New York Music Daily

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Tag: latin music

An Upbeat New Album and a Loisaida Release Show by the Spanish Harlem Orchestra

One auspicious development here in New York is that we are seeing several groups whose performances were banned during the 2020-21 lockdown beginning to reemerge. Before March of 2020, the Spanish Harlem Orchestra were leaders in keeping the flame of oldschool salsa dura alive, while adding their own brassy spin on a sound that in many ways defined this city for so long. Even better, they have a brand new album, Imágenes Latinas – streaming at Spotify – and a record release show this May 20 at 7:30 PM at Drom. Adv tix are $30, which is five bucks less, in a more salsa-centric space, than their previous release show at the old Jazz Standard several blocks to the north.

All the singers – Marco Bermudez, Carlos Cascante and Jeremy Bosch – kick in right off the bat on the first number, Llego La Hispanica,,over the blaze of trumpeters Maneco Ruiz and Alex Norris, and trombonists Doug Beavers and Juan Gabriel Lakunza. Mitch Frohman’s baritone sax smokes in the background, bolstered by bassist Jerry Madera as bandleader Oscar Hernandez’s piano tumbles elegantly. The percussionists – timbalero Luisito Quintero, conguero George Delgado and bongo player Jorge Gonzalez – are slinky and pretty chill on this one, but they will all cut loose later on.

The album’s title track, a shout-out to immigrant determination, gets a deliciously spare, noir-tinged intro before the brass blasts in. Bosch contributes the cheery, undulating Vestido de Flores. After that, their catchy take of De Mi Para Ti makes a good segue, echoing Manny Oquendo and Conjunto Libre, a persistent influence throughout the record.

Romance Divino, a Hernandez original, has a more pop-oriented 80s salsa romantica vibe but with a classic-style arrangement. A steady, salsafied take of the bolero Como Te Amo makes another good segue, with a tastily shifting brass chart.

Frohman opens Hernández’s Mambo 2021 with a blithe flute solo, then switches back to baritone and completely flips the script, followed eventually by a tantalizingly brief timbale solo from Quintero. Sentimiento y Son has a rustic bomba rhythm but also the sophistication of the group’s home turf.

Likewise, Cuando La Hispanica Toca is an update on a smoky, vintage Machito cha-cha sound. The group slow down a little for the plush, balmy but moodily modal clave ballad Mi Amor Sincero and stay on that tip to close the album with La Musica Latina. We took this group for granted for so long: good to have them back.

An Individualistic, Intriguing New Album and an Outdoor Afterwork Show From Singer Miriam Elhajli

Songwriter Miriam Elhajli has carved out a distinctive sound that draws equally on jazz, 70s South American nuevo cancion and levantine sounds, reflecting her Venezuelan-Moroccan heritage. She cuts loose with an expressive, constantly mutable voice, likes fingerpicking her acoustic guitar in odd tunings and writes intriguing, thoughtfully imagistic lyrics. Her latest album The Uncertainty of Signs is streaming at Bandcamp. She’s playing an outdoor show on May 19 at 6 PM at the secluded terrace at Pier 3, toward the southern tip of Brooklyn Bridge Park. It’s a good setting for her verdant, rustic yet original songs. When the park was first landscaped, there was a joke going around that it had been designed as a staging area for an invading guerilla army to hide in the shrubbery. Those in search of more peaceful pursuits here can take the A or C to High St., go down to the Fulton Landing and hang a left.

Interestingly, the first three songs on the record are in 6/8 time, more or less. When the Whirlwind Fades Out fades in with a whir from Cedric Easton’s drums, a growling drone from Ike Sturm’s bass and a brightly gorgeous, pointillistic solo from Firas Zreik’s kanun. Elhajli pulls the band into an elegant, anthemic sway with her steady fingerpicking and jazz-tinged vocals. “You should know better than to run toward that which falls,” she cautions.

There’s a subtle, conspiratorial mystery juxtaposed with a soaring angst in the second track, Tres Bocio, Elhajli’s voice rising from hints of the Middle East to a rousing, wordless crescendo, vibraphonist Chris Dingman adding lingering textures.

“I know the kingpin is an illusion, and I know we must not forget to sing in unison,” she asserts in Grayscale, which begins as a stark, Appalachian-tinged ballad and drifts further into an enigmatic contrast between dramatic vocals and a hazy backdrop. She revisits that same dichotomy a little later in Marble Staircase, Zreik’s rippling kanun setting up an otherworldly, tremoloing hulusi flute solo from Jake Rudin

Locusts Circumference is closer to Joanna Newsom-style freak-folk: it’s not clear what “quiet implosion” Elhajli is referring to. The strings of the Kasa Quartet waft and sail over Elhajli’s lattice of acoustic guitar and her full-throated, crescendoing vocals in Gold & God, an allusively jubilant salute to genuine human kindness.

The flute returns and flutters in Spiral Solutions, a brief, energetically circling number where Elhajli seeks to “recognize the unrecognizable.” Bracing, swooping strings permeate Bulk Flow: “Got two scissors and a match…I lost my spirit so I split to another land,” Elhajli relates over a lushly rustic, open-tuned, antique Britfolk-style melody.

She picks out a ringing web on electric guitar in Another Butterfly Ordeal. The next-to-last track, Cosmos is more of a jazz tone poem: “The unseen stays unseen,” Elhajli sings, “Pay attention, the cops encircle us, they don’t know what we’re up to.”

She winds up the record with In Your Arms, Familiar, a mutedly unsettled tableau reflecting a “state of utter hypnosis” where “everything is crushable” – sounds a lot like 2022, doesn’t it?

Simmering New Songs, Oldschool Salsa Grooves at Pedrito Martinez’s Drom Residency

Percussionist Pedrito Martinez is a New York institution. He came out of Cuba to become a prime mover in the revitalization of this city’s salsa scene at a time when it had gone soft with salsa romantica. Until the lockdown, he held down weekly residencies at a long series of venues. This blog has witnessed his rumbling, dynamically shapeshifting live show at both small-club and big mainstage jazz festival appearances. Either way, he and his band jam like crazy. Martinez’s next gig is his now-monthly residency at Drom tomorrow night, May 12 at 7 PM; as of right now you can still get a $20 advance ticket.

As you would expect at an Alphabet City venue, the Drom shows are a dance party for what’s left of a vital, long-entrenched neighborhood Puerto Rican contingent. You can get a table with your friends, but by the end of the show, a little before nine, everybody’s on their feet. If you’re lucky, Martinez will show off his chops on bass as well as behind his huge rack of congas and other bangable objects.

Martinez also distinguishes himself by writing original tunes rather than just rehashing the classics. He has a new single, My Father’s Eyes, a characteristically slinky, swaying duet with Eric Clapton infused with some gospel-tinged piano as well. The gist of the song is what how our ancestors would react to the pivotal historical moment we find ourselves in right now.

