New York Music Daily

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Tag: jazz

Gato Libre Bring Their Rapturously Pensive Accordion Jazz to Gowanus

Gato Libre began life as a quartet making pensive, often plaintively tuneful jazz out of Japanese folk themes. As the Spanish name implies, a Romany influence appears frequently throughout their work. The nucleus of the group is the most formidable husband-wife team in jazz since Max Roach and Abbey Lincoln.

The astonishingly consistent and prolific pianist Satoko Fujii plays accordion with her husband Natsuki Tamura, the shogun of extended-technique trumpet. Originally a four-piece, they tragically lost their bass player in the months after 3/11 and are now a trio with trombonist Yasuko Kaneko. Their new album, Neko (not a homage to a redheaded Canuck songwriter) is streaming at youtube, and they’re bringing their increasingly austere, gorgeously pensive sounds to I-Beam on Nov 17 at 8:30 PM. Cover is $15.

If you’re expecting Tamura to do his proto-Peter Evans thing here, for the most part you’ll have to look elsewhere: the Japanese maestro has never played with greater elegance. Tempos here are on the glacial side.

The album opens with moody variations over a low accordion drone, Tamura’s warmly welcoming melody giving way to the trombone’s more uneasy tones. The second track shifts from stately call-and-response to a grittily triangulated conversation, Fujii’s calm, musette-like lines the voice of reason.

Tamura finally turns the ghosts and the microtonal mist loose in the third number, Fujii again starkly alluding to classic French chanson, Kaneko adding muted squall while Tamura channels the spirits of the hearth. Then the horns switch roles.

Distanced from Fujii’s slow, loopy variatoins, Tamura’s deadpan approach on the fourth track is pricelessly funny – no spoilers here. The trio take turns on the fifth tune, Yuzu, Tamura opening with what sounds like a Civil War bugle call and an amusing classical quote before Fujii builds to an unexpectedly wary crescendo. Kaneko takes a turn to bring in some blues, then the trio join forces for a brief, careful processional.

Finally, their lattice of voices grows more lush and lively in the final number, Tora. coming full circle with a simple fifth interval from the trombone that could be a a call to arms, or at least a call to awareness: this is very guardedly optimistic music for troubled times. How many more months til impeachment day?

Because this album is largely improvised, you will definitely get the tunefulness but probably not these tunes in Gowanus on Wednesday night. 


Considering the Prospects For Adam O’Farrill’s Daunting Technique and Compositional Chops

Even if trumpeter Adam O’Farrill hadn’t made such a big splash as a twenty-year-old phenom in Rudresh Mahanthappa’s band, or if he wasn’t heir to a brilliant jazz legacy that goes back three generations to his grandfather Chico O’Farrill, he’d still be one of his era’s most in-demand players. When pianist Chris Pattishall got a gig to livescore the debut of visual artist Kambui’s new video project, Where Does the Time Go this coming Weds, Nov 15 at 7:30 at the Lincoln Center atrium space on Broadway just north of 62nd Street, he immediately brought in O’Farrill as a sparring partner. Which testifies to his reputation as an improviser as well as a sideman. Pattishall is no slouch as an improviser, either: this performance could school a lot of players.

O’Farrill is also a composer, with several tracks to his credit on his debut album Stranger Days, streaming at Sunnyside Records. It’s a lot of fun, and the lineup is somewhat unorthodox for a debut – two horns, bass and drums. Not to be disrespectful to young composers, but there are plenty of guys twice O’Farrill’s age who can’t write tunes as purposeful as the numbers here. Being a bigtime movie fan probably has a lot to do with the vividness of his sonic narratives.

The album title is a pun, and it’s apt, referencing both the Camus novel as well as our surreal times. The album opens with the optimistically waltzing harmonies of A & R Italian Eatery, O’Farriull and tenor saxophonist Chad Lefkowitz-Brown bantering like a couple of garrulous oldtimers in the neighborhood pizza joint. O’Farrill’s similarly brliliant brother Zack adds sparkle and spatter against Walter Stinson’s sinuous bass.

A fluttery solo trumpet approximation of waves licking the beach opens the epic The Stranger, then the bandleader takes an allusively North African tangent as a shout to the novel’s enigmatic protagonist. From there the band shuffle, then march with a Mingus-inspired grit, the brothers in the band messing with the time and pushing their instruments’ outer edges: the fun these guys are having is contagious. Long, exploratory, unresolved solos from each horn player give way to moody minimalism from the bass and drums before the procession resumes. Does anybody get shot? No spoilers here.

Stinson’s terse solo base interchange with moody horn harmonies peppered by latin-tinged rimshots in Survival Instincts. Why She Loves, by Stinson, begins with low-key, amiable solo sax; slinky syncopation and tense close harmonies follow until the brothers in the band bust through the clouds, clearing a path for the bass to bop around.

Aligator Got the Blues rises from moody, blues-infused atmospherics to a latin slink and then a strut as the sax bobs and weaves; they take it out with argumentative New Orleans horns and wind it back somberly. Another Stinson tune, Forget Everything You’ve Learned At School follows a byzantine if ultimately triumphant path out of frustration with routine and repetition: no wonder everybody can’t wait til the school day is over!

The album’s most ambitious point is a triptych that begins with The Cows and Their Farmer Walt, inspired by the famous 1935 Mickey Mouse cartoon The Band Concert, with the satirical, buffoonish feel of a Mostly Other People Do the Killing parody piece: everybody chews the scenery, with irresistibly amusing results. The Courtroom keeps this silly, conversational narrative going “as a judge (bass), a politician (sax), and an environmental scientist (trumpet) try to come to terms with what happened after this natural disaster, not to mention what happened to the cows and their farmer.” It concludes with the funky math of Building the Metamorphosen Bridge

The album closes with Lower Brooklyn Botanical Union, a jaunty swing shuffle and joint shout-out to Strayhorn and the brothers’ pioneering latin jazz composer grandfather. It’s impressively eclectic stuff from a guy whose ceiling seems to be pretty unlimited – and a good indication of what he might pull out of thin air at the Lincoln Center gig on Wednesday.

A Multimedia Extravaganza With Two Great Jazz Improvisers at Lincoln Center This November 15

Fans of first-class jazz improvisation are in for a treat on Weds Nov 15 at 7:30 PM when pianist Chris Pattishall and trumpeter Adam O’Farrill  team up to play a live score to the debut of visual artist Kambui’s new video project, Where Does the Time Go, at the Lincoln Center atrium space on Broadway just north of 62nd Street. The film stars Irungu Mutu and Jessica Allie. As with all the mostly-weekly free performances here, the earlier you get in, the better your chances of getting a seat.

Magical things could happen: these players are both tremendous improvisers. O’Farrill has a thoughtful approach to match his awe-inspiring chops and extended technique, and Pattishall makes flying without a net look easy. The pianist played a rapturous, largely improvised set this past spring at St. Paul’s Chapel downtown with his old North Carolina guitarist pal Rafiq Bhatia.

Pattishall has become one of the world’s foremost champions of Mary Lou Williams’ gospel-and-blues-inspired music, notably her Zodiac Suite. He opened solo with two segments, Aquarius and Pisces, first shifting from uneasy, nebulous low-register resonance to a sleek, low-key midtempo swing in the first movement. Likewise, he traced the arc of Pisces from a darkly restrained Chopinesque waltz toward Scott Joplin ragtime.

Then Bhatia joined him: the two hadn’t played a New York gig together in more than ten years. To dovetail with the concert series’ Debussy-inspired water-justice theme, Pattishall encouraged the crowd to pay close attention to subtle changes in sonority, and textures, and attack and decay. Those came into focus immediately with the first sepulchral, keening washes from Bhatia’s Telecaster and pedalboard as Pattishall colored them with bell-like phrases. As the piece built steam, Bhatia channeled Jerry Garcia in spiraling, exploratory mode, taking advantage of the space’s natural reverb. 

The guitarist then flipped the script, taking the music into enveloping Eno-esque territory, peppering the vast expanse with coy backward-masking riffs. Pattishall pulled the music toward triumphant title-theme cinematics, then Bhatia responded with watery juxtapositions, ripples over a dark undercurrent. Pattishall felt it take over the space and pulled back, doubling Bhatia’s enigmatically insistent chords before reaching toward epic grandeur once again.

The two reverted to echoey atmospherics and doppler effects, Pattishall on synth, letting the cloud drift off into terse, minimal icicle piano lines and a few final circling volleys of guitar arpeggios. It was music to get completely lost in.

You can watch the whole show here; the Lincoln Center gig will no doubt be completely different, but this will give you an idea of how Pattishall works in an intimate setting. 

Doug Wieselman Releases His Broodingly Hypnotic New Album at the Owl This Thursday 

Multi-reedman Doug Wieselman‘s Trio S has been around for almost as long as his legendary, phantasmagorically cinematic circus band Kamikaze Ground Crew (who played a mesmerizing reunion show at Roulette last fall). He started Trio S as a vehicle for his small-scale compositions, which these days involve a lot of hypnotic loopmusic and water melodies. Georg Friedrich Handel, you’re being schooled!

Wieselman, drummer Kenny Wollesen and cellist Jane Scarpantoni are playing the album release for their new one, Somewhere Glimmer – streaming at Bandcamp – at the Owl at around 8 on Nov 9; suggested donation is $10. It’s music to get completely lost in, artful variations on very simple, catchy themes, like a less stylized Angelo Badalamenti.

The bandleader’s distantly Balkan-tinged, moodily resonant clarinet loops mingle over Wollesen’s wind chimes and Scarpantoni’s alternately stern and whispery washes in Sesto, the opening track. Wollesen’s gongs and toms then triangulate a series of angst-fueled crescendos.

Dissociative polyrhythms and echo effects slowly coalesce as New River, a tone poem of sorts, finally begins to ripple along: you could call it organic motorik music. Wieselman switches to banjo, anchoring Scarpantoni’s moody melody in That Way, a gorgeously melancholy, Britfolk-tinged waltz

Piper Hill is uneasily airy, its long-tone exchanges fading in and out over a similarly folk-tinged clarinet loop. A Scarpantoni drone and flickers from Wollesen underpin Wieselman’s moody Balkan melismas in Dreambox, which builds to a ferocious, Macedonian-flavored dance – it’s the album’s high point. Wollesen’s deep-forest brook sonics open the somber Metal in Wood, which morphs into a 19th century-style chain gang theme.

