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The Best New York City Concerts of 2017

New York’s best concert of 2017 was Golden Fest, with two nights and about seventy brass and string bands from across the Balkans, the Middle East and the USA on several different stages. Year after year, this annual January extravaganza is unsurpassed in terms of both quality and quantity of talent. This blog managed to catch about fifteen of those acts over that marathon weekend, including but not limited to agelessly soulful Armenian reedman Souren Baronian, rapturous singer Eva Salina  and her whirlwind accordionist Peter Stan, haunting tar lute player Amir Vahab, the searing brass of Zlatne UsteNovi Maleshevski Zurli, Raya Brass Band and Cocek! Brass Band. Golden Fest 2018 is this coming January 12 and 13 at the magnificent Grand Prospect Hall in south Park Slope.

There were four other multiple-night events that deserve a special place on this list. In March, the first-ever collaboration between Lincoln Center and the annual Festival Gnaoua et des Musiques du Monde in Essaouira, Morocco resulted in a trance-inducing series of concerts that began at the Upper West Side cultural mecca, moved to a cozy auditorium at the the New School for an approximation of a Moroccan lila healing ceremony and wound up at Pioneer Works in Red Hook for a collaboration with some New Jork jazz dudes including Marc Cary and Marcus Strickland. Three of the great sintir lute-playing maalems (masters) of mesmerizing gnawa music –Abdeslam AlikkaneHamid El Kasri (who was making his North American debut) and New York-based Hassan Ben Jaafer, who leads Innov Gnawa – got to flex their chops.

The annual Drive East Festival at Dixon Place in August featured a similarly rapturous, weeklong series of Indian classical music and dance performances. Poignantly nuanced singer Indrani Khare and sitarist Kinnar Seen shared one of the midweek bills; theatrical Punjabi folk troupe Rajasthani Caravan headlined the Saturday night show. But the most amazing set of all might have been sarod virtuoso Aashish Khan, with his gracefully flickering, saturnine ragas.

The 2017 Bryant Park Accordion Festival, a weekly series spread out over more than a month in midsummer, featured mini-sets from scores of artists playing everything from klezmer to forro to swing jazz. Balkan and Middle Eastern music in separate corners of the park. Closing night began with some of the world’s greatest Middle Eastern musicians playing a riveting recreation of Ziad Rahbani’s iconic, bittersweet 1975 Bil Afrah suite.

And for the first time ever, this blog was present at every single night of an artist’s monthlong weekly residency at Barbes. Clarinet powerhouse and composer Michael Winograd picked April since there were five Saturdays in the month, where he was joined by a killer cast of musicians including rising star pianist Carmen Staaf for some small-group shows as well as a midmonth big band gig that was the best of them all. New klezmer sounds never sounded so edgy, so purist yet so fresh and wildly fun.

Otherwise, dig in for the longest year-end concert list this blog’s ever put together. It was impossible to whittle it down to any less than a grand total of fifty shows. The real estate speculator blitzkrieg keeps turning neighborhoods to rubble, yet people in this melting pot refuse to stop making great music. The rest of the year’s concerts are listed in chronological order since trying to rank them would be an exercise in futility.

If you don’t see your favorite band or your favorite show here – “What, no Dream Syndicate at Bowery Ballroom, are you guys nuts?” –  it’s a good bet that this blog wasn’t there. If you think this list is epic, just imagine the wishlist that went into it. But it’s one thing to plan on going out every night; it’s another thing to actually do it. Counting all the nights when it actually was possible to get out of the house or the office, there was more than enough good music to somewhat mitigate one of the worst years in memory for the world as a whole.

David Yengbarian, Borbely Mihaly Polygon and Meszecsinka at Drom, 1/5/17
The annual showcases put on by the APAP booking agents’ association can be an insanely good bargain. Cover was ten measly bucks for the dynamic Balkan accordionist, the noir cinematic trio of saxophonist Mihály Borbély, pyrotechnic cimbalom player Miklós Lukács and drummer András Dés, and the wild Hungarian trance-dance band.

LadamaAlash,Eva Salina and Peter Stan, Miramar and Innov Gnawa at Drom, 1/7/17
This APAP evening was even more insanely good – and this isn’t even the whole lineup! Pan-latin, mostly female dance band Ladama made a good opener for the energetically trancey Tuvan throat-singing trio, the stellar Balkan chanteuse and her accomplice on accordion, the hauntingly psychedelic Puerto Rican bolero revivalists and the only sintir lute-driven, mesmerizing traditional Moroccan trance-ritual band in this hemisphere. That group has good management: Innov Gnawa managed to get themselves on more than one bill on this page.

The Pre-War Ponies and Tipsy Oxcart at Barbes, 1/12/17
Singer/uke player Daria Grace’s swing band opened the evening on a lush, elegantly romantic note; the fiery Balkan band ended up charging into the audience as the show hit peak intensity.