Martinez and the blues guitar icon – who in the last couple of years has reinvented himself as a freedom fighter – have another single, Yo Si Quiero, with jazz saxophonist Kenny Garrett. Don’t let the twinkly electric piano intro fool you – Garrett digs in as hard with his soprano sax as Martinez does on the mic and Clapton does in his tantalizing cameo, against a blippy psych-salsa backdrop. That blend of ferocity and finesse says a lot about where Martinez’s live show is these days.

Live Music Calendar for New York City and Brooklyn For May and June 2022

More concert listings this month than last: hardly critical mass, but live music in this city is becoming a thing again. Hopefully this is a trend: if all goes well, there will be many additions to this calendar throughout the month.

Weekly events first followed by the daily calendar.

Mondays at the Django 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.

5/6, 5/13 and 5/20 at 7:30 PM, and  5/12 at 10:30 PM tenor saxophonist Ken Fowser leads his band at the Django. Jukebox jazz in a JD Allen vein but not as dark and more straight-ahead/groove-oriented: as postbop party music goes, nobody’s writing better than this guy right now, $25

5/1, 8ish offhandedly chilling angst-rock/psychedelic songwriter Grace Bergere followed by Heavy Feather and the Magic Word – who do a good, shambly baby Supergrass imitation – at Our Wicked Lady, “$13.60” meaning $14 at the door

5/2-6, half past noon veteran, melodic 1950s era jazz pianist Bertha Hope plays the house electric model at Bryant Park

5/2, 7:30/9 PM reliably adrenalizing saxophonist Seamus Blake leads a quartet followed at 10:30 by  expansive postbop pianist Miki Yamanaka and her group at Smalls, $25 cash at the door. Blake is back here the next night, 5/3; Yamanaka is back on the 23rd.

5/2, 8 PM an intriguing avant jazz sax-and-guitar duo: Charlotte Greve and Simon Jermyn Duo at Seeds

5/3, 6 PM Avenida B play oldschool Lower East Side-style salsa at Bryant Park

5/3, 6:30 PM guitarist Federico Balducci leads an improvisational trio with bassist Brian Kastan and drummer Mike Pride followed at 7:30 by Alix Tuccp solo on bass trombone at Downtown Music Gallery, free

5/3, 7 PM eclectically rustic newgrass shredders We Banjo 3 at City Winery, $26 adm avail.

5/4. 5:30 PM Venezuelan piano jazz with the Gabriel Chakarji Group at Multi-Use Room A in Pelham Fritz Recreation Center at Marcus Garvey Park, free

5/4, 6 PM the Antoinette Montague Experience play oldtimey swing jazz at Bryant Park

5/4. 7 PM intriguingly brooding Turkish jazz pianist Bilge Gunaydin at the big room at the Rockwood, $15

5/4. 7:30 PM chanteuse Anais Reno fronts the lyrically energetic Pete Malinverni Trio at the Django, $25

5/4, 8 PM Jambalaya brass band NOTUS march into Drom, $10 adv tix rec

5/5, 6 PM Mariachi Real de Mexico who are as playfully rustic as they are regal at Bryant Park\

5/5, 7:30/9 PM intimate trumpet and piano sounds from Dominick Farinacci and Dan Tepfer at Smalls, $25 cash at the door

5/5. 11 PM ferociously dynamic, tuneful,female-fronted power trio Castle Black at Otto’s

5/6, 7 PM fearlessly powerful, outside-the-box South African jazz siren Melanie Scholtz at the downstairs room at the Rockwood,$15

5/7, 7 PM Liftoff Brass Band play New Orleans-style tunes outdoors at Culture Lab in Long Island City

5/7. 7:30 PM Abhik Mukherjee on sitar and Dibyarka Chatterjee on tabla at the Chhandayan Center For Indian Music, $25

5/7, 8 PM a cool surf twinbill at Otto’s with the Chillers and Blue Wave Theory

5/7. 10:30/midnight  feral tenor saxophonist Eric Wyatt and band and then the jam session at Smalls, $25 cash at the door. He’s back on 5/21

5/7, 11 PM trippy, fun psychedelic disco unit Cosmonaut Radio at the big room at the Rockwood, $10

5/8, 1 PM clever saxophonist Paul Shapiro’s Ribs & Brisket Review plays the “music of Mrs. Maisel” at City Winery $25

5/8, 1:30 PM intense retro 60s influenced Nubian funk band Alsarah & the Nubatones and high voltage Mexican folk-punk band the Villalobos Brothers at the bandshell in Forest Park, Woodhaven Boulevard and Forest Park Drive in Queens, J to 111th St

5/8, 5 PM charming/slashing noir cabaret/circus rock duo Frenchy & the Punk outdoors at Culture Lab in Long Island City

5/9-13, half past noon noir-inspired pianist Todd Robbins plays speakeasy jazz and blues at Bryant Park

5/10, 6:30 PM an improvisational triplebill:  Symbiotique with guitarist Michael Eaton, Seth Andrew Davis, Cheryl Pyle and Kule Quass followed at 7:30 by violinist/singer Kate Birch with guitarist Tal Yahalom and then at 8:30 PM guitarist Chris Pitsiokos and Kevin Murray at Downtown Music Gallery, free

5/11, 7:30 PM lyrical, sweeping pianist/accordionist Ben Rosenblum leads his septet at Smalls, $25 cash at the door

5/11, 8 PM  funk-jazz crew the Silver Arrow Band at Drom, free. They’re also here on 5/24

5/12, 6 PM music of the Americas: Colombia, Peru, and Venezuela with classical guitar duo Nilko Andreas and LaMar NYC at Bryant Park

5/12, 6:45 PM not a music event but fascinating for the scientifically-minded – a titanically smart lineup with the world’s most widely published cardiologist, Dr. Peter McCullough, holocaust survivor and brilliant historian Vera Sharav and Rabbi Jonathan Rietti lead a panel discussion on where we go from here, at 1437 President St (Kingston/Albany), Midwood, Brooklyn, 2 to Nostand Ave, also livestreamed. Put together by the reliably acerbic and insightful Brucha Weisberger and her team

5/12, 7 PM Afro-Cuban percussion legend Pedrito Martinez leads his rumbling, jazz-tinged salsa project at Drom, $20 adv tix rec

5/12, 10:30/midnight  tuneful oldschool soul/jazz trombonist Dave Gibson leads his quintet at Smalls, $25 cash at the door/ He’s back on the 26th

5/12, 11 PM  high-voltage, violin-driven art-rock/metal band Stratospheerius at Shrine

5/13, noon oldschool Cuban streetcorner salsa with Joaquin Pozo y la Clave Suena at Poe Park, 2640 Grand Concourse in the Bronx, B/D to Grand Concourse

5/13, 7 PM the Bootheel Boss Gobblers play western swing and Americana outdoors at Culture Lab in Long Island City

5/13, 7 PM the 18th annual Hank-o-Rama with an allstar band playing Hank Williams classics. Including but not limited to the Lonesome Prairie Dogs, Lenny Kaye on pedal steel, host Alex Battles, with guest stars Tammy Faye Starlite, Cliff Westfall, Sean Kershaw, Jordan McLean, Lil’ Mo Monica Passin and others at the Cutting Room, $20 adv tix rec

5/14. 11 AM (in the morning) oldschool purist 50s jazz guitar sounds with the John Cooksey Quartet at the Smith houses rec center, 80 Catherine St in Chinatown, walk south from Canal St.