Hallucination of a Storm juxtaposes ominous low-register washes with Wieselman’s blithe bluegrass mandolin. The album winds up with Birdbath, a wryly bittersweet tableau. Call this jazz, or film music, or whatever you want, it’s one of the most darkly unexpected treats of 2017.

Big Lazy Bring Their Noir Intensity to the East Village This Friday Night

Even by their own legendary standards, Big Lazy’s show Friday night at Barbes was a high point in the history of a band who go back twenty years. Having seen the cinematic noir instrumental trio in various configurations since the 90s, this could have been their most improvisational show ever. Their music is often described as crime jazz, but they also play noir boleros, and go-go struts, and uneasy big-sky themes that turn macabre in seconds flat. Those are just a handful of styles they’ve played over the years. In between songs, frontman/guitarist Steve Ulrich alluded to surf music, which makes sense considering how much reverb he uses. But ironically, there were more latin rhythms and pouncing suspense themes in this set than there was the horror surf which was one of the band’s signature sounds during the early days.  Since Ulrich’s main gig is writing scores for film and PBS, that’s no surprise.

The guy can play anything. Bill Frisell and Marc Ribot get all the props for being this era’s preeminent jazz guitarists, but Ulrich can do anything they do, just more darkly. There was a lot of new material in this set, and as Ulrich cut loose with lingering, mournful approximations of wee-hours horn lines, bottom-of-the-well echoes, plaintive country twang or elegant proto-rockabilly Nashville riffs, creating a constantly shifting tableau that was as close to straight-up postbop jazz as this band’s ever played.

Amplifying that was how nimbly bassist Andrew Hall and drummer Yuval Lion negotiatid the songs’ tricky syncopation and odd meters. Hall is the one bass player in this group to actually carry the melody from time to time,  with a lot of conversational interplay, but this show was more or less Ulrich out alone over a taut, slinky backdrop, flying without a net. One common device that came back again and again with a wallop was how he’d answer his own semi-hopeful, soaring phrases with a crushing barrage of tremolo-picking,  akin to what Rachmaninoff would do.

Ulrich usually saves that kind of unhinged attack for when he really needs it – he leaves the pick-melting to Dick Dale. But this time the angst and fury was relentless, through expansive and careening versions of the lickety-split Princess Nicotine, a gloomily gorgeous take of Uneasy Street and finally a warped version of Don’t Cross Myrtle. That’s the title track of the band’s latest album, and while New Yorkers might think it means “stay out of the bad part of town,” it could just as easily mean “keep your hideous condos and money laundering out of what’s left of our cool neighborhood.”

Big Lazy pick up where they left off this Friday night, Nov 10 at Drom at around 9 PM on one of the year’s best triplebills, which opens with wild, theatrical, female-fronted Chicago barrelhouse piano blues band the Claudettes, and trumpeter Brian Carpenter and the Confessions – the dark oldtime jazz maven’s Lynchian rock band. Showtime is 7 PM; $12 adv tix are highly recommended.

Trippy Guitar Loopmusic from Xander Naylor

Xander Naylor played some of the most refreshingly unhinged guitar recorded in this century as a member of trumpeter Ben Syversen’s Cracked Vessel. Their lone album remains a high point in recent New York creative music, which is quite an achievement considering that Syversen is also a member of feral Balkan group Raya Brass Band.

Since the late zeros, Naylor has also pursued a solo career. His latest album, Arc, inspired by unnamed tragic losses, is completely different. It’s hypnotic, and loopy, and occasionally motorik, drawing on influences from mathrock to Zappa and Robert Fripp. Another theme is basically, “Look, ma, can you believe all the sounds I’ve got stashed away in my pedalboard?” It’s streaming at Bandcamp and available on limited edition cassette for just seven bucks; Naylor is playing the album release show tonight, Nov 3 at 8 PM at Greenpoint Gallery at 390 McGuinness Blvd. Take the G to Greenpoint Ave.

The opening traci, Pinball, is true to its tiltle: it’s a pinging guitar-and-bass instrumental with very subtle rhythmic shifts and a wryly funny ending. Bad For Glass is a tapping exercise that grows blippier as it goes along, then Naylor hits a pedal for an approximation of an acoustic piano.

The even shorter Hellespont also follows a trancey circle of loops, but it’s more spiky and vampy. Another miniature, Observing Silence layers deep-space atmospherics. By contrast, Appearances is another subtly shifting, loopy piece but sounds as if Naylor is playing a vintage resonator, at least before the remainder of his overdubs kick in.

Natural Born Relic comes across as a spoof of both EDM and early video game music. Glass House is Naylor messing around with belltones, while Ratchet is funny and squirrelly: why won’t this damn lid come off?

Elegy hints at gamelan music; then Naylor explores echo effects, skronky distortion and slow decays in How to Ward Off a Werewolf, the closest thing to Cracked Vessel’s ferocity here. He closes with the album’s most melodically interesting track, the atmospheric rainy-day tableau Dry Your Boots.

Live Music Calendar for New York City and Brooklyn for November and December 2017

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Wednesdays in November, 10 PM the uneasily cinematic art-rock Pi PowerTrio  – film composer and former Raybeat Pat Irwin (guitar, electronics), Sasha Dobson (drums, vocals) and Daria Grace (bass, vocals) at LIC Bar

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

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

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

Saturdays in November, 6 PM eclectic, edgy soul/art-rock/funk/chamber-pop cellist/singer Marika Hughes & Bottom Heavy at Barbes

Saturdays in November, 10 PM oldschool female-fronted psychedelic soul/groove band Empire Beats at the Way Station

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

11/1, 1 PM clarinetist Sam Boutris and ensemble play a program tba at the Greene Space, free, rsvp req 

11/1, 6 PM koto player Asuka Yoshizaki at the Rubin Museu of Art, free w/museum adm

11/1, 7:30 PM Brandi & the Alexanders play their torchy oldschool soul and groove music at  at Friends & Lovers, $TBA

11/1, 8 PM Dervisi feat. guitar god Steve Antonakos play “exotic Greek gangsta blues”at Troost 

11/1, 8 PM psychedelic klezmer/bluegrass mandolin and clarinet legend Andy Statman at Barbes, $10

11/1, 8 PM the  deviously eclectic, psychedelic Tredici Bacci jam out original psychedelic instrumentals inspired by Italian film themes from the 60s and 70s at Roulette, $15 adv tix rec

11/1, 8 PM pianist Katie Reimer’s reliably adventurous Mimesis Ensemble play a New York premiere by Clarice Assad plus works by Mohammed Fairouz, Mary Kouyoumdjian, Arvo Pärt, and William Grant Still at Weill Hall at Carnegie Hall, $25

11/1-3, 8 PM trio The HawtPlates (Justin Hicks, Kenita Miller Hicks, Jade Hicks) and director Charlotte Brathwaite perform their Toni Morrison-inspired suite about ownership and the American Dream via the “ancient songs, shifting murmurs, calls, shouts, stomps and whispers” of a house’s many inhabitants. Goldilocks and the Three Bears and s Twilight Zone episode “unpack the subtle radicalized under-breath utterances of a community in flux – the inherited language and layered vocabularies of gentrification and conversations on so-called progress,”  at Jack, $15

11/1-2, 8:30/10 PM lyrical jazz piano icon Fred Hersch solo at the Vanguard. 11/3-5 he’s there with his great trio.

11/1, 8:30 PM legendary Irish crooner Pierce Turner – sort of the missing link between the Pogues and the Moody Blues – at 11th St. Bar

11/1, 9 PM catchy Connecticut newgrass/Americana band Plywood Cowboy at the Bitter End 

11/2, 7 PM pyrotechnic klezmler clarinetist David Krakauer’s surprisingly funky Ancestral Groove at National Sawdust, $30 adv tix rec. Followed at 10 (separate $25 adm) by amazing, psychedelic instrumentalists Sandcatchers – who blend cinematic, pastoral Americana and Middle Eastern themes – playing the album release show for their new one.

 11/2, 7 PM organist/composer Richard J. Clark’s Requiem pour une américaine à Paris and works by Hovhaness, Pinkham and Sowerby, performed with Richard Kelley on trumpet at St. Patrick’s Cathedral

11/2, 7:30 PM witchy Mexican psychedelic folk singer Edna Vazquez and band at the Lincoln Center Atrium, free, early arrival advised

11/2, 7:30/9:30 PM erudite, reliably tuneful postbop pianist Orrin Evans leads a new quartet at the Jazz Gallery, $15

11/2, 8 PM a rare US show by eerie Japanese freak-folk pioneer Kazuki Tomokawa, the “screaming philosopher” of the 1970s Tokyo avant garde underground at Greene Naftali, 508 W 26th St, $20

11/2, 8 PM melancholy Americana harmony band the Cut Worms play the album release show for their new one at Baby’s All Right, $10

11/2, 8 PM music of Michael Byron performed by pianists Joseph Kubera & Marilyn Nonken, plus Juho Laitinen‘s Manifesto of Sounding for solo cello at Roulette, $15 adv tix rec

11/2, 8:30 PM hot klezmer string band jams with Sarah Myerson & the NY Fidl Kapelye led by Amy Zakar at the Jalopy, $15

11/2, 9 PM quirky, smartly lyrical avant chamber pop with the Icebergs – Jane LeCroy – vox; Tom Abbs – cello; David Rogers-Berry – drums – at Pete’s

11/2, 10 PM Chicago’s street-smart Lowdown Brass Band at Barbes 

11/2, 10 PM the great unsung hero of darkly purposeful, noir-tinged NYC jazz guitar, Saul Rubin leads his  quintet at the Fat Cat. He’s also leading his “Zebtet” here at 7 PM on 11/7

