Bowery Electric, $8

2/25, 7 PM Hollywood’s Dan Finnerty leads his savagely hilarious top 40 parody group the Dan Band at Joe’s Pub, $22

2/25, 7:30 PM intense, controversial Portuguese fado star Gisela João makes her US debut backed by a great acoustic band at the Schimmel Center at Pace University, 3 Spruce St, $30, 6/J/M to City Hall

2/25, 7:30 PM Victoria Schwartzman, piano ;Andrey Tchekmazov, cello; Nadya Meykson, violin play works  by Alfred Schnittke, Alban Berg, Arvo Pärt and Dmitry Shostakovich at the Brooklyn Conservatory of Music, $20 sugg don

2/25, 8 PM rapturously textured British Renaissance choir Stile Antico sing a pretty wild program of classics and obscurities by Tallis, Clemens Non Papa, Tompkins, Vivanco, McCabe and others at at the Church of St. Mary the Virgin, 145 W 46th St between 6th and 7th aves, $30 seats avail

2/25, 9 PM Emiliano Messiez, piano and Rodolfo Zanetti Via, bandoneon play classic tango at Caffe Vivaldi

2/25, 9:30 PM Washington DC psychedelic soul band Aztec Sun followed by Pitchblak Brass Band at the Hall at MP, $12 adv tix rec

2/25, 9:30 PM eclectic Americana/C&W rock band Spuyten Duyvil at the Jalopy, $12

2/25, 10ish a free dreampop night at Muchmore’s with the glimmering, ringing Beach Moon Peach Moon and then the Parrot Dream Band, who sound like a louder Cocteau Twins

2/26, 2:30 PM the Dessoff Choirs sing an all-French program with music of Marcel Dupré, Claude Debussy, Lili Boulanger, Reynaldo Hahn, Jean Langlais, and Francis Poulen accompanied by organist Ray Nagem at St. Jean Baptiste Church, 184 East 76th St, $25/$15 stud/srs

2/26, 3  PM pianist Imri Talgam plays music of Daniel Fox, Peter Kramer and Vicente Alexim at Spectrum, $15

2/26, 5 PM former Little Jimmy Scott tenor sax player TK Blue and band at St. Peter’s Church, 54th/Lex, free

2/26, 6 PM ferocious, Middle Eastern-inspired jazz violinist Elektra Kurtis with indie classical chamber ensemble the PubliQuartet at Cornelia St. Cafe, $10 + $10 min

2/26, 6 PM powerhouse multi-reedwoman Jenny Hill plays both sax and flute at the album release for her new one with her sextet at 55 Bar

2/26, 7 sh vivid gothic Americana songstress Lara Ewen at Scratcher Bar on E 5th just off Bowery

2/26, 9 PMs mart, politically-fueled Irish rocker Niall Connolly at at the small room at the Rockwood

2/27, 7:30 PM Damstadt Essential Music join forces to play Terry Riley’s In C – performers include Nick Hallett and Zach Layton leading an ensemble with Elliott Sharp, Peter Kotik, Pauline and Conrad Harris, David Grubbs, Laura Ortman, Roddy Bottum – at the Poisson Rouge, $20 adv tix rec

2/27. 7:30 PM the Calefax Reed Quintet, organist Paul Jacobs, flutist Claire Chase, and the  Grand Electric ensemble play new arrangements of classic Bach workss at Music Mondays at Advent Church, 93rd/Broadway, free

2/28, 7 PMa ferocious update on a darkly classic sound: the Avi Fox-Rosen Electric Klezmer Trio with Dave Licht on drums,and Zoe Guigueno on bass play Dave Tarras tunes followed at 9 by ten-piece funky Balkan brass jazz monsters Slavic Soul Party at Barbes

2/28, 7 PM La Mecanica Popular play their original update on classic 70s Nuyorican salsa dura at Bric Arts, free w/rsvp 

2/28, 8 PM pianist/composer Richard Sussman’s Evolution Ensemble presents the lush, explosive Evolution Suite for jazz quintet, string quartet, and Roulette, $20 adv tix rec

2/28, 9 PM purist oldschool country songwriter/bandleader Michaela Anne a at the big room at the Rockwood, $12

2/28. 9 PM Brooklyn’s original punk Balkan horn group Hungry March Band,at the Bell House, $15

2/28, 10 PM brilliant drummer/percussionist Willie Martinez & La Familia Sextet play classic salsa grooves at the Nuyorican Poets Cafe

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

3/8, 9 PM a good Afrobeat twinbill in Greenpoint: the Super Yamba Band followed by the People’s Champs at Brooklyn Bazaar, $10 adv tix avail at the Poisson Rouge box ofc