Shilpa Ananth, Rini and Humeysha at Drom, 1/29/17
A diverse triplebill of Indian-influenced sounds, from psychedelic soul, to towering cinematic art-rock and spacerock.

Dave Fiuczynski’s Kif at Drom, 2/3/17
The legendary jamband leader’s microtonal guitar trio were as otherworldly as their albums – and funny too.

The Super Bolus at Footlight Bar, 2/5/17
With half the nation supposedly glued to a soporific pre-Super Bowl gabfest, a posse of A-list Brooklyn improvisers from the Gold Bolus  circle including but not limited to singers Anne Rhodes  and Anais Maviel, trumpeter Daniel Levine, saxophonists Angela Morris and Erin Rogers, vibraphonist Sam Sowyrda, bassist Lisa Dowling and oboeist Dave Kadden paired off for all kinds of strange and beguiling sounds. Kadden’s rampaging microtonal assault was the high point, in fact the most intense solo performance at any show on this list other than Amir ElSaffar’s Soho set in January.

The Musical Chairs String Quartet at the Staten Island Museum, 2/11/17
An unlikely spot to see a riveting performance of Shostakovich’s macabre, anti-fascist String Quartet No. 7 and two world premieres of fantastic quartets by Andrew Rosciszewski.

Laurie AndersonChristian McBride and Rubin Kodheli at the Town Hall, 2/23/17
Avant garde violin icon joins forces with renowned jazz bassist and protean cello wizard for a night of sometimes lively, sometimes raptly sepulchral improvisation, with Anderson’s signature political relevance

Rachelle Garniez at Barbes, 3/2/17
She may be the foremost songwriter working right now, and treated an intimate crowd to a typically eclectic, intensely lyrical set of noir cabaret, Renaissance rock, latin-tinged parlor pop and pricelessly funny between-song banter.

Ballake Sissoko and Vincent Segal at the French Institute, 3/3/17
The Malian kora player and French cellist teamed up for a magical duo performance staged by the World Music Institute that blended phantasmic, cinematic themes, jaunty West African melodies and the baroque. More than one audience member was brought to tears.

Girls on Grass at Halyards, 3/23/17
Guitarist Barbara Endes’ psychedelic janglerock band sounded like the Dream Syndicate with a woman out front – that good, that anthemic, that catchy.

Steve Ulrich and Mamie Minch, and Pierre de Gaillande’s Bad Reputation at Barbes, 3/25/17
Minch’s playful live movie score and Big Lazy mastermind Ulrich’s noir cinematics followed by the former Snow bandleader’s hilarious, brilliant English language parlor pop versions of Georges Brassens classics.

Changing Modes at Webster Hall, 3/26/17
The album release show by New York’s most smartly lyrical, unpredictable, keyboard-driven art-rock band was as protean and poignant as the record.

Miqayel Voskanyan at Drom, 4/5/17
Speaking of protean, the Armenian tar lute virtuoso and his quartet shifted between Near Eastern art-rock, folk-rock, Balkan turbo-folk and Romany dance music.

Meklit at Lincoln Center, 4/6/17
And while we’re still on the protean tip, how about the charismatic, fearlessly populist Ethio-jazz soulstress and her amazing band airing out new tunes from her kinetic, eclectic new album?

Easy Dreams and Karla Rose at 11th Street Bar, 4/11/17
Further proof that some of the best shows sometimes happen way under the radar. Rose, arguably the most captivating and versatile singer in all of New York and a haunting tunesmith as well, took a turn behind the drums in a mini-set by the uneasily jangly indie band, then picked up her guitar and haunted the crowd with her own brooding, film noir-influenced soul and psychedelic rock.

Gato Loco at Barbes, 4/20/17
This was more of a show for the drinkers than the stoners, a toweringly crescendoing mix of slinky noir instrumentals, psycho guitar-driven mambos and bouncy, carnivalesque themes.

Michael WinogradKill Henry Sugar and Las Rubias Del Norte at Barbes, 4/22/17
Goosebump-inducing klezmer clarinetist and his quartet, artfully lyrical, sardonic Americana rock duo and a farewell show (for now, at least) by keyboardist Alyssa Lamb and singer Emily Hurst’s hauntingly harmony-driven pan-American noir band.

Miklos Lukacs’ Cimbalom Unlimited at Drom, 5/22/17
Lukacs’ second appearance on this list was as a bandleader, playing fiery, relentlessly crescendoing themes, fingers flying across his magically rippling Hungarian dulcimer.

Rahim AlHaj at Lincoln Center, 5/25/17
The Iraqi oud virtuoso, joined by Iranian santoor player Sourena Sefati and Palestinian percussionist Issa Malluf, played the most haunting and understatedly relevant small-group New York show in a year when anti-Muslim bigotry reached a new low.