 11/3, 5:30 PM oldtime country blues duo Piedmont Bluz at the American Folk Art Museum:

11/3, 7:30 PM jaunty Hawaiian swing sounds with King Isto followed by ragtime-influenced guitarist Gabriel Zucker’s indie jazz orchestra the Delegation at Spectrum, $15

 11/3. 7:30 PM Glass Farm Ensemble plays new piano works by Yvonne Troxler, Paul Matthusen, Michael Jarrels and Balz Trümpy at Symphony Space, $20

 11/3. 7:30 PM pianist Beth Levin and her ensemble Vista Lirica play works by Brahms, Schubert, Zemlinsky and Royston at Greenwich House Music School, $30/$20 stud/srs

11/3. 7:30 PM Indian-influenced sax trio Mughal Muesli at Scholes St. Studios

11/3, 8 PM awesome awesome twinbill: ancient kinetic hypnotic ritual African call-and-response songs from Morocco and Colombia with Innov Gnawa; and Bulla en el Barrio at C’Mon Everybody, $12

11/3, 8 PM irrepressible, historically informed folk noir/art-rock songwriter Elisa Flynn at the Way Station

11/3, 8 PM pianist Kaveh Karandish leads his trio with oudist Mazy Karandish and kaval player Eric Zang doing the album release show for their elegantly moody, Iranian-influenced new one at Caffe Vivaldi

 11/3, 8 PM singers and players celebrate the deep, immersive work of Pauline Oliveros: Anne Bourne, Carrier Band, Seth Cluett, Viv Corringham, David Grubbs, Ethan Hayden, Kristin Norderval, Daniel Weintraub at Shapeshifter Lab, $10

11/3, 8 PM Xander Naylor plays from his creepily squirrelly new guitar-and-efx album at Greenpoint Gallery, 390 McGuinness Blvd., G to Greenpoint Ave.

11/3, 8:30 PM darkly torchy southwestern gothic/Europolitan songwriter/guitarist Miwa Gemini   at Hank’s, $8

11/3, 9 PM bizarre segue, good twinbill: enigmatic new wave-ish Yukon Blonde followed by catchy, anthemic Americana rockers the Rural Alberta Advantage at  Rough Trade, $20 adv tix rec. The following night, 11/4 they’re at Bowery Ballroom for the same deal

11/3, 9ish exotic vibraphone surf rock band the Vibro-jets – a Sea Devils spinoff – at Troost

11/3, 10 PM the world’s creepiest crime jazz/film noir band, Big Lazy at Barbes

11/3, 10 PM guitar mastermind Danny Weiss’ and magical Americana singer Mary Olive Smith’s soulful retro bluegrass band Stillhouse Serenade at Sunny’s

 11/3. 10 PM oldschool, no-BS all-female punk band LA Witch at St. Vitus, $15

11/3, 10:30 PM catchy Booker T-esque soul jazz with the David Gibson/Jared Gold, Hammond B3 organ band at the Fat Cat

 11/4, 1:30 PM this era’s most spellbinding oldschool country singer, Laura Cantrell at Union Pool, $20

11/4, 4 PM stark but hard-hitting Georgian folk ensemble Dancing Crane Ensemble at Actors Fund Art Space,  160 Schermerhorn St, downtown Brooklyn, $20

11/4, 4 PM cinematic, psychedelic quirk-pop keyboardist Michael Hearst presents “Curious, Unusual and Extraordinary” songs from his many bands followed at 6 by eclectic, edgy soul/art-rock/funk/chamber-pop cellist/singer Marika Hughes & Bottom Heavy , at 8 by pianist Lucian Ban and violist Mat Maneri playing their creepy Transylvanian jazz and then at 10 by epic ranchera/bolero brass crew Banda de los Muertos at Barbes

 11/4, 7 PM multiphonic guitarist Benjamin Miller, percussive postrock pioneers the Wharton Tiers Ensemble and the original downtown guitar shredmeister, Elliott Sharp at Spectrum, $15

11/4,  7ish Bobby Radcliff – the rare blues guitarist who plays a ton of notes but doesn’t waste them, sort of a funkier Stevie Ray Vaughan – with his trio at Terra Blues

11/4, 7:30 PM the Juilliard String Quartet play works by Beethoven and James MacMillan at Washington Irving HS Auditorium, 16th St./Irving Place, $15

 11/4, 8 PM magical chamber ensemble Music From China play premieres by Mathew Rosenblum, Zhou Long and Wang Guowei at Symphony Space, $18 adv tix rec

11/4, 8 PM haunting, kinetic, paradigm-shifting Middle Eastern jazz with Ensemble Fanaa at Alwan for the Arts, $20/$15 stud

11/4 8 PM Owls at Night with Yoon Sun Choi, vocals/piano, Dana Lyn on violin and Vinnie Sperrazza, drums. ollowed at  9:30 by Mother Octopus with Dana Lyn on violin Mike McGinnis (clarinet), Clara Kennedy (cello), Ty Citerman (guitar), Vinnie Sperrazza (drums) at I-Beam, $15

11/4, 8 PM “avant neo-jazz” pianist Yayoi Ikawa leads her quintet followed by edgy jazz violinist Tomoko Omura leading hers at the Cell Theatre, $10

11/4, 8:30 PM the truly legendary, murderously intense, creepy punk/ghoulabilly Legendary Shack Shakers at Hill Country Brooklyn, $18

11/4, Unsteady Freddie‘s monthly surf rock extravaganza at Otto’s begins at 9 with surfed-up tv themes from Commercial Interruption, at 10  jangly New York original surf rock cult heroes the Supertones, , at 11 the swirly, hard-hitting, reverb-iced Strange but Surf  and at midnight the southwestern gothic-tinged Derangers (#2 band in Rockland, Massachusetts according to Reverbnation)

11/4, 9 PM ten-piece country/carnivalesque/acoustic rock powerhouse M Shanghai String Band at the Jalopy, $!0

11/4, 9 PM fiery, guitar-fueled female-fronted Americana punks Spanking Charlene at Sidewalk

11/4, 11 PM fiery, psychedelically bluesy oldschool soul/southern rockers Lizzie & the Makers  at the Way Station

11/4, midnight, dark, fiery, female-fronted female-fronted surf rockers High Waisted – who’ve been flailing around with generic dreampop lately – at Rough Trade, $10 adv tix rec

11/5, 4 PM the release show for rising indie designer Mary Symczak’s classy Fall women’s collection with live jazz from bassist Jeon Lim Yang‘s group and a performance by the Mari Meade Dance Company at Barbes, free. Followed at 7 by state-of-the-art postbop guitarist Will Bernard  leading a Billy Strayhorn tribute and then at 9:30ish by Romany jazz/psychedelic rock guitar mastermind Stephane Wrembel

11/5, 6 PM the genuinely Beyond Group (Cheryl Pyle, Michael Eaton, Jamie Baum, Claire Daly, Matt Lavelle and Gene Coleman) followed by tenor saxophonist Jonathan Moritz with bassist Sean Ali and drummer Carlo Costa improvising up some flickering new elements at Downtown Music Gallery

11/5, 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

11/5, 7 PM a twin album release show by atmospheric postrockers Empyrean Atlas and kinetic, tuneful vibraphone/percussion Ensemble Et Al. at Baby’s All Right, $15

11/5, 7:30 PM sweeping, swinging vibraphonist Behn Gillece leads his quintet at Smalls

 11/5, 8:30 PM violinist Benjamin Sung plays works by Sciarrino, Berio, Paganini, Schnittke and Maderna at Spectrum, $15

11/5, 8:30 PM New York’s most charismatic, darkly compelling lyrical songwriter/storyteller/keyboard genius Rachelle Garniez at at the third stage at the Rockwood, $12. 11/26 at 7 she’s at Pangea.

11/5, 9ish darkly edgy jazz guitarist/composer Lucas Brode at Troost

11/6, 8 PM microtonal violinist Mari Kimura plays a interactive audio-video show for violin and motion sensor, featuring traditional Japanese ceramics (one assumes for sonics..or maybe just to eat off of?) at Roulette, $20 adv tix rec

11/6-7 plus 11/9-12 and 11/15-18, 8:30 PM Joan LaBarbara stars in Paul Pinto’s Thomas Paine in Violence, an “electro-acoustic opera-sermon set in Thomas Paine’s afterlife,” backed by a choir and intense indie classical ensemble Thingny at Here, 145 Sixth Ave south of Spring, $25

11/6, 9 PM Matkot play their torchy Mediterranean vocal jazz at Shrine

11/6, 10 PM high-voltage delta blues/Romany swing guitarist Felix Slim at LIC Bar

11/7, 7 PM innovative, tuneful Indian-influenced drone-raga band Arranged Marriage NP followed at 9 by ten-piece funky Balkan brass jazz monsters Slavic Soul Party at Barbes

11/7, 7:30 PM the incomparable, lush, eclectic Jenifer Jackson – a connoisseur of Americana, Beatlesque janglerock, bossa nova and Texas noir – at the Owl

11/7, 7:30 PM charismatic, adventurous postbop/avant garde trombonist/crooner Frank Lacy leads his  quintet at Smalls

11/7, 7:30 PM the New Juilliard Ensemble play new works by Mauricio Kagel and Giya Kancheli, at Bruno Walter Studio, Room 309 at Juilliard, free

11/7, 8 PM fiery, psychedelically bluesy oldschool soul/southern rockers Lizzie & the Makers – the only soul group on the planet who got their inspiration for a song from a Rachmaninoff classic – at American Beauty, $12 adv tix rec

11/7, 8 PM eclectic, nuanced jazz chanteuse Tammy Scheffer leads her sextet at Cornelia St. Cafe, $10 + $10 min

11/7, 8:30 PM perennially edgy 80s dreampop heroine Kristin Hersh at City Vineyard, $25

 11/7-12, 8:30 PM unstoppably edgy, deservedly iconic, witty downtown guitarist Marc Ribot leads a series of small groups at the Stone, $20. Choice pick: his protest-jazz Songs of Resistance project on 11/10 with Shahzad Ismaily (percussion, bass, keys) Briggan Krauss (sax)

11/7, 9 PM dynamic, subtle new female-fronted klezmer band Tsibele (Yiddish for onion) at the Jalopy, $10. 11/11, 7:30 PM they’re at the People’s Voice Cafe, at the People’s Voice Cafe, sugg don, $20; $12 for subscribers; “More if you choose; less if you can’t; no one turned away”

11/7, 9 PM perennially dark, soaring noir soul singer/bandleader Nicole Atkins  at the Music Hall of Williamsburg, $25

11/7, 9:30 PM harpist/singer Pia Salvia with her five-piece band  at Shapeshifter Lab, $tba

11/7, 10 PM creepy lo-fi horror-folk band Lucky Witch & the Righteous Ghost followed at midnight by anthemic lit-rocker Dalton Deschain at Sidewalk

11/8, 7 PM shamisen player/singer/improviser Emi Makabe lead her group with Jacob Sacks on Rhodes at 55 Bar

11/8, 7 PM pianist Javor Bracic plays Chopin waltxes, mazurkas and more at the Bulgarian Consulate, 221 E 62nd St, free

11/8, 7:30 PM first-rate purist honkytonk crooner/bandleader Clifford Westfall at Lovecraft Bar, Ave. B/4th St.