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

3/9, 8 PM intense, funky Indian brass bhangra band Red Baraat play the album release show for their new one at Bric Arts, $15 adv tix rec. They’re at the Poisson Rouge on 3/16

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

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

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

3/14, 7 PM My Brightest Dimond’s Shara Nova and others backed by adventurous young orchestra the Knights  play Sarah Kirkland Snider‘s song suite  Unremembered, a hilling reminiscence of childhood traumas at National Sawdust, $30 adv tix a must

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

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

3/16, 7:30 PM ancient, otherworldly trance beats: the first-ever US performance by the master musicians of the Festival Gnaoua et des Musiques du Monde in Essaouira, Morocco at the Lincoln Center Atrium, free, early arrival advised

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

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

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

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

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

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

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

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

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

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

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

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

Lush, Lavishly Ambitious Big Band Jazz With Miho Hazama & M-Unit at Lincoln Center

Pianist/organist/conductor Miho Hazama writes big, blustery, fearlessly energetic big band jazz themes. Her music is cosmopolitan in every sense of the word: sophisticated, individualistic and innovative. There’s no one in the world who sounds like her. She loves dynamics – despite the heft of her compositions, half the time only half of her band, or even smaller subsets of the group, are playing. She loves bright, catchy hooks, and her material is obviously a ton of fun to play: a good percentage of New York’s top big band jazz talent comprise her epic large ensemble M-Unit. They have a gig at Dizzy’s Club at Jazz at Lincoln Center on Jan 25, with sets at 7:30 and 9:30 PM. Cover is pricy, $30, but this group is worth it. It’s good to see such an interesting band getting a chance to play to a more or less captive audience.

It was a lot of fun to catch the group playing one of the series of midday shows at another midtown spot, at St. Peter’s Church on the east side, back in August. Coventional wisdom is that musicians don’t really wake up til the sun goes down, but the group was a the top of their game despite the relatively early hour. Their first number, Mr. O opened with momentary pageantry from the strings, then quickly gave way to a clustering piano theme beefed up by the ensemble, then down to a bustling, bouncing alto sax solo over the rhythm section. Hazama’s chart gave the group a chance to have fun throwing big, bright splashes of color against the sonic canvas, piano adding a solo that rose to breathless, towering heights. A yakuza gangster undercurrent added devious suspense.

They followed with an enigmatic piano theme over a syncopated clave beat, vibraphone carrying the melody over a lustrous backdrop with hints of both Russian Romanticism and cheery 70s Philly soul, hitting another suspensefully rippling piano-and-rhythm-section interlude before the piece rose again. Like her colleagues Darcy James Argue and John Hollenbeck, Hazama loves unorthox pairings of instruments: this one featured bass clarinet in tandem with violin.

The string quartet opened the number after that, then backed as a moody flugelhorn solo quickly turned into a clever Rodgers and Hart quote. As the strings rose toward the end, a sense of melancholy and longing developed, increasing as the music dipped to the strings and piano. That’s typical of how counterintitively Hazama works.

Maybe predictably, Hazama’s earliest composition on the bill followed the set’s most trad, swinging trajectory. The most ambitious was the title track to her lavishly brilliant 2012 debut album Journey to Journey, anchored by a tensely circling piano riff while individual voices shifted in innumerable directions, an uneasily dancing alto sax solo in the center of it all. The group dipped to a charming, balletesque exchange of pizzicato strings, then rose to a vintage 70s soul riff and an explosive outro.

There was plenty of other material on the program, but that’s where the recorder ran out of juice. And it was hard to hear the band intros to keep track of who was playing what in the boomy church basement space. That won’t be a problem in the plush sonics at Lincoln Center.

Steel Player Mike Neer Darkly Reinvents Thelonious Monk Classics

Any fan of western swing knows how cool a steel guitar can sound playing jazz. The great C&W pedal steel player Buddy Emmons knew something about that: back in the 70s, he recorded steel versions of famous Charlie Parker tunes. In that same vein, steel guitarist Mike Neer has just put out an even more deliciously warped, downright creepy, dare we say paradigm-shifting album of Thelonious Monk covers for lapsteel, wryly titled Steelonious and streaming at the band’s webpage. Neer’s playing the album release show on Jan 25 at 8 PM at Barbes. If you like Monk, steel, and/or darkly cinematic sounds in general, you’d be crazy to miss this.

The album opens with a tongue-in-cheek slide down the frets into a surf stomp, and the band is off into their tight version of Epistrophy, a devious mix of western swing, honkytonk and the Ventures. Neer is amped up with plenty of reverb and just a tad of natural distortion for extra bite. By contrast, he plays Bemsha Swing through a watery chorus effect against the low-key pulse of bassist Andrew Hall and drummer Diego Voglino as pianist Matt King stays in the background.