5/14, 1 PM West African jazz beats with Jomion & the Uklos Band at Highland Park in Brooklyn, F to Jamaica

5/14 staggered brass band sets around Brooklyn Bridge Park starting at 2 PM with the L Train Brass Band  at Pier 6; at 2:30 – Sugartone Brass Band at the Visitors Center; 3:10 – Ad Hoc Brass Band playing second line stuff at Pier 4 Beach; 3:15-4:25 – Ad Hoc Brass Band at Pier 4 Beach; 4:25-4:30 – Ad Hoc Brass Band second line to Pier 3 Lawnl 4:30-5:10 – Stoop Kidz Brass Band at Pier 3 Lawn; 5:10-5:50 – Extra Syrup Horns at Pier 3 Plaza

5/14, 7:30/9:30 PM drummer Sylvia Cuenca leads a beast of a band with Brian Lynch on trumpet, Craig Handy on sax and Dave Kikoski on piano at Smalls,$25

5/14, 8 PM soaring oldtime front-porch harmony band the Calamity Janes followed by urban country legend Alex Battles at the small room at the Rockwood. In the big room moody retro new waver Alfonso Velez plays at 7 for $14; in the downstairs room at 9 amazing Middle Eastern-tinged psychedelic instrumentalists Sandcatchers play for $10

5/14, 10:30 PM tenor saxophonist Stacy Dillard at Smalls, $25 cash at the door. He’s back here on 5/28

5/15, noon-4 PM the Biophony Festival with various configurations of Metropolis Ensemble-adjacent chamber music groups playing new environmentally-themed works by a vast cast of composers including Charlotte Greve, Claire Dickson and Maria Grand at various locations throughout the Brooklyn Botanic Garden, $18/$12 stud/srs, kids under 12 free.

5/15, noon the annual Greek Jewish Festival opens with the bouncy Elias Ladino Ensemble, followed by the Greek American Folklore Society, the Noga Group featuring oud sorcerer Avram Pengas, captivating bellydancer Layla Isis, psychedelic oud-rocker Scott Wilson & Efendi and the stark, haunting Pontic Firebird (best bandname ever, right?) outdoors at Kehila Kedosha Janina Synagogue and Museum, 280 Broome St (Allen/Eldridge), Chinatown, B/D to Grand St

5/15, 7 PM Portuguese fado-jazz singer Sofia Ribeiro plays the album release show for her new one at Drom, $20 adv tix rec

5/15, 7 PM often haunting, tuneful, improvisational art-rock pianist Gabriel Zucker at the Red Hook Record Store on Van Brunt before you hit Pioneer; F train to Carroll, exit front of the downtown train, take First Place to when it becomes Summit, go over the footbridge, hang a u-turn at the base of the bridge, continue on Summit to the playground triangle and hang a left. It’s about 15 minutes from the train.

5/16, 5:30 PM the American Symphony Orchestra string quartet performs works by French composers including Debussy and Ravel at Bryant Park

5/16, 7:30 PM perennially vital vocal jazz legend Sheila Jordan with cinematic pianist Alan Broadbent at Mezzrow, $25 cash at the door

5/17, 5:30 PM the ASO Percussion Ensemble“combines Afro-Cuban Batá drumming and poetry with the sounds of contemporary chamber percussion, featuring Imani Winds’ oboist Toyin Spellman-Diaz in compositions by percussionist and composer Javier Diaz” at Bryant Park

5/17, 7:30 PM Romany guitarist Pedro Cortes’ Flamenco Ensemble at the Django, $25

5/17, 9:30 PM fearlessly comedic all-female brass crew the eGALitarian Brass at Drom, $10 adv tix rex

5/18, 10:30 PM haunting Elliott Smith-esque rockers No-No Boy play their song cycle about Japanese Americans in US prison camps during WWII at the downstairs room at the Rockwood, ‘$12

5/19, 6 PM  eclectic pan-latin and Middle Eastern-inflected acoustic songwriter Miriam Elhajli at Pier 3 Greenway Terrace toward the south tip of Brooklyn Bridge Park

5/19, 10:30 PN charismatic, adventurous postbop/avant garde trombonist/crooner Frank Lacy leads a quartet at Smalls, $25 cash at the door.

5/20-21, 7 PM an outrageously cool/weird noisefest at 508 Smith St, in Red Hook just across the canal, $30. Acts include “flaming harp, a fire-shooting brass band. baritone sax and motorcycle double-quartet, a balloon choir and a 500,000 watt tesla coil”

5/20, 7:30 PM the Spanish Harlem Orchestra play the album release show for their blazing new salsa jazz record at Drom, $30 adv tix rtec

5/20, 9 PM Giftshop – the missing link between Blondie and the Distillers – at Shillelagh Tavern, 47-22 30th Ave, Astoria, N/R to 46th St

5/20, 10:30 PM  badass bassist and jazz composer Endea Owens and the Cookout at the Django. $25

5/21, 3 PM an afternoon-long free music festival with short sets by Jeff Rodriguez. goofy ukulele songstress Seann Cantatore, hip-hop artists Jam Young, King ECH, and Too Dapper, scruffily psychedelic female-fronted indie band Loosie, Sara No H and Rao at the laundromat at 50-14 Roosevelt Ave in Woodside, 7 to 52nd St. It’s a clothing drive, bring stuff you don’t need, donations gratefully accepted. Free soap, free cookies while they last

5/21, 6:30 PM moody Greek-flavored jazz duo Christos Rafalides – vibraphone and Giovanni Mirabassi – piano followed by ubiquitously tuneful Spanish bassist Manel Fortia and his band and then poignant, captivating Greek singer Eleni Arapoglou and her Mediterranean band at Drom, $20 adv tix rec

5/21, 7 PM the colorful Yu Nishiyama Big Band at Culture Lab in Long Island City

5/21, 8 PM sitar and tabla – Radhakrishna T – a student of Ravi Shankar -. and Jorge Ramiro at the Chhandayan Center For Indian Music $25