11/8, 8 PM accordion genius Shoko Nagai ’s Tokala at Barbes “Tokala is the name of a mysterious country in Central Asia which had a connection to Japan via the silk road which was responsible for bringing Middle Eastern culture to ancient Japan.  The band explores the sound of this ancient connection where cultural exchange left an imprint which became integral part of Japanese culture.” With Zisl Slepovitch (clarinet); Kenny Warren (trumpet) and Stomu Takeishi (bass) at Barbes

11/8, 8 PM kinetic jazz vibraphonista Yuhan Su leads her quartet at Cornelia St. Cafe, $10 cover plus $10 minimum

11/8. 8 PM night one of the Alvin Lucier retrospective program features the four-guitarist, three-sax, four-violinist Ever Present Orchestra playing recent works; composer/sound artist Joan La Barbara also performs the American premiere of Lucier’s Double Rainbow, a new commissioned work for voice and oscillator and then Lucier himself staging his seminal 1976 work Bird and Person Dyning. “Dyning” is Lucier’s abbreviated version of “heterodyning,” a term from the early days of radio describing the phenomenon of two waves mixing in a non-linear medium to produce two extra signals (created with the sum and difference in frequency), at Issue Project Room, $20/$15 stud

11/8, 8:30 PM Giant Sand honcho and southwestern gothic icon Howe Gelb’s Future Standards at the Owl, $15

11/8, 9 PM ageless golden-age roots reggae crooner Freddie McGregor at B.B. King’s, $25 adv tix rec

11/8, 10:30 PM fearlessly populist, cutting-edge trombonist/composer Ryan Keberle & Catharsis at Smalls

 11/9, 7 PM Rimi Basu & Ensemble play Indian sufi sounds at Drom, $15 adv tix tec

11/9, 5 PM pianist Cesar Reyes plays a tribute to Violeta Parra at Brooklyn College Auditorium, 2900 Bedford Ave, free

11/9, 7 PM Mapuche-language Patagonian art-rock/avant garde sounds with multi-keyboardist Juan Namuncura followed by pianist Ignacio Montoyo Carlotto playing works by Horacio Salgán, Astor Piazzolla, and other oldschool tango composers at St. Peter’s Church, 54th/Lex, $20

11/9, 7:30 PM haunting cinematic loopmusic cellist Julia Kent and multi-reedman Doug Wieselman‘s Trio S at the Owl, $10

 11/9, 7:30/9:30 PM trombonist Kaila Vandever leads an excellent quintet with Immanuel Willkins on tenor sax and Kanoa Mendenhall on bass at the Jazz Gallery, $15

11/9, 7:30 PM torchy singer Jennifer Charles’ and guitar mastermind Oren Bloedow’s long-running art-rock/noir band Elysian Fields in their similarly haunting psychedelic Sephardic folk disguise, La Mar Enfortunada at the Jewish Museum, 1109 5th Ave at 92nd St,  $18/$15 stud/srs

11/9, 8 PM plush, balmy, oldtimey uke swing band Daria Grace & the Pre-War Ponies followed at 10 by well-loved Boston alt-country vets Session Americana at Barbes

11/9, 8/9:30 PM tenor saxophonist Kyle Nasser leads his sextet at Cornelia St. Cafe, $10 + $10 min

11/9, 8 PM night two of the Alvin Lucier retrospective features a performance of Lucier’s 2013 Criss-Cross for two electric guitars played by Oren Ambarchi and Gary Schmalzl, Lucier’s first and only piece for electric guitar; the four-guitarist, three-sax, four-violinist Ever Present Orchestra playing NY premieres and finally Lucier himself staging his paradigmatic 1970 work I am sitting in a room – several sentences of recorded speech simultaneously played back and re-recorded sequentially for a cool crowd-noise effect at Issue Project Room, $20/$15 stud

11/9-11,  7:30/9:30 PM dazzlingly eclectic purist jazz singer Brianna Thomas and her band at Ginny’s Supper Club, $20

11/9, 8 PM feral, satirical, inimitable Americana/oldtime/swing crew the Brothers Comatose at Bowery Ballroom, $20

11/9, 8:30 PM dynamic klezmer trombonist Dan Blacksberg’s Radiant Others at the Jalopy, $15

 11/9, 10 PM fiery oldtimey string band the Four O’Clock Flowers at Sunny’s

11/9, 10:30 PM noir-inspired alto saxophonist/composer Nick Hempton leads leads a trio at Smalls

11/9, 11 PM quirky, smartly lyrical avant chamber pop with the Icebergs – Jane LeCroy – vox; Tom Abbs – cello; David Rogers-Berry – drums –  at Sidewalk. 11/16 they’re at Wayward Social, 135 Ingraham St. in Bushwick, L to Morgan Ave., time tba

11/9, 11 PM atmospheric, cinematic drummer/composer Tim Kuhl – sort of a more straightforwardly trippy version of John Hollenbeck – at Pete’s

11/10, 5:30 PM clarinet wizard Dmitri Zisl Slepovitch, leader of wild Polesian klezmer dance outfit Litvakus,at the American Folk Art Museum 

11/10, 7 PM Darcy James Argue’s Secret Society play their haunting, sardonically menacing big band suite, Real Enemies at Shapeshifter Lab, $20

11/10, 7 PM the magical New York Andalus Ensemble Chamber Trio play ancient Jewish themes from the Middle East and North Africa at the Manhattan JCC, Amsterdam at 76th, $18

11/10, 7 PM Nashville gothic sister duo Larkin Poe at the Mercury, $15

11/10, 7:30 PM Afro-Cuban percussionist Roman Diaz and theBrooklyn Raga Massive reinvent classic Indian themes at the Lincoln Center Atrium, free, early arrival advised

11/10, 7:30 PM indie classical ensemble Hotel Elefant play music of Kirsten Volness and Jascha Narveson at Scholes St. Studios, sugg don

11/10, 7:30 PM the Rolling Stones’ Tim Ries on sax leading his quintet followed at 10:30 PM by pianist Brian Marsella’s tuneful, first-rate original postbop jazz sextet the Flail at Smalls. The Flail are also here the following night, 11/11

11/10, 7:45 PM the world’s creepiest crime jazz/film noir band, Big Lazy , wild, theatrical, fun female-fronted barrelhouse piano blues band the Claudette & Brian Carpenter and the Confessions – the dark oldtime jazz maven’s Lynchian rock band – at Drom, $12 adv tix rec

11/10 , 8 PM trippy electro/downtempo chanteuse Pearla,  excellent, catchy rainy day psych-pop band Minor Poet and haunting, Siouxsie-esque Canadian art-rock trio Little Coyote at Bushwick Public House, $5

11/10, 8 PM chanteuse/uke player Dahlia Dumont’s Blue Dahlia playing edgy, smartly lyrically-fueled, jazz-infused tunes in English and French with classic chanson and Caribbean influences  followed 10 by Super Yamba playing their psychedelic Afrobeat jams at Barbes

 11/10, 8 PM energetic, sometimes hilarious acoustic Veracruz-style folk-punk band Radio Jarocho at Guadalupe Inn

 11/10, 8 PM the Downtown Voices sing Rachmaninoff’s ethereal and lush setting of the mystical All-Night Vigil at Trinity Church, free. The program repeats on 11/12

11/10, 8 PM elegant, sharply lyrical parlor pop stylist Heather Eatman, crystalline-voiced noir Americana songwriter Jessie Kilguss  and dark Americana guy/girl harmony duo the Tall Pines at Red Hook Bait & Tackle

11/10, 9 PM intense female-fronted psychedelic/funk band Imunuri at Bar Chord

11/10, 9ish CBs style female-fronted punks the Carvels NYC and Heidi Lieb’s recently reunited all-female punk/powerpop NYC legends Sit N Spin at Hank’s, $tba

11/10, 10 PM Super Yamba play their psychedelic Afrobeat jams at Barbes

11/10, 10 PM entrancing singer Sandra Lilia Velasquez’s hypnotic downtempo/psychedelic band SLV at Pete’s, free. They’re also at C’mon Everybody on 11/29 at 9 for $12

11/10, 10 PM hard-hitting bassist Dawn Drake & Zapote play hot Afrobeat-tinged funk grooves at the Way Station

11/11 4 PMthe Erik Satie Quartet – Ron Hay (trombone), Max Seigel (bass trombone), Ben Holmes (trumpet), and Andrew Hadro (bari sax) –reinvent classic and obscure Satie chamber pieces as well as rare compositions by his obscure contemporaries, followed at 6 PM by eclectic, edgy soul/art-rock/funk/chamber-pop cellist/singer Marika Hughes & Bottom Heavy, at 8 by the reputedly amazing  Night Kitchen – Gene Yelin – guitar & vocals; Trip Henderson – harmonica; Joanna Sternberg – bass and vocals – playing “Hank Williams, old timey and country” and at 10 by La Mecanica Popular playing their original, psychedelic update on classic 70s Nuyorican salsa dura at Barbes

11/11, 7 PM Argentine songwriter Luna Sureña plays Patagonian music at St. Peter’s Church, 54th/Lex, free

11/11, 7 PM cellist Matt Haimovitz and pianist Christopher O’Riley play works by Rachmaninoff, Prokofiev, Shostakovich and others from the top at National Sawdust, $30 adv tix rec

11/11, 7:15ish dark psychedelic acoustic blues/klezmer/reggae/soca jamband Hazmat Modine at Terra Blues. They’re also here on 11/25

 11/11, 7:30 PM incomparable country/jazz/janglerock icon Amy Allison at Dixon Place, free. Brilliant new material, all kinds of rarities and devastatingly funny between-song banter

 11/11, 8:30 PM slinky, oud-fueled Middle Eastern/Nile Delta dance orchestra Alsarah & the Nubatones  at C’Mon Everybody, $12

11/11, 8:30/10 PM Transylvanian pianist Lucian Ban leads his Elevation sextet at Cornelia St. Cafe, $10 + $10 min

11/11, 9 PM hilarious, smartly political faux-French retro 60s psych-pop band les Sans Culottes at Bar Chord. 11/25 at around 10 they’re at Hank’s for $10.