The rest of the album is a mix of iconic material and deeper cuts. In deference to the composer’s purist taste, King’s piano keeps things purposeful and bluesy, with the occasional hint of New Orleans. Neer’s take of Round Midnight echoes the Hawaiian sounds he played for so long, first with the Haoles and then the Moonlighters. In its own twisted way, this simmering quasi-bolero is closer to the spirit of the original than most straight-up jazz versions. It’s easy to imagine Beninghove’s Hangmen doing something as noir as this with it.

Likewise, In Walked Bud gets reinvented with all sorts of slinky bossa nova tinges, Tom Beckham’s echoey, bluesy vibraphone over lingering organ. If Neer’s version is historically accurate, Bud Powell wasn’t just crazy – this cat was scary!

Bye-Ya has more of a western swing feel, partially due to Neer’s droll, warpy tones. I Mean You positions Neer as bad cop against purist, good cop King. Putting organ on Off Minor was a genius move – what a creepy song! Voglino’s surf drums provide an almost gleeful contrast. In the same vein, the band does Ugly Beauty as a waltzing, noir organ theme, Neer’s menacing solo echoing Charlie Rouse’s sax on the original before veering back toward Bill Monroe territory.

It’s amazing how good a country ballad Ask Me Now makes; same deal with how well Blue Monk translates to proto-honkytonk. Straight No Chaser is so distinctive that there’s not a lot that can be done with it other than playing it pretty much as written, and the band keep their cards pretty close to the vest. But their starlit waltz version of Reflections is anything but trad: it’s sort of their Theme From a Summer Place. It’s awfully early in the year, and much as it might be cheating to pick a cover album, this is the frontrunner for best release of 2017 so far.

Resonant Music For Troubled Times: Amir ElSaffar at the Fridman Gallery

Last night at the Fridman Gallery in Soho, trumpeter Amir ElSaffar opened the night solo with a series of sweepingly concise, panoramic phrases that came across more as a call to arms than to prayer. Or maybe just a calm, resolute series of wake-up calls. In between, he left some of the most pregnant pauses hanging in the air anywhere in this city. Maybe the effects of a Pauline Oliveros retrospective here the previous night lingered as well. In between notes, the hushed, high harmonies of the ventilation system – a ninth interval, if you were there to hear it – became part of the music, along with the occasional random footfall from an adjacent room. The effect was as suspenseful and cinematic as anything Bernard Herrmann ever wrote. There would be a lot of deep listening this evening, matched by the depth of the music onstage.

As ElSaffar went on, the images on this vast canvas became more distinct, the occasional moody, graceful riff appearing amid the desolation. A series of slow, matter-of-fact crescendos gave way to a brief series of doppler effects – a calm before a storm, or planes hovering high over the fields and plains of northern Iraq? While ElSaffar is best known for his ornate and often harrowing blend of jazz and Middle Eastern sounds from that country to Syria, if there was any specific genre he brought to mind, it was austere 19th century blues.

Tenor saxophonist Ole Mathisen and drummer Tomas Fujiwara joined him for the second half of the show, a series of interconnected themes and variations that echoed ElSaffar’s mighty, turbulent 2015 large-ensemble Crisis suite. Trumpeter Peter Evans, the sonic curator for this ongoing series of shows at the gallery, is known for his extended technique, pushing the limits of what his instrument can do. ElSaffar’s own ability to conjure images, from a diesel engine at peak RPM, to sepulchral microtones and keening, overtone-fueled polytonalities, proved every bit as daunting and inspiring.

Fujiwara grounded the music with majesty and gravitas on his toms, delivering a coy doppler of his own from the bell of his ride cymbal outwards, later riding the rims with a moody, mutedly syncopated suspense. ElSaffar and Mathisen locked harmonies, whether in the western scale or outside of it as the music finally rose into magically Middle Eastern microtones. The themes were sturdy, and emphatic, and hardly at ease. A stately, regal movement gave way to a troubled fanfare, a march and variations that more than hinted at sarcasm, then a wary, practically furtive passage that made for a gently resonant crescendo before the horns finally took the music toward the region where the Chicago-born trumpeter has found his greatest inspiration over the past fifteen years or so. There will be a “best concerts of 2017” page at the end of the year here, if we’re all still here, and this will be on it.

The series of shows at the Fridman Gallery, 287 Spring St. between Vandam and Hudson, continues tonight, Jan 10 at 8 PM with jazz/hip-hop drummer/lyricist Kassa Overall. Cover is $20.