5/21, 9 ish drony thrash band the Expollutants followed by intriguing retro 80s rockers Substitute – like GBH with a chorus pedal – and then the fiercely pro-immigrant, all-female Frida Kills at Our Wicked Lady, $14

5/22. noon new-music marching band Asphalt Orchestra play world premieres by Leila Adu-Gilmore, Jeffrey Brooks, and Kendall K. Williams, with special guest steel pan street band Pan in Motion. They will also perform a new arrangement by Tomeka Reid and Ken Thomson’s arrangement of Once in a Lifetime by the Talking Heads at Bryant Park

5/22, 5 PM elegantly lyrical Slavic jazz guitarist Martina Fiserova at the small room at the Rockwood,

5/22. 7:30 PM Canary Islands flamenco-jazz violinist Tania Mesa and band followed by Tunisian bassist Marwan Allam leading a quartet with Yacine Boulares on sax, wow, at Drom, $20 adv tix rec

5/22, 7:30/9 PM clever, purist B3 jazz organist Akiko Tsuruga leads a trio at Smalls, $25 cash at the door

5/23-24, 5:30 PM the American Symphony Orchestra: Jazz Ensemble – not an oxymoron – with Alexa Tarantino on sax play Nat Kiug Cole and Ellington tunes at Bryant Parka

5/25, 7 PM bizarre segue, good twinbill: psychedelic electric jazz keyboardist Sean Wayland followed by Americana banjo songwriter  Hilary Hawke  at the small room at the Rockwood

5/25. 7:30 PM the best singing pianist (and the best piano-playing singer) in jazz, the irrepressible Champian Fulton  followed at 10:30 (separate $25 adm) by purist jazz chanteuse Samara Joy and her octet at the Django

5/26, 7:30 PM New Bojaira play flamenco jazz  at Drom, $20 adv tix rec Followed at 9:30 (separate $15 adv adm) by pyrotechnic clarinetist Ismail Lumanovski’s ferociously kinetic NY Gypsy All-Stars

5/26, 7:30/9 PM darkly eclectic pianist and Cecile McLorin Salvant collaborator Sullivan Fortner leads a trio at Mezzrow, $25 cash at the door d

5/26, 8 PM agelessly slashing, tuneful janglerock/powerpop icon Willie Nile at City Winery $20

5/27, 6:30 PM American Wild Ensemble, a septet of winds, strings, and percussion, will perform music inspired by Olmsted-designed parks including Brooklyn’s Prospect Park and Manhattan’s Fort Tryon Park. The program includes newly commissioned works by composers Oliver Caplan, Nell Shaw Cohen, Michael-Thomas Foumai, Libby Meyer, Ayumi Okada, Justin Ralls, Christina Rusnak, and Ryan Suleiman on the lawn at Ft Tryon Park. The program repeats on 5/28 at noon at the Prospect Park boathouse, Their Boston show last month playing this material was off the hook.

5/27-28, 7:30/9 PM legendary lyrical jazz pianist Bill Mays leads a trio at Mezzrow, $25 at the door

5/28, 6:30 PM a rare chance to see popular Nordic drummer/bandleader Kresten Osgood with trumpeter Herb Robertson and tuba player Marcus Rojas at Downtown Music Gallery

5/28, 8 PM 10-piece chamber orchestra CACEnsemble and the Wendy Osserman Dance Company perform violinist/singer Concetta Abbate’s hauntingly improvisational new suite Laminaria: “fairytale meets noir meets classical music, the story of an underwater shadow ghost emerging from a kelp forest. Laminaria (the Latin word for kelp) is used medicinally to induce labor in women and serves as a metaphor for rebirth, transformation and loss,” at the Park Church Coop, 129 Russell St., Greenpoint, $20, G to Nassau Ave

5/29. 7:30/9 PM charmingly retro Americana jazz chanteuse Sasha Dobson leads a quartet with Peter Bernstein on guitar at Smalls, $25 cash at the door

5/31, 6:30 PM a cool improvisational trio: guitarist Jessica Ackerley, saxophonist Erin Rogers and drummer Henry Mermer followed by trumpeter Darren Johnston and drummer Ches Smith at Downtown Music Gallery

5/31, 8 PM first-wave dreampop legend and Throwing Muses frontwoman Kristin Hersh at City Winery, $20

5/31, 10:30 PM  rustic Cuban country music band Los Hacheros play electric island grooves at the Django

6/8. 7 PM MasterVoices and the Orchestra of St. Luke’s with Shereen Pimentel, soprano and Tariq Al-Sabir, tenor perform works by Mendelssohn, Josquin, Barber and others at Waterline Square Park on Riverside Dr (60/61)

6/11, 7:30 PM the Pan Evolution Steel Orchestra followed by veteran dancehall reggae singer Maxi Priest at Prospect Park Bandshell

6/14, 7:30 PM edgy orchestra the Knights  play a historically brilliant program: new orchestral arrangements of Beethoven’s Sonata No. 9, “Kreutzer Sonata” and Janáček’s String Quartet No. 1, “Kreutzer Sonata”, at the Naumburg Bandshell in Central Park

6/14. 8 PM the NY Philharmonic plays Wagner’s Prelude to Act I of Die Meistersinger, Bruch’s Violin Concerto No. 1 with Bomsori Kim as soloist, Dvořák’s Symphony No. 7, and works by young composers in Van Cortlandt Park in the Bronx. The program repeats on the Great Lawn in Central Park on 6/15, in Cunningham Park, Queens on 6/16 and Prospect Park on 6/17

6/24, 7:30 PM oldschool Colombian gangsta sounds with La Cumbiamba eNeYé followed by Colombian vallenato crooner Fonseca at Prospect Park Bandshell

6/25, 4 PM firebrand Guinean feminist rocker Natu Camara followed by Guinean acrobatic troupe Cirque Kalabanté at Prospect Park Bandshell

6/28. 7:30 PM the Handel and Haydn Society, led by violinist Aisslinn Nosky play works by Corelli, Vivaldi, Geminiani, Handel and Charles Avison at the Naumburg Bandshell in Central Park

7/12, 7:30 PM  A Far Cry  play an innovative program of string arrangements of Bartok miniatures plus works by Franghiz Ali-Zadeh, Dvorak, Beethoven and Karl Doty at the Naumburg Bandshell in Central Park

7/14, 7:30 PM imaginative indie classical choir Roomful of Teeth followed by a live interview with avant garde legends the Kronos Quartet at Prospect Park Bandshell

7/16, 8:30 PM slinky soul-influenced psychedelic band Chicano Batman at Prospect Park Bandshell

7/26, 7:30 PM edgy orchestra the Knights & Lara St. John, violin soloist play Mendelssohn’s Scottish Symphony plus works by Avner Dorman at the Naumburg Bandshell in Central Park

8/2, 7:30 PM  lush, majestic string ensemble the East Coast Chamber Orchestra play works by Adolphus Hailstork, Maureen Nelson and Schubert’s String Quartet No. 14 in D minor, D 810, ‘Death and the Maiden’ at the Naumburg Bandshell in Central Park

Live Music Calendar for New York City and Brooklyn For April and May 2022

Slowly, venues are wising up to the fact that crowds aren’t going to put up with restrictions. Right now it’s mostly jazz clubs who are leading the way, but this calendar continues to grow, slowly: if you’re thinking of going out, you might even want to bookmark this page as there will be additions throughout the month and hopefully beyond.