11/11, 10 PM delicious original Americana/newgrass band Chamomile & Whiskey atHill Country

11/12, 2 PM lush Asian woodwind sounds with the Japan Kocarina Ensemble with  folk singer Kanemi Yaguchi and the Ai Chorus at Stern Auditorium at Carnegie Hall, $25

11/12, 2 PM the Rolston String Quartet play Tschaikovsky’s String Quartet No. 1 plus works by Mozart and Murray Schafer at the New School Auditorium, 66 W 12th St., $!8

 11/12, 3 PM the Downtown Chamber Players play piano and woodwind music by female composers Llii Boulanger, Cecile Chaminade, Madeleine Dring, Louise Farrenc and Mira Spector at St. Marks Church, 2nd Ave/1oth St, $20

11/12, 3 PM catchy, darky entrancing Honduran beach party sounds with the Garifuna Jazz Ensemble at the BMHC space, 1303 Louis Niné Blvd in the Bronx, free; 2 or 5 train to Freeman St

11/12, 4 PM An die Musik – Mark Peskanov, violin; Nicholas Mann, viola; Robert Ingliss, oboe; Constance Emmerich, piano with special guest Thomas Demenga, cello play works by Beethoven, Handel, Mozart and Haydn at Merkin Concert Hall, $16

11/12, 4 PM the Enso String Quartet play works by Webern and Beethoven at the Dreck Center at the Brooklyn Public Library, free, no under-sixes.

11/12, 5 PM psychedelically machinegunning virtuoso Max ZT on the hammered dulcimer with Uri Sharlin on accordion followed at 9 by Romany jazz/psychedelic rock guitar mastermind Stephane Wrembel at Barbes

11/12, ​5 PM Ensemble Connect play works by Hartske, Brahms and Dvorak’s String Quintet in G Major, Op. 77 at Our Saviour’s Atonement, 178 Bennett Ave (one block west of Broadway at 189th St), free

11/12, 5:30 PM Baltimore Symphony flutist Emily Skala plays works by Debussy, Bach, Messiaen, Mendelssohn, and Franck at Baruch Performing Arts Center, 55 Lexington Ave,$25/$15 stud/srs

11/12, 7:30 PM 70s psychedelic Britfolk legends the Strawbs – whose Grave New World is more relevant than ever – at B.B. King’s, $26.50 adv tix rec

11/12, 7:30 PM soaringly explosive jazz composer/torch singer Nicole Zuraitis plays the album release show for her harrowing new one Hive Mind at Dron, $10 adv tix rec

11/12, 7:30 PM eclectic, tuneful accordionist/songwriter Ali Dineen, at the Owl

11/12, 9 PM legendary 70s postrock pioneers Pere Ubu at the Music Hall of Williamsburg, $25 adv tix rec

11/12, 9 PMArki play darkly classic Ethiopian funk grooves at Silvana

 11/13, 8 PM charmingly nuanced, erudite singer/pianist and Dinah Washington reinventor  Champian Fulton leads her trio at Radegast Hall, She’s also here on 11/20

11/13, 10 PM awesomely slinky, psychedelic Israeli Ethiopiques groove instrumentalists Anbessa Orchestra at the small room at the Rockwood

11/14, 7 PM eclectic, hard-hitting, lyrical composer/tenor saxophonist Stan Killian and group at 55 Bar

11/4. 7:30 PM fiery alto saxophonist Lucas Pino’s twin-guitar No No Nonet at Smalls

11/14, 7:30 PM an all-star benefit for the National Jazz Museum in Harlem with iconic North African scholar/pianist Randy Weston and bassist Reggie Workman, lyrical piano genius Marc Cary and blues dude Guy Davis at the Schomburg Center, $25 seats avail. Cary is also at the museum on 11/28 at 7 playing Ellington tunes, $10

11/14, 8 PM haunting, crepuscular folk noir songwriter Erin Regan  at Sidewalk

11/14-19, 8:30/10 PM various groups play John Zorn’s Masada Book 3 at the Vanguard, $30. Choice pick: Zorn’s monstrous surf band Abraxas with Aram Bajakian on guitar on 11/16

11/14, 8 PM Nancy Wu, violin; Kari Docter, cello; Vladimir Valjarevic, piano play works by Haydn and Dvorak at Mannes School of Jazz Performance Space, Arnhold Hall, 55 W13th St on the 5th floor, free

11/14-19, 8:30 PM legendary electroacoustic percussionist Ikue Mori leads a series of ensembles at the Stone, $20. Choice pick: Mephista on opening night with Sylvie Courvoisier (piano) Susie Ibarra (drums) Jim Staley (trombone)

11/14, 8:30 PM torchy, eclectically brilliant dobro player Abbie Gardner of Red Molly  followed at 9:30 by her darkly lyrical ex-bandmate, multi-instrumentalist/songwriter Carolann Solebello, at Pete’s

11/14, 9:30 PM the Bronx Conexion play their mighty salsa big band jazz at the Nuyorican Poets Cafe, $10

11/15, 6 PM music by brilliant, darkly cinematic composer Dobrinka Tabakova in a multimedia performance at the Bulgarian Consulate, 221 E 62nd St, free

11/15. 6 PM sensational Indian classical violinist/improviser Arun Ramamurthy with his group at the Rubin Museu of Art, free w/museum adm

11/15, 6 PM charismatic, darkly eclectic cellist/songwriter Meaghan Burke  leads her Creature Comforts parlor pop trio at Cornelia St. Cafe, $10 + $10 min

11/15, 7 PM pianist and harpsichordist Magdalena Baczewska plays works by Clementi, Monterverdi and Berio at the Italian Academy at Columbia University, 1161 Amsterdam Ave north of 116th St., free

11/15, 7:30 PM vividly lyrical rising star pianist Chris Pattishall and sensational trumpeter Adam O’Farrill play a live score to projections by visual artist Kambui’s new project Where Does the Time Go starring Irungu Mutu and Jessica Allie at the Lincoln Center Atrium, free, early arrival advised

11/15, 7:30 PM the gentler side of powerpop: the Low Doses, Jay Gonzalez & the Guilty Pleasures and the Eyelids doing their post-Dream Syndicate thing at WFMU’s Monty Hall, 43 Montgomery Street, Jersey City. 11/18, same time they’re at Cape House, 2 Knickerbocker Ave in Bushwick for the same deal

11/15, 8 PM Glas (riveting singer/percussionist Corinna Snyder’s Macedonian duo with Vedran Boskovski) followed by singer Jenny Luna’s haunting, oud-and-clarinet-driven Turkish band Dolunay and oud/kora wizard Kane Mathis at Trans-Pecos, $10

11/15, 8 PM eclectic, lyrical jazz bassist/composer Pedro Giraudo and his Tango  Trio joins the string quartet Quartetto Tomassini at Barbes. Giraudo and band are also at Terraza 7 the following night, 11/16 at 9 for $10

11/15, 8:30 PM noir slowcore art-rock with Black Heart Procession at Baby’s All Right, $20. They’re at the Mercury the following night, 11/16 at 10:30 for three bucks less in advance

11/16, 7 PM intense Greek classical pianist Vassilis Varvaresos plays a program tba at Merkin Concert Hall, free, rsvp req

11/16,  7 PM latin jazz alto sax luminary Yosvany Terry leads a trio at the National Jazz Museum in Harlem, $15. They’re also at the Jazz Gallery on 11/30 at 7:30/9:30 for the same price

11/16, 7:30 PM the album release show for the new one by paradigm-shifting, irrepressibly edgy, fun Dominican bandleader Irka Mateo & La Tirindanga at the Lincoln Center Atrium, free, early arrival advised

11/16. 7:30/9:30 PM ambitious, lustrous trumpeter/composer Jonathan Finlayson & Sicilian Defense at the Jazz Gallery, $22

11/16, 8 PM singer Jenny Luna’s haunting, oud-and-clarinet-driven Turkish band Dolunay followed at 10 by a killer tuneful improvisational trio::Hearing Things‘ JP Schlegelmilch – organ; Jonathan Goldberger – guitar and Jim Black – drums – at Barbes 

11/16, 8:30 PM all-star klezmer trio Midwood with Jake Shulman-Ment on violin, Yoshie Fruchter on guitar and Klezmatic Richie Barshay on drums at the Jalopy, $15

10/16, 8:30 PM killer improvisation: Cheryl Richards on vocals, Claire De Brunner on bassoon and the feral Mara Rosenbloom on piano at I-Beam, $15

11/17, 5:30 PM gentle, topical original folk songwriter Jeremy Aaron at the American Folk Art Museum

11/17, 7:30 PM the Arion Chamber Music trio play works by Beethoven and Dvorak at at Christ & St. Stephen’s Church, 120 W 69th St., $25/$12 stud