Mondays at the Django 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.

Thursdays at 7 PM Afro-Cuban percussion legend Pedrito Martinez leads his rumbling, jazz-tinged salsa project at Drom, $20 adv tix rec

4/1 and 4/22 at 7 PM, 4/7 at 10, and 4/16 at 7 PM tenor saxophonist Ken Fowser leads his band at the Django. Jukebox jazz in a JD Allen vein but not as dark and more straight-ahead/groove-oriented: as postbop party music goes, nobody’s writing better than this guy right now, $25

4/1-2, 7:30/9 PM Orbits 4 with pianist Rachel Z, Steve Wilson on alto sax, Jonathan Toscano on bass and Ben Perowsky on drums, wow, at Smalls, $25 cash at the door

4/1, 8 PM ubiquitous, moodily lyrical, politically savvy Irish folk-rocker Niall Connolly at the small room at the Rockwood

4/1, 10 PM tenor saxophonist Wayne Escoffery leads a quintet celebrating the Mingus centennial at the Django, $25

4/2, 7 PM  ambient guitarist and Bowie collaborator Gerry Leonard a.k.a. Spooky Ghost at the basement room at the Rockwood, $15

4/2. 10:30 PM tenor saxophonist Stacy Dillard leads at quartet at Smalls, $25 cash at the door. He’s back here on 4/16

4/2, 7:30 PM Club d’Elf with John Medeski play ramshackle gnawa-funk at Drom, $20 adv tix rec

4/3, 7:15 PM a benefit for Ukrainian refugees on the roof at Our Wicked Lady with short sets by pensive jazz-folk singer Lou Apollon, performance artist Charlotte Righetti, and psychedelic Greek surf rockers the Byzantones, cover is in the neighborhood of $25

4/5, 6:30 PM Nick Panoutsos solo on bass followed by the improvisational sax-drums duo of Colin Fisher and Kyle Hutchins at Downtown Music Gallery, free

4/6, 7 PM the reliably innovative S.E.M Ensemble perform works for ensembles including string quartet, double bass, percussion, and marimba by Morton Feldman, Frederic Rzewski, Alvin Lucier,Petr Kotik, Ana Sokolovic, and Jordan Dykstra, and a premiere by Daniel O’Connor at Willow Place Auditorium, 26 Willow Place (Joralemon/State), downtown Brooklyn, any train to Borough Hall

4/6, 8 PM Melissa Gordon of Melissa & the Mannequins, one of the best purist janglerock songwriters in NYC, at the small room at the Rockwood

4/7. 9ish drony, jangly female-fronted post-Velvets duo Shadow Monster at Our Wicked Lady, $12

4/8, 7 PM haunting folk noir/Americana songwriter Emily Frembgen at the basement room at the Rockwood, $10

4/7, 7 PM vibraphone monster Simon Moullier at the Django, $25. This guy is all about adrenaline – those mallets fly fast and furious.

4/7, 7 PM  tenor saxophonist Tim Ries‘ nonet the Universal Spirits Ensemble = not to be confused with his other band the Rolling Stones – at Drom, $25

4/8, half past noon a celebration of Scottish bagpipe music with Gleadhraich frontman Craig Weir, the Highland Divas and Noisemaker at Bryant Park

4/8, 7 PM haunting folk noir/Americana songwriter Emily Frembgen at the downstairs room at the Rockwood, $10

4/9 starting at 10:30 in the morning Scottish pipe-and-drum bands including the Theater School of Scotland’s band at Bryant Park

4/9, 7 PM trumpeter Alex Norris leads a quintet celebrating the Mingus centennial at the Django, $25. Followed at 10 (separate $25 admission) by bassist Boris Kozlov’s “Electric Mingus Project” with Johnathan Blake on drums which could be truly electiic, or a disaster.

4/9, 10:30 PM feral tenor saxophonist Eric Wyatt and band at Smalls, $25 cash at the door.

4/10, half past noon Scottish bagpipe acts including Whiskey Kiss, New York Brogue and others at Bryant Park

4/10, 7 PM Chontadelia play a wildly energetic marimba-driven take on coastal Colombian folk tunes at Drom, $20

4/10, 7 PM darkly torchy southwestern gothic/Europolitan songwriter/guitarist Miwa Gemini a at the basement room at the Rockwood, $10

4/10, 7:30/9 PM soulful pan-Latin jazz chanteuse Claudia Acuña  leads a trio at Mezzrow, $25 cash at the door

4/11, 7 PM funk-jazz crew the Silver Arrow Band at Drom, free. They’re also here on 4/26 at 8

4/12, 6:30 PM dueling baritone saxes with Jamison Williams and Danny Kamins at Downtown Music Gallery, free

4/13, 8:30 PM a bluegrass summit with Michael Daves and Andy Statman at the big room at the Rockwood, $20

4/13, 9ish drifting, female-fronted dreampop band Punchlove at Our Wicked Lady, $12

4/14, 7 PM lyrical pianist David Kikoski leads a trio with Boris Kozlov on bass and Ari Hoenig on drums celebrating the Mingus centennial at the Django, $25. Followed at 10 (separate $25 adm) by trombonist Conrad Herwig‘s latin/Mingus septet, Herwig is back the next night, 4/15 at 7.

4/14, a good punk and punk-adjacent quadruplebill: 8 PM ish catchy female-fronted powerpop/punk band the Rizzos, the louder and more snide Duke of Vandals, the fiercely pro-immigrant Frida Kill and kinetic no-wavers Weeping Icon at Our Wicked Lady, $12

4/14, 10:30 PM  tuneful oldschool soul/jazz trombonist Dave Gibson leads his quintet at Smalls, $25

4/15, 10 PM cantante MV Caldera sings her high-voltage blend of calypso and tambor at Drom, $20 adv tix rec

4/16, 7 PM trumpeter Philip Harper leads a quintet celebrating the Mingus centennial at the Django, $25

4/17, 7 PM a low-register subset of intricately orchestrated psycho mambo crew Gato Locoat the big room at the Rockwood, $10

4/19, 6:30 PM: a killer free jazz twinbill with trumpeter Thomas Heberer, bassist Joe Fonda and drummer Joe Hertenstein followed at 7:30 by singers Joan Sue and Isabel Crespo with bassists Nick Dunston and Henry Fraser at Downtown Music Gallery, free

4/21, 7 PM Mike LeDonne takes a relatively rare turn on piano  at the Django followed at 10 (separate $25 adm) by purist postbop guitarist Mark Whitfield

4/21, 7 PM pianist Simon Mulligan and cellist Dan Barrett lead a chamber ensemble playing new works at by Catherine Neville, Paul Aljian, Simona Smirnova, David Mecionis, Madelyn Byrne, Eric Heilner, Patricia Leonard, Christopher Sahar, and Anton Rovner’s Mysterious Star, a song cycle on poems by Edgar Allan Poe at the Church of the Transfiguration, 1 E 29th St. $20

4/21, 9ish heavy psych/hard funk trio King Crash at Our Wicked Lady, $12

4/22, 9ish darkly drifting keyboardist/chanteuse Lizzie Loveless and catchy Americana/pop songstress Denitia at Our Wicked Lady, $12

4/22, midnight Elefantkiller – fearless, venomous, politically spot-on New York punks who deserve to be mentioned in the same sentence as the Dead Kennedys – at Otto’s

4/23, from noon to 5 PM reggae soundsystens Soul Supreme, Nexxt Level, Super Force, Federation Sound, and Empress Breeze live and in-person at the VP Records store, 170-19 Jamaica Ave., Jamaica, Queens, A to 169th St. Video Music Box legend Ralph McDaniels will also be there doing his thing with special guests including Kool DJ Red Alert and other figures from hip-hop’s golden age.

4/23, 7 PM  iconic low register reedman Scott Robinsonn leads a quartet with Miki Yamanaka on piano celebrating the Mingus centennial at the Django, $25. melodic rising star bassist Endea Owens & the Cookout follow on the bill at 10 (separate $25 adm)

4/24, 7:30/9 PM  the best singing pianist (and the best piano-playing singer) in jazz, the irrepressible Champian Fulton at Mezzrow, $25

4/24, 9ish hard-hitting stoner boogie band Slomo Sapiens at Our Wicked Lady, $14

4/25, 7 PM noir guitar legend Jim Campilongo  at the big room at the Rockwood $15. Downstairs funky Milwaukee new wavers the Violet Hour play at the same time for $10, take your pick

4/26, 6:30 PM a free jazz twinbill: saxophonist Ayumi Ishito with Damien Olson and Nebula the Velvet Queen on theremin, followed by Aaron Edgcomb on percussion, Priya Carlberg on vocals and David Leon on sax at Downtown Music Gallery, free

4/26, 7 PM catchy female-fronted punk band the Neighborhood Brats at Our Wicked Lady, $15

4/26. 10 PM  rustic Cuban country music band Los Hacheros play ancient island grooves at the Django, $25

4/27, 7:30/9 PM imaginative, tuneful bassist Joris Teepe with Leo Genovest on piano and Matt Wilson on drums at Mezzrow, $25

4/28, 7 PM lyrical latin-inflected pianist Helen Sung leads a quartet celebrating the Mingus centennial at the Django, $25

4/28, 7 PM Cuban groovmeister Carlitos Padron & Rumberos Del Callejon play oldschool salsa dura at Drom, $20 adv tix rec

4/28, 7:30/9 PM colorful,  eclectic, paradigm-shifting B3 jazz organist Brian Charette leads a trio at Mezzrow, $25

4/28, 8 PM intense, charismatic oldschool soul belter Sami Stevens at the small room at the Rockwood

4/28, 9 PM ferocious, smartly lyrical soul-rockers No Ice at Our Wicked Lady, $14. Avoid the Nazi opening band The Road to Ruin at all costs: how did they get on the bill?

4/29, 8ish reliably slashing noiserockers Bugs in the Dark at Our Wicked Lady, $14

4/29, 10 PM at Otto’s, a tuneful, oldschool style punk bill: the OC Rippers, a promising new band who remind you of the Dead Boys, at 11 San Diego’s solid, tuneful Slaughter Boys and the more postpunk/hardcoreish No-Heads headlining.

4/29, 10 PM energetic purist tenor saxophonist Craig Handy & Second Line Smith at the Django, $25

4/30. starting at 2 PM in reverse order at Otto’s, an eclectic benefit for the citizens of Ukraine, all donations to benefit Razom for Ukraine, beginning with the acoustic acts and moving on to the bands: headliners Giftshop – the missing link between Blondie and the Distillers – preceded by long-running, wickedly jangly, tuneful Americana rockers the Sloe Guns, Stephanie Marie and Friends, Krispy DeRato, Gary Edward Kiyan, Raising Daughters, Xavier Moll, Lo, Sean Listro, Kassaye Selassie, Adam Najemian, Jason Inyoung Lee, Max Lombardo, Harrison Dolan, and others.

4/30, 3 PM the Bang on a Can avant garde organization returns to NYC with a multi-ensemble mini-marathon outdoors at 300 Ashland Place just downhill from BAM. Among them: epic ranchera/bolero brass crew Banda de los Muertos  at 3  and at 7 Kendall K. Williams‘ steel pan orchestra\

4/30, 7 PM are you hungry for orchestral music but locked out of Lincoln Center and Carnegie Hall? Here’s a great evening of symphonic sounds with the Modus Opera Orchestra playing works by Rossini, Bach, Morricone, a world premiere by Guido López-Gavilán, plus Tschaikovsky’s Symphony No. 5 at St. Mary’s Church, 1008 49th Ave, Long Island City, just up the block from the Vernon-Jackson stop on the 7 train, $25

4/30. 7 PM mighty Brazilian drumline street band BatalaNYC celebrate 10 years of banging around thunderously at Drom, $12 adv tix rec

4/30, 9 PM ferocious two-guitar oldschool powerpop band Ratstar at the Delancey, $10

4/30. 10:30 PM downtown jazz guitar icon Elliott Sharp leads a trio at the downstairs room at the Rockwood, $20

5/3, 6:30 PM guitarist Federico Balducci leads an improvisational trio with bassist Brian Kastan and drummer Mike Pride followed at 7:30 by Alix Tucci solo on bass trombone at Downtown Music Gallery, free

5/4, 8 PM Jambalaya brass band NOTUS march into Drom, $10 adv tix rec

5/10, 6:30 PM Symbiotique with guitarist Michael Eaton, Seth Andrew Davis, Cheryl Pyle and Kule Quass followed at 7:30 by violinist/singer Kate Birch with guitarist Tal Yahalom and then at 8:30 PM guitarist Chris Pitsiokos and Kevin Murray at Downtown Music Gallery, free