11/17, 7:30 PM salsa piano legend Arturo Ortiz Y Los 7 Con Calle at the Lincoln Center Atrium, free, early arrival advised

 11/17, 8 PM catchy, fiery, female-fronted janglerockers/powerpop band Above the Moon – like a more forceful take on Versus – at the Delancey, $10

11/17, 8 PM the NYU01 new music ensemble plays Philip Glass’ Symphony No. 1 at the NYU  Skirball Center, LaGuardia and Washington Square South, free

11/17, 8 PM baritone saxophonist Carol Sudhalter’s Astoria Big Band play swing classics at Flushing Town Hall, $16/$10 stud

 11/17, 8 PM golden age pottymouth dancehall reggae nostlgia:  Yellowman and band at SOB”s, $25

11/17, 8 PM Monika Krajewska, mezzo-soprano, and Natasha Ulyanovsky, pianist and organist, join forces for a program of ancient Jewish music, Yiddish art songs, Russian romances and Argentine tango, at Barnard College’s Sulzberger Parlor, 3rd Floor Barnard Hall, 117th St and Broadway, free

11/17, 8:30 PM haunting, gorgeously lyrical pianist Satoko Fujii’s darkly slinky, Romany-inspired Gato Libre at I-Beam, $15

11/17, 8:30  PM violinist Jennifer Choi with the Secret Quartet play works by Ljova Zhurbin and Ursula Chinn at the New School’s Glass Box Performance Space, 55 W 13th St, $20. She’s also there on 11/18 with pianists Kathleen Supove and Alexandra Joan playing works by Jen Shyu and Stravinsky.

11/17, 9 PM hauting female-fronted Turkish art-song trio Neotolia at Silvana

11/17, 9 PM goth-tinged arena rock with Swanky Tiger at Shrine

 11/17, 9:30 PM urban country legends Miller’s Farm – who did the original dis song about the L train – at Hill  Country

11/17, 10 PM accordionist/sitarist Kamala Sankaram’s hot surfy Bollywood/cumbia/psychedelic rock project Bombay Rickey – a launching pad for her spellbinding four-octave voice –  at Barbes

11/17. 10 PM darkly playful, epic piano-based art-rock singer Eve Lesov followed by the darkly eclectic, enigmatic Lorraine Leckie  – equally adept at Slavic and Americana noir and dark cabaret – at Sidewalk

11/17, 10 PM the Shockwaves – a catchy blend of glam, psychedelia, stoner boogie and a little edgy Raybeats thrown in – at Greenpoint Gallery 

11/17, 11 PM ferociously fun, menacing psychobilly/horror rockers the Omega Men at Otto’s

 11/18, 1;30 PM the Kunqu Society perform dramatic Chinese opera pieces at Flushing Town Hall, $16/$10 stud

11/18 4 PM pyrotechnic klezmer clarinetist and Dave Tarras protege Michael Winograd  and lyrical trumpeter Ben Holmes join forces for edgy new klezmer tunes followed at 6 byeclectic, edgy soul/art-rock/funk/chamber-pop cellist/singer Marika Hughes & Bottom Heavy, at 8 by playfully lyrical, fearlessly political superduo Kill Henry Sugar – guitar/banjo mastermind Erik Della Penna and drummer Dean Sharenow – and at 10 by haunting Puerto Rican bolero revivalists and Sylvia Rexach reinventors Miramar. Best quadruplebill of the year!

11/18, 7 PM charming oldtimey trio the Crimson Ragdolls:  Joanna Sternberg, Ali Dineen & Lucine Yeghiazaryanne at Terra Blues

11/18, 7:30 PM sharply lyrical, sometimes uproariously amusing purist janglerock songwriter Sharon Goldman at the People’s Voice Cafe, sugg don, $20; “More if you choose; less if you can’t; no one turned away”

11/18, 7:30 PM the Dover String Quartet play music by Mendelssohn, Laks, Schumann and Viktor Ullmann at Washington Irving HS Auditorium, 16th St./Irving Place, $15

11/18, 8 PM early music ensemble Vox Luminis sing royal funeral music at the Church of St. Mary the Virgin, 145 W 46th St between 6th and 7th aves, $30 seats avail. We need a royal funeral in this country right about now! 

11/18, 8 PM purist, lyrical pianist/singer Kelly Green leads her plays the album release show for her new one with her sextet at the Cell Theatre, $10

11/18, 8 PM haunting minimalist/cinematic multi-keyboardist Dominique Lawalrée at the San Damiano Mission, 85 N 15th St, Williamsburg, $20

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

11/18, 9 PM the NY Jazzharmonic Trio with the amazing ArcoIris Sandoval on piano at Bar Thalia adjacent to Symphony Space, free

11/18, 10 PM epic, cinematic Indian violin-fueled art-rock themes with Rini and her explosive band at  at Legion Bar, $10

11/18, 10 PM oldschool psychedelic soul/groove band Empire Beats at the Way Station

11/18, 10:30 PM wild, intense, frequently satirical newgrass/oldtimey hellraisers the Dustbowl Revival at the big room at the Rockwood, $15

11/18, time tba a subset of fiery latin noir/circus rock band Kotorino with the similarly phantasmagorical Not Waving But Drowning at House of Collections, 315 Berry St, Williamburg

11/19, 3 PM Omega Ensemble play chamber and string works by Rachmaninoff, Debussy, Beethoven and Gershwin at Christ & St. Stephen’s Church, 120 W 69th St. free

11/19, 4 PM the Apollo Trio play works by Mozart and Brahms  at the Dreck Center at the Brooklyn Public Library, free, no under-sixes.

 11/19, 4 PM the Navatman Music Collective – the only carnatic choir on this continent – sing their innovative, lustrous, lush new arrangements of ancient Indian themes at Symphony Space, $32 but worth it. Like the choir says, “Think you know Indian classical music? Think again!”

11/19, 4 PM the Orchestra Now play Bruckner’s Symphony No. 4 plus Goossens’ Jubilee Variations at Symphony Space, free, rsvp req 

11/19, 5 PM cleverly lyrical, edgily funny, spine-tingling powerpop/acoustic rock singer Tamara Hey at the small room at the Rockwood

11/19. 5 PM clarinetist Matt Rosen and ensemble play works by Bartok, Dolphy and Brahms at the New School’s Glass Box Performance Space, 55 W 13th St, free

11/19. 7 PM NYC’s own rippling, hypnotic, epic Javanese gamelan, Gamelan Dharma Swara at the Fat Cat

 11/19, 8 PM lush, lustrously haunting Balkan art-rock ensemble Dashina at Silvana

11/19, 8ish recently revitalized, careening ten-piece Balkan brass crew Veveritse followed by explosive, creepy, colorful psychedelic rembetiko metal band Greek Judas at Starr Bar, 214 Starr St. (Irving/Wyckoff) in Bushwick, L to Jefferson St.

11/19, 8 PM explosively thundering Ukrainian art-folk band DakhaBrakha at Littlefield, $30

11/20, 7:30 PM Trident Ensemble with Miranda Cuckson, violin and Raman Ramakrishnan, cello play Messiaen’s Quartet for the End of Time. Also on the bill: vocal works  by Pérotin, Francis Poulenc, Arvo Pärt, Mariano Garau at Music Mondays, Advent Church, northwest corner of 93rd and Broadway, free 

11/20, 8:30 PM pianist Karl Larson plays dystopic new piano music by Wollschleger at Spectrum, $15

11/20, 9:30ish Chicha Libre spinoff Locobeach play trippy electro-cumbia at Barbes

11/20, 10 PM dark psychedelic Americana rock – electric Neil soundalikes Lukas Nelson & Promise of the Real at the Music Hall of Williamsburg, $20

 11/21, drinks at 5:30, show at 6: rustic Brazilian jungle guitar-and-accordion sounds with Regional de NY at the Miller Theatre, free

11/21, 7 PM longtime Piazzolla sideman and tango jazz piano luminary Pablo Ziegler l & brilliant violinist Lara St. John revisit Piazzolla’s Central Park concert at the Poisson Rouge, $25 adv tix rec

11/21, 7 PM Daniel Binelli‘s Bandoneorama, the world’s only four-bandoneon group play classic and nuevo tango plus works by Bach, Stravinsky and more followed at 8 by Baden Goyo, piano and Eddy Marcano, violín playing works by Binelli, Galindez, Camacaro, Piazzolla, Hernández, at St. Peter’s Church, 54th/Lex, $20

11/21, 7 PM lyrical pianist Angelica Sanchez leads her group followed at 9:30 by clever, fiery, eclectic ten-piece Balkan/hip-hop/funk brass maniacs Slavic Soul Party  at 9 PM at Barbes

11/21, 7:30/9:30 PM Gamelan Yowana Sari with the Queens College Percussion Ensemble and special guests  at the Jazz Gallery, $15

11/21, 8 PM Manhattan Chamber play music by Richard Auldon Clark, Howard Cass, Seymour Barab, Eric Ewazen and Alan Symphony Space, $20 adv tix rec

11/21-26, 8:30/10 PM one of this era’s great, purist blues-based jazz pianists, Jason Moran & the Bandwagon at the Vanguard, $30

11/21, 8:30 PM haunting folk noir duo Karen & the Secret Documents f.k.a.  Pear Claw at Sidewalk 

11/21, 10 PM brilliant drummer/percussionist Willie Martinez & La Familia Sextet play classic salsa grooves at the Nuyorican Poets Cafe

11/22, 3 PM irrepressible trumpeter Steven Bernstein leads an allstar 14-piece band with Marc Cary on piano, Luis Bonilla on trombone, Marika Hughes on cello and more at the Town Hall, “revisiting Coretta Scott King’s Freedom Concerts,  a milestone collaboration between Dizzy Gillespie and Chano Pozo,  and cantor Moishe Oysher’s anti-Nazi fundraising rally,” $27 tix avail. at the box office

11/22, 7:30 PM, repeating 11/24-25 at 8 the NY Phil play  Rachmaninoff’s Third Symphony, with concertmaster Frank Huang as soloist in Saint-Saëns’s Violin Concerto No. 3 at Avery Fisher Hall, $35 tix avail