5/15, noon the annual Greek Jewish Festival opens with the bouncy Elias Ladino Ensemble, followed by the Greek American Folklore Society, the Noga Group featuring oud sorcerer Avram Pengas, captivating bellydancer Layla Isis, psychedelic oud-rocker Scott Wilson & Efendi and the stark, haunting Pontic Firebird (best bandname ever, right?) outdoors at Kehila Kedosha Janina Synagogue and Museum, 280 Broome St (Allen/Eldridge), Chinatown, B/D to Grand St\

5/20, 9 PM Giftshop – the missing link between Blondie and the Distillers – at Shillelagh Tavern, 47-22 30th Ave, Astoria, N/R to 46th St

It might seem premature to include concerts as far away as this summer, but these are outdoors. so even if the dying Kathy Hochul regime tries to bring the lockdown back from the dead, these will probably go on as planned:

6/14, 7:30 PM edgy orchestra the Knights  play a historically brilliant program: new orchestral arrangements of Beethoven’s Sonata No. 9, “Kreutzer Sonata” and Janáček’s String Quartet No. 1, “Kreutzer Sonata”, at the Naumburg Bandshell in Central Park

6/28. 7:30 PM the Handel and Haydn Society, led by violinist Aisslinn Nosky play works by Corelli, Vivaldi, Geminiani, Handel and Charles Avison at the Naumburg Bandshell in Central Park

7/12, 7:30 PM  A Far Cry  play an innovative program of string arrangements of Bartok miniatures plus works by Franghiz Ali-Zadeh, Dvorak, Beethoven and Karl Doty at the Naumburg Bandshell in Central Park

7/26, 7:30 PM edgy orchestra the Knights & Lara St. John, violin soloist play Mendelssohn’s Scottish Symphony plus works by Avner Dorman at the Naumburg Bandshell in Central Park

8/2, 7:30 PM  lush, majestic string ensemble the East Coast Chamber Orchestra play works by Adolphus Hailstork, Maureen Nelson and Schubert’s String Quartet No. 14 in D minor, D 810, ‘Death and the Maiden’ at the Naumburg Bandshell in Central Park

Kiko Villamizar Puts Out a New Socially Conscious Psychedelic Cumbia Album

Guitarist/bandleader Kiko Villamizar gives the listener plenty of food for thought with his new album Todo El Mundo, streaming at youtube. There’s a lot of impressively relevant subject matter for a party record. If you like your cumbia with some oldschool punk rock edge and bite, this is your jam.

But this isn’t any ordinary party record: in its ramshackle, ferocious way, it’s a throwback to the classic chicha music of the early 70s, when not all the songs were about drinking and partying and chasing women. Much as Villamizar’s songs are psychedelic and danceable, he’s been addressing issues like anti-immigrant bigotry and the threat of environmental destruction since the beginning of his career.

Villamizar is Colombian by heritage: he sings in Spanish, and even though there are plenty of serious songs on the album, he hasn’t lost his surreal sense of humor. He also asserts himself on guitar more than he ever has, right from the start with the opening track, Tuya Tuyita, a classic psychedelic cumbia in a Juaneco vein, burning with distortion over the flurrying groove from bassist Greg Goodman and drummer Michael Longoria, with Beto Cartagena on caja vallenata. The gist of the song is taking ownership of your life, for better or worse.

Villamizar turns up the surfy reverb on Siembra el Maiz, a trippy reminder that it’s time to start planting seeds if we want to create something better. Guest Victor Cruz’s gaita hembra reed flute wafts through the clang of the guitar and the thicket of percussion in the album’s title track, a swaying, electrified take on coastal Colombian bullerengue which addresses the ironies in how people native to the Americas are the first to be imprisoned by la migra.

Guru is not a an Indian theme but a biting funk-tinged latin soul groove. Flor de Maracuyá is a rambunctious tribute to the passion flower that’s ubiquitous in climates further south. Villamizar fires off some pretty wild guitar spirals in Papa Soltero, then mashes up a classic chicha sound with cheery bullerengue in La Caravana.

The best song on the album is Tiempo de los Cucuyos, a slow, slinky, elegantly careening number that poses some provocative questions about how the earth might be trying to wake us to how we need to take care of her. Later, the band wind their way through El Grillo, the record’s most amusing and crazed track. They close with Lelolai, which is funny for completely different reasons.

Mafalda Minnozzi Reinvents Classic Italian Film Music on Her New Album

Singer Mafalda Minnozzi‘s career spans the worlds of jazz, tropicalia and Mediterranean balladry. Her new album Cinema City: Jazz Scenes From Italian Film – streaming at Bandcamp – is a perfect vehicle for her since the collection underscores the close affinity between Italian film music from the 50s onward, and bossa nova. With her expressive high soprano, Minnozzi brings a cinematic swath of emotions to life: she also has a puckish sense of humor. Although she sings most of these tracks in the original Italian, she also shows off a strong command of English.

Skip the opening number, a playful and coyly amusing take of La Dolce Vita ruined by a break for whistling. Track two, Loss of Love is an aptly muted, poignant, steady theme lowlit by Tiago Costa’s piano and Paul Ricci’s guitar over bassist Sidiel Vieira and drummer Ricardo Mosca’s slow, sotto-voce swing.

Minnozzi and the band bring a gentle, velvety approach to the tiptoeing bossa Metti una Cera a Cena. Special guest Dave Liebman’s soprano sax spirals joyously in Nino Rota’s Cinema Paradiso love theme over glittering piano clusters and a tight triplet groove.

Art Hirahara takes a rare turn on organ, flickering throughout a hazy, delicately swinging reinvention of the thinly veiled druggy cha-cha Amapola. The pensive, tango-inflected Amici Mei title theme is a feature for Graham Haynes, who takes an understatedly gritty turn on flugelhorn.

Hirahara returns for a bittersweetly shuffling take of Anonino Veneziano and then a more immersive, expansive version of Bruno Martino’s E La Chiamano Estate, a prime example of the Italian/Brazilian connection.

Luca Aquino guests on flugelhorn, intertwining with Ricci’s intricate picking in a raptly emotive performance of Nella Fantasia, which has special resonance for Minnozzi considering that it was her wedding song. Lingering guitar over flickering organ and a steady backbeat make Cappuntamento (from the film A Beiro do Caminho) one of the album’s most memorable moments.

She rescues Arrivederci Roma from Rat Pack cheesiness, imbuing it with gravitas but also defiant energy, grounded by trombonist Jorginho Neto. Se, from the Cinema Paradiso soundtrack, gets a spare, tender interpretation, followed by a soaring, organ-and-vocalese-fueled Deborah’s Theme. Minnozzi winds up the album with a final Cinema Paradiso number, Maturity, evoking a visceral sense of longing amid Costa’s turbulent phrasing. Count this as one of the most strikingly original releases of 2021.

Elegant, Intricate, Psychedelic Cumbias and Tropical Sounds on the Upper West Side

Saturday evening on the Upper West Side, banks of grey clouds were moving in fast and ominous. But in the community garden on 89th west of Amsterdam, tucked in cozily under a tent, Inti & the Moon played a colorful, upbeat, intricately individualistic mix of tropical sounds with tinges of psychedelia and jazz.

There is no Inti in the band. Inti is the Incan sun god: so, the band cover all the bases. They did all that in a mix of originals and imaginative covers. Bandleader/guitarist Geo Suquillo played spiky thickets of fingerpicking, flinging shards of chords into the mix. Frontwoman Noel Wippler shifted from a simmering, ripe, oldschool soul-infused delivery to a wounded wail in the night’s biggest crescendos, in both Spanish and Portuguese. Alto saxophonist Xavier del Castillo began the night playing brooding resonance on the band’s first number, then shifted to alto flute on a few songs, including a bossa tune where he played both.

This group’s cumbias are more relaxed and slinky than the briskly pulsing chicha-style versions that some of the bands around town – at least the ones playing before the lockdown – typically gravitate toward. It was the bass player’s birthday, and he was clearly in a good mood, adding deft harmonic accents against low open strings, plus fleeting hammer-ons and slides. The drummer brought a jazz sophistication, whether subtly riding the rims, or working his way into a 5/4 groove on a biting minor key number which for a second seemed to be a Caribbean take on Take Five.

Suquillo saved his most sparkling solo for a bright, merengue-flavored tune, then took it unexpectedly dark and vampy after a long solo. Del Castillo’s plaintive phrasing pulled the song further into the shadows before a tantalizingly brief guitar/sax duel. The biggest hit with the crowd was Wippler singing an impassioned take of Los Hijos del Sol’s classic Carinito, over an animated but restrained backdrop. There were a couple of other popular covers in the mix, one possibly from the Yma Sumac catalog, but done with much less fanfare. The band approached a familiar Jobim theme with a similar elegance and encored with a stately Brazilian ballad.

With November looming, there isn’t much in the way of live music that’s been publicly announced which is open to all New Yorkers without apartheid restrictions. However, Inti & the Moon have been staples of the free outdoor concert circuit since the late teens, so it’s hardly a stretch to think they might try to squeeze in another park appearance like this before winter gets here.

Magos Herrera Brings Her Elegant, Genre-Defying, Poignant Songcraft to a Popular Outdoor Queens Spot

Singer Magos Herrera‘s music spans the worlds of jazz, film themes, contemporary classical and many styles from her native Mexico. This blog has witnessed her in a rapturous, intimate duo performance with her longtime collaborator, guitarist Javier Limon, as well as a much more lush and politically-fueled set with string quartet Brooklyn Rider. When live music was criminalized throughout much of the world in 2020, she turned to the web for supporting musicians. The result is Con Alma, the most eclectic album of an amazingly eclectic career, an “operatic tableau on isolation” streaming at Bandcamp. Herrera is back in action in New York, with a 7 PM gig outdoors on Halloween night at Terraza 7, where she’s leading a quintet. The Elmhurst venue is best known for jazz, so that’s probably going to be what Herrera brings to the stage, but knowing her, anything is possible.

The album is a mix of energetic acoustic guitar-driven numbers, imaginative pieces for orchestra and vocals and choral works. As you would expect from an album created during the lockdown, there’s an ever-present apprehension, but also hope. As fascinating as this music is, you will want to skip track seven – a found-sound collage on which Herrera does not appear – which contains PTSD-inducing samples of social engineering run hideously amok, a 2020 artifact best buried forever.

The first track is La Creación de las Aves, Vinicius Gomes’ circling, nimbly fingerpicked  acoustic guitar loop anchored by Jeffrey Zeigler’s sweeping cello and Gonzalo Grau’s lithely understated cajon.

Tree of 40 Fruit begins as an uneasily close-harmonied soundscape, layers of wordless vocals by Constellation Chor‘s Marisa Michelson blended with a little crowd-sourced spoken word on themes of isolation and alienation. She quickly builds it to an anguished series of peaks: the effect of all the multitracks wipes away any sense of loneliness or abandonment.

Clarinetist Kinan Azmeh joins with guitarist Romero Lubambo for moody but energetic dynamics in Rojo Sol, a bristling, flamenco-tinged ballad. Alma Muerta, a choral collaboration with Ensemble Sjaella rises from a desolate, Gregorian chant-influenced atmosphere to a web of stricken, shocked operatic riffs.

With her broodingly impassioned vocalese, Herrera and the Orquesta Sinfónica de Minería reinvent the album’s title cut – a Dizzy Gillespie hit – as a shapeshifting mini-suite, moving from cumulo-nimbus orchestration to a delicately bouncy, balletesque rhythm.

Ensemble Sjaella return for Fratres, by Paola Prestini, Herrera and the choir moving uneasily between early Renaissance-flavored ornamentation, grey-sky ambience and tremoloing atmospherics.

The lush treble counterpoint of Prestini’s Thrush Song, sung by the Young People’s Chorus of New York City, offers a glimpse of hope. Herrera and her Mexican orchestral colleagues wind up the album with a strikingly stark, gracefully rhythmic take of Cucurrucucú, a longing-infused ballad made famous by Mexican singer Ana María González in 1954.

Sonido Costeño Kick Out the Salsa Jams This Weekend

Sonido Costeño play an especially edgy, individualistic blend of oldschool salsa and other styles from south of the border and the Spanish Caribbean. Their most distinguishing feature is bandleader Juan Ma Morales’electric cuatro, which he wields to create a jangly, clanging, bristling intensity. The horns punch in and the group’s percussion section build an undulating groove, but it’s the cuatro that sets this group apart from their brassy brethren. They play a lot of outdoor shows, and they’re doing one on Oct 23 at two in the afternoon on the big plaza in front of the Brooklyn Public Library at Grand Army Plaza.

Check out the clip of La Murga at their Vimeo channel, from a show at a park on the Hudson this past Fourth of July. Morales flings bits and pieces of chords through a chilly pool of reverb, sings with a gritty intensity, and the horns add smoke and flame when they kick in. He plays guitar on Falling Rain, an English-language cha-cha recorded at a Brooklyn Museum show, and the sound is just as careening and fearless: the guy always sounds like he’s about to go over the cliff, but never does. And it’s contagious: the piano player’s solo is just as unhinged.

Sin Tu Carino, another song from the July 4 set, is more lighthearted, riffy and horn-driven. Scroll down for a scruffy take of Indestructible at the old Gonzalez y Gonzalez in the West Village, where Morales leaves his guitar on its stand and sticks to vocals for a more oldschool, traditional Spanish Harlem sound.

The group also have a few cuts from studio recordings up at their music page, which are predictably more lush and digital-clean. No doubt they will give that stuff more edge and bite at the library gig.