11/22. 8/9:30 PM concise, tuneful jazz pianist Marta Sanchez leads her  quintet at Cornelia St. Cafe, $10 + $10 min

11/22, 8:30 PM intense, rapturous Balkan/Middle Eastern ensemble the Secret Trio –Tamer Pinarbasi, Ismail Lumanovski & Ara Dinkjian – at Bar Lunatico

11/23, 9:30 PM lyrical trumpet powerhouse Nadje Noordhuis leads her Quintet at 55 Bar

11/24-25, 7:30/9:30 PM drummer Johnathan Blake’s “My Life Matters” with Dayna Stephens – saxophones / EWI; Joel Ross – vibraphone; Fabian Almazan – piano; Rashaan Carter – bass at the Jazz Gallery, $25

11/24, 8 PM rustic Brazilian jungle guitar-and-accordion sounds with Regional de NY followed at 10 by Pangari & the Socialites playing classic ska and rocksteady – most of it from the 60s Skatalites catalog – at Barbes

11/25, 6 PM eclectic, edgy soul/art-rock/funk/chamber-pop cellist/singer Marika Hughes & Bottom Heavy  followed at 8 by a very rare US appearance by Australian pedal steel player Lucky Oceans and his band at Barbes  

 11/25, 7:30 PM the Aviary bassoon and cello duo  play a program tba at Scholes St. Studios

11/25, 8;30 PM violinists Conrad and Pauline Kim Harris play compositions for solo violin by Eric Lyon and the NY premiere of Paul Marquardt’s Variations on a theme from “Young Frankenstein” at Spectrum, $15

11/25, 9 PM cleverly lyrical, murderously witty murder ballad/chamber pop allstars Charming Disaster  at Pete’s

11/25, 9 PM popular, purist blue-eyed soul crooner Eli Paperboy Reed at Union Pool, $12

 11/26, 2  PM fiery agitator Rev. Billy & the Church of  Stop Shopping Choir – sort of the Dead Kennedys or Public Enemy of original, politically spot-on original gospel music at Joe’s Pub, $10

 11/26, 10:30 PM tuneful soul-jazz trombonist Dave Gibson leads his quintet at Smalls

1/27, 7:30 PM the Juilliard String Quartet play works by Haydn and Dvorak plus Bartok’s searing String Quartet No. 5 at Alice Tully Hall, $20

11/27, 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

11/27-28, 8 PM drummer Adam Rudolph’s strikingly tuneful, rumblingly improvisational Go Organic Orchestra at Roulette, $15

11/27, 10ish haunting, powerful Afro-Colombian trance choir Bulla en El Barrio at Barbes 

11/28, 7 PM tuneful, terse guitarist/singer Camila Meza and her Nectar Orchestra chamber jazz septet at at the third stage at the Rockwood, $10

11/28, 7 PM the world’s funniest improvising ensemble, Mostly Other People Do the Killing play a trio show with Ron Stabinsky on piano, Moppa Elliott on bass and Kevin Shea on drums followed at 8 by sometimes haunting baritone sax player Charles Evans’ quartet at Shapeshifter Lab, $10

11/28, 7 PM the Cassatt String Quartet and clarinetist Vasko Dubrovski premiere Gerald Cohen’s new spacescape with projections at the Hayden Planetarium (use the 81st St. entrance), $13.50

11/28, 7:30 PM Bomsori Kim, violin and Drew Petersen, piano play works by Messiaen, Faure, Ravel and Saint-Saens at Weill Hall at Carnegie Hall, free tix available at 6:30 PM day of show

11/28, 7:30 PM brilliantly cinematic, kinetic violinist Dana Lyn  & guitarist Kyle Sanna do their Irish thing followed byintense, fearlessly relevant Middle Eastern clarinetist Kinan Azmeh and his group at the Owl. Azmeh and his haunting, epic Songs for Days to Come project are at Symphony Space on 11/30 at 7:30 PM for $30

11/28, 7:30/9:30 PM eclectic drummer/vibraphonist Kate Gentile‘s new quartet with Matt Mitchell on piano at the Jazz Gallery, $25

11/27-28, 8 PM synth player/composer Laurel Halo and guest percussioist Eli Keszler play selections from her recent album Dust, “revolving around loose and languid songs; warped, sun-filled, melted and at times, heavy-hearted and obscure. A collection of breezy, broken songs, based on woody instrumentation, sub bass and restlessness” at the Kitchen, $20

 11/29, 1 PM the Howard Williams Jazz Orchestra play big band standards at St Peter’s Church, Lex/54th

 11/29, 6 PM harmonium player Doyal Gauranga at the Rubin Museum of Art, free w/museum adm

 11/29, 7:30/9:30 PM a large ensemble assembled by the brilliant, epic Miho Hazama plays new big band jazz tunes by similarly awesome composers: Christopher Zuar, Erica Seguine, Jon Schapiro, Martha Kato, Chuck Iwanusa, Michael Thomas, Andy Clausen, Jihye Lee and Hazama herself at the Jazz Gallery, $15, wow.

1/29, 8 PM haunting, atmospheric brass band Slavic Soul Party spinoff the Mountain Lions at Barbes. They’re here the following night, 11/30 opening for the Eastern Blokhedz – who specialize in the catalog of legendary Polish singer Edita Piaha – who play at 10.

11/29, 9 PM gamelanesque downtown percussion icon Susie Ibarra plays the album release show for her new one, Perception with her DreamTime Ensemble at the Park Church Coop in Greenpoint, $15 adv tix avail at the Poisson Rouge box ofc

11/29. 9 PM the New School Punk & Noise Ensemble at Mannes School of Jazz Performance Space, Arnhold Hall, 55 W13th St on the 5th floor, free. Hey ho, let’s go! 

11/29, 9 PM smart, cleverly lyrical original swing chanteuse/songwriter/trombonist Emily Asher’s Garden Party at Radegast Hall.

11/29, 9 PM funky, lyrically intense dark folk jamband the Sometime Boys– with the riveting Sarah Mucho on vocals  at the small room at the Rockwood. Darkly jangly, catchy, new wave-ish rockers Melissa & the Mannequins  are at the big room an hour later for $10

11/30, 6 PM tuneful postbop jazz guitarist Dave Juarez leads his trio at Cornelia St. Cafe, $10 + $10 min, followed at 8/10:30 by cinematic, nocturnally-inclined pastoral jazz vibraphonist Chris Dingman in a rare trio performance

 11/30, 7:30 PM indie classical chamber luminaries Talea Ensemble  play the NY premiere of FACE for voice and ensemble by Pierluigi Billone at the Italian Academy at Columbia University, 1161 Amsterdam Ave north of 116th St., free

11/30, 7;30 PM the edgy, microtonal Frikativ String Quartet: Sarah Bernstein , Scott Tixier, Mat Maneri, Tomeka Reid at the Owl

11/30, 8 PM Hans Tammen & the eleven-piece electroacoustic Dark Circuits Orchestra play “a controlled chaos of loud, visceral blast of colors, flashes and polyrhythmic machinations” at the Knockdown Center, $10

11/30, 9 PM one of the year’s best triplebills: Balkan bands Tipsy Oxcartt, Raya Brass Band and Dolunay at Littlefield, $10

11/30, 9:30 PM smartly populist oldtimey-flavored Americana band 2/3 Goat  at Hill Country

11/30. 9:30 PM enigmatically intense, sometimes assaultive jazz/postrock group Desert Foxx  at Pine Box Rock Shop

 11/30, 9:30 PM bouncy, catchy, sardonically lyrical 90s style Britrock band Maximo Park at Bowery Ballroom, $20 adv tix rec

12/1, 7:30 PM 10-piece Austrian new music ensemble Studio Dan play works rarely heard in the US including a Christian Schiller premiere at the Austrian Cultural Center, 11 E 52nd St., free, res req 

12/1, 8 PM  don’t let the name fool you – Fairy Tale are more Brothers Grimm than Cinderella – in Korean. Amazing Korean psychedelic folk sounds from this mostly-female group at Flushing Town Hall, $16/$10 stud

12/1, 9 PM searing, theatrical Romany/Balkan punk rockers Bad Buka at Radegast

12/1, 10 PM iconic second-wave roots reggae road warriors John Brown’s Body at Bowery Ballroom, $20 adv tix rec

12/2, 7 PM dark, intense, psychedelic guitarist/songwriter Anna Coogan at the small room at the Rockwood

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

12/2, 9 PM Television’s Richard Lloyd and his band open for Steve Wynn’s iconic, amazingly vital 80s darkly psychedelic, noisyjamband the Dream Syndicate at Bowery Ballroom, $25 gen adm

12/9, 4 PM the Desoff Choir sing Handel’s Messiah at Union Theological Seminary, 3041 Broadway @ 121st St, $15

12/9,  5 PM tenor sax explorations by Ras Moshe Burnett and open jam session along with speakers from Take the Stands and the Stop Mass Incarceration Network at Dacia Gallery, 53 Stanton St

12/11, 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

12/13, 7:30 PM eclectic mostly-female klezmer/cumbia/tango jamband Isle of Klezbos  at Piano on Park, 10 Park Ave #22D, $25

12/16, 9 PM very diverse works by rising star jazz composer Sarah Weaver: a solo bass piece written for and played by the great Mark Dresser followed by Weaver’s killer twelve-piece orchestra featuring Min Xiao-Fen on pipa and Ned Rothenberg on reeds, among others, at the DiMenna Center, $25/$15 stud/srs

12/31, 11 PM organist William Trafka performs works by Bach, Guilmant and Mendelssohn at St. Bartholomew’s Church, free, champagne after midnight!

Multi-Reedman Scott Robinson Releases a Vividly Trippy Sun Ra Tribute

When booking a jazz group for a European tour, conventional wisdom is the weirder the better. Audiences there have had a voracious appetite for improvised music for decades. On this side of the pond, some of us forget that American crowds also have a history of being open to creative music: back in the 1960s, Charles Lloyd once sold out the immense New York Ethical Culture Society auditorium for an evening of free improvisation. So the Jazz Standard booking Scott Robinson’s sextet the Heliotones, with drummer Matt Wilson, trombonist Frank Lacy and Gary Versace on piano and organ, might actually be less brave than it is plain old good business sense. They’re there tonight playing the release show for their new Sun Ra-inspired album Heliosonic Toneways, Vol. 1, with sets at 7:30 and 9:30 PM; cover is $25.

Whether you see Sun Ra’s 1965 album Heliocentric Worlds as paradigm-shifting creative jazz or  sixties stoner excess, it’s one psychedelic record. Robinson’s purpose in making the new album was not to replicate it but to use the same unorthodox instrumentation. The result is very entertaining: imagine Esquivel conducting the AACM. It says a lot about this band that they’d have the sense of fun to tackle this at all. The lineup is killer: Sun Ra Arkestra leader Marshall Allen opens it with a ghostly murmur on the original bass marimba that his Saturnine bandleader played on the original album. The rest of the band comprises his longtime Sun Ra bandmate Danny Thompson on tenor sax, with Lacy on trombone, Wilson on drums, trumpeter Philip Harper, bassist Pat O’Leary, saxophonist Yosvany Terry, bass trombonist Tim Newman, drummer Matt Wilson and bass clarinetist JD Parran. It’s hard to figure out what Robinson is playing: one of the world’s most sought-after multi-reedmen, the list of what he doesn’t play is probably a lot shorter than the list of what he does. For verisimilitude, he even brought in recording engineer Richard Alderson, who helmed the original Sun Ra session more than a half-century ago,

The music is best appreciated as a suite, with lots of high/low pairings, conversations that range from the droll to the frantic, and slowly massing, microtonal tectonic shifts. Wilson plays timpani for extra grandeur as the reeds chatter and scatter. There’s the rustle of a passing train and oscillations toward the top of the beanstalk, acid Lynchian swing. indignant squalls over subterranean rumble, a coy wolf whistle or two, innumerable echo effects and valves popping every which way. Warpiness exudes from Allen’s EWI (electronic wind instrument), or a vintage Clavioline synth. Dazed Frankenstein piano anchors reeds fluttering like a clothesline in the wind. It helps to understand this stuff – or try to, anyway – if you close your eyes.  And no going out with this in your earbuds unless you have shades on.

Epic Lynchian Jazz at Barbes Last Night

Covering music as iconic as the Twin Peaks soundtrack is playing with fire. Last night at Barbes, it was as if guitarist Tom Csatari said, “Fire walk with me!” and his nine-piece band Uncivilized could’t wait to follow him into the flames. It was less an inferno than the slowly gathering menace of a prairie burn – Angelo Badalementi’s David Lynch film scores are all about suspense and distant dread. And it was an awful lot of fun to find out just where this unpredictable crew would take those themes.

They opened with the Twin Peaks title theme. From the first few lingering notes of Csatari’s guitar, it was obvious that they weren’t going to play it completely straight-up, considering that he was already staking out territory around the famous, ominous, two-note opening riff. The genius of Badalaenti’s score is that he uses very simple ideas for his variations for all the femme fatales, wolves in sheeps’ clothing and resolute boy scout detectives. If only for a second, any of them could be pure evil. In that sense, the music perfectly matches Lynch’s esthetic.

Yet as much further out as Csatari and the band took this material, they also stuck pretty closely to the melody and the changes. This was hardly generic postbop jazz with halfhearted alllusions to the tunes and solos around the horn.

And Uncivilized are the least generic jazz group in New York. One of Csatari’s favorite devices is to swing and sway his way up to a big crescendo where the four-horn frontline can shiver and flurry, more or less – sometimes a lot less – in unison. They did that here a lot, as well as messing up the rhythm a little with a couple of what sounded like momentary free interludes over drummer Rachel Housle’s floating swing.

There are some great players in this band, but she was the biggest hit with the crowd, as dynamic as she was subtle – and she’s very subtle. Starting out with a suspenseful thud with her mallets, she muted her snare with a scarf, went to sticks and then brushes, using the trebliest parts of the kit for rat-a-tat riffs and hits in all the least expected places. Can anybody say “DownBeat Critics’ Poll Rising Star, 2017?”

Bassist Nick Jozwiak bobbed and bounced like a human slinky behind his upright, playing terse, rubbery rock riffs bolstered by the occasional looming chord. Guitarist Julian Cubillos shadowed Csatari with a subtlety to rival Housle, particularly when the bandleader was playing with a slide for a hint of extra deep-woods menace. Keyboardist Dominic Mekky sent starry electric piano wafting through the mist in lieu of Badalamenti’s big-sky string synth orchestration, while the horns – flutist Tristan Cooley, alto saxophonist Levon Henry, tenor saxophonist Kyle Wilson and bass clarinetist Casey Berman – built a fluttery, gauzy sheen.

They reached toward the macabre stripper tune inside The Bookhouse Boys, played a tantalizing, single haphazardly uneasy verse of Laura  Palmer’s theme and then found unexpected grit – and a Pink Panther – in Audrey Horne’s theme.

Singer Ivy Meissner joined the band to deliver Julee Cruise’s Nightingale as well as Questions in a World of Blue, opting for soul-infused plaintiveness rather than trying to be the girl at the very bottom of the well. Meissner also sang Shelby, a noir-tinged soul ballad from her excellent debut album from last year. In between, she suddenly disappeared: it turned out that she’d taken a seat on the floor amidst the band.

Additionally, Csatari led the group through a handful of his own enigmatically careening pastoral jazz numbers, including a couple of somewhat restrained “stomps.” Most of what this band plays sounds as if it’s completely improvised, but it’s likely that most of it is actually composed, testament to how fresh Csatari’s charts are. No voicing is ever in constant, traditional harmony with the rest of the group, which enhances the suspense as much as it it opens up the floor for more interesting conversations than most bands dream of starting.

Csatari’s next gig is with Meissner on Nov 13 at 7 PM at Footlight Bar in Ridgewood. And fans of Twin Peaks and deep noir should also check out Big Lazy, who play their monthly Friday night show at Barbes on Nov 3 at 10 PM.

The Darkest, Most Magical Hours of Last Weekend’s 24-Hour Raga Marathon

Arguably the most stunning moment at last weekend’s 24-hour raga marathon staged by the Brooklyn Raga Massive happened at about 6:30 in the morning. Sarod player Camila Celin was about halfway into a relatively rare late-night raga, choosing her spots with grace and restraint. Before her set, she’d told the audience – most of them sprawled out on the floor – that this wasn’t the first time she’d played a show after staying up all night. She marveled at the kind of life-changing “wedge of light” a performer can access when running on fumes and no sleep. Meanwhile, tabla player Hiren Chate provided kinetic, intricate contrast while Celin hung back, eyes closed, clearly in the place she’d wanted to find.

Then Chate responded to a couple of gently bending sarod riffs with a sudden, steady stream of emphatic eighth notes. Beyond simple contrast, tabla players simply don’t do that. Celin smiled but didn’t respond immediately – the crowd had to wait until she picked up the pace from a lingering poignancy to a tersely triumphant crescendo out.

That wasn’t the only deliciously unexpected moment during prime time. Because the Indian raga repertoire is associated with specific times of day, the marathon offered a rare opportunity to see material that’s seldom performed, especially here in the U.S. So the wee hours were especially enticing, even with the question of whether there would be trains to get the audience there (as it turned out, there basically weren’t). For those who might wonder what after-hours bar would stay open after daybreak to get the rest of this show in, all this happened at the downstairs auditorium at the Rubin Museum of Art in Chelsea.

Through the rest of the night and into the morning, there was imaginative interplay, unorthodox instrumentation and innovative arrangements of centuries-old melodies, which makes sense considering that the Brooklyn Raga Massive’s agenda is to take Indian classical music to new places. The heavy hitters they’d brought in from India played during the day: this was the kids’ table, the place all the big paradigm shifts are going to come from.

Alto saxophonist Aakash Mittal’s Awaz Trio played the 4 AM set, which was all about camaraderie and calm, purposeful exploration. Guitarist Rez Abbasi – the marathon’s most marathon performer- took his time with lingering, frequently uneasy lines while Mittal wove flurries of postbop jazz, then the two would switch roles, giving each other plenty of space. Meanwhile, drummer Alex Ritz used the whole of the kit, slicing and dicing tabla riffs on his snare or his hardware. It was a prime example of how fertile terrain Indian music can be for great creative musicians.

Trumpeter Aaron Shragge was the first to get a wee-hours raga, often characterized by the biting, chromatic confluence of Indian music and the Middle East. He began his set with an uneasily modulated shakuhachi solo before Abbasi joined him, again alternating between similarly tremoloing, terse, moody phrases and more complex clusters. Switching to trumpet, Shragge hinted at a fanfare – or a call to arms – but never quite went there, leveraging the suspense with Amir ElSaffar-class intensity.

As the first rays of sun beamed gently on the horizon, bansuri flutist Eric Fraser and tabla player Ehren Hanson evoked friendly birdsong and then a warmly cantabile, legato greeting to the day. As the Sunday sun rose in the sky, santoor player Deepal Chodhari spun perfectly executed, endlessly circling phrases while tabla player Shiva Ghoshal chose his spots: it was the reverse image of what Celin and Chate had done a couple of hours earlier. There seemed to be more original composition in her hour onstage: cell-like Philip Glassine phrases and a long, Japanese-tinged interlude. There was still an hour to go after that, but these days, a New Yorker has to seize every moment available while the trains are actually running.

The Brooklyn Raga Massive, whose rotating cast of members includes most of these artists, play every Wednesday at Art Cafe, 884 Pacific St.(at Washington Ave) in Ft Greene; cover is $15, and the closest train is the 2 to Bergen St. This week’s show, on Nov 1 at 8:30 PM features singer Vignesh Ravichandran with violinist Bala Skandan and mridungam player Sriram Raman, followed by the Massive’s legendary jam session. You never know who’s going to turn up.