Sara SerpaSofia Rei and Aubrey Johnson in the West Village, 6/2/17
Three of the most distinctive, individualistic voices in all of music – the intense, noir-inspired Serpa, the irrepressibly fun Rei and the enigmatically lustrous Johnson – shared a characteristically eclectic bill of a-cappella songs and improvisations in a storefront church space. Unexpected venue, magical show.

Hearing Things at Barbes, 6/3/17
Brooklyn’s funnest band – JP Schlegelmilch on organ, Matt Bauder on sax and Vinnie Sperrazza on drums – are a cross between the Doors, the Ventures and maybe WIBG. The result: a brand new style. Psychedelic surf noir jazz dance music!

The Barbes Benefit at Drom, 6/9/17
Brooklyn’s best venue was in trouble. Some of New York’s best bands joined forces for a wildly successful fundraiser to make sure it’s here for another five years. On the bill: thunderous Brazilian drum troupe Maracatu NY, noir icons the Jazz Passengers, Romany song maven Sanda Weigl, a subset of the haunting, soaring all-female Mariachi Flor de Toloache; charismatic singer Carolina Oliveros’ Afro-Colombian trance-dance choir Bulla en el Barrio , the similar but lower-register Innov Gnawa; one-off Balkan brass supergroup Fanfare Brooklyn – and Lynchian guitar-bass-drums trio Big Lazy .

Michael Winograd and Ben Holmes, Sean Cronin and Dolunay at Barbes, 6/10/17
The clarinetist and his trumpeter compadre opened an eclectic early-summer evening with a quartet show and lots of darkly chromatic new tunes, followed by the similarly eclectic guitarist and his purist band playing Hank Williams covers, and then riveting singer Jenny Luna’s haunting, oud-infused Turkish band

Amir ElSaffar’s Two Rivers Ensemble Outdoors in the Financial District, 6/16/17
The paradigm-shifting trumpeter/santoorist/singer and his big band played a titanic set of Middle Eastern jazz from his latest album. His show at the Fridman Gallery in SoHo back in January, which he began with a distantly harrowing solo trumpet improvisation, was much more quietly transcendent.

Rose Thomas Bannister and Goddess at Corkscrew Wines, 6/21/17
A witchy, psychedelic twinbill in a comfortable Fort Greene back courtyard with the lyrically ferocious, Shakespeare-influenced chanteuse and the theatrical psych-folk band. Backed by lead guitar monster Bob Bannister, she was also awfully good there a couple of months later on a doublebill with oldtime Americana singer Stephanie Jenkins.

Lara St. John at the Naumburg Bandshell in Central Park, 6/27/17
In front of an impressively game pickup group, the violin virtuoso treated the crowd to a kinetic Jessie Montgomery piece, a lyrical take of Vaughan Williams’ The Lark Ascending and a harrowing world premiere by Matthew Hindson, Maralinga, a narrative of terror in the wake of a 1950s Australian nuclear disaster. After that, Stravinsky was anticlimactic.

Orkesta Mendoza and Lila Downs at Prospect Park Bandshell, 6/29/17
The slinky psychedelic cumbia and noir mambo band set the stage for an epic set of classic mariachi and fearlessly political ballads by the iconic Mexican-American singer and her titanic band, joined on several numbers by Mariachi Flor de Toloache. The afterparty down the hill at Barbes, with wild Veracruz-style folk-punks Radio Jarocho, was pretty intense too.

The Mary​ ​Halvorson Octet at the Village Vanguard, 7/18/17
The world’s best jazz guitarist not named Bill Frisell or Marc Ribot and her lush, enveloping ensemble – featuring brilliant pedal steel player Susan Alcorn – aired out a lot of dynamic, uneasy new material.

Rev. Billy & the Church of  Stop Shopping Choir and Sexmob at Prospect Park Bandshell, 7/27/17
A brand-new set of original apocalyptic, anti-fascist and anti-racist original gospel tunes by the firebrand activist and his gargantuan choir, followed by the cinematic jazz quartet playing a darkly undulating, colorful live score to the 1920s Italian silent film Maciste All’Infierno.

The Trio Joubran at the Lincoln Center Festival, 7/29/17
The three Palestinian oud-playing brothers charmed and haunted the crowd with a dynamic tribute to their late collaborator, iconic poet Mahmoud Darwish.

Big Lazy at Barbes, 8/4/17
Guitarist Steve Ulrich’s cinematic noir trio made it onto the bill on more than one of the year’s best concerts, but their best single show – this blog was in the house at many of them – might have been this wildly jam-oriented night, two creepy sets at the band’s Park Slope home base. How did it feel afterward? “Free,” grinned drummer Yuval Lion.

Kill Henry Sugar and Anbessa Orchestra at Barbes, 8/11/17
Guitarist Erik Della Penna and drummer Dean Sharenow’s Americana lit-rock band have a ton of new material up their sleeves, and aired it out here before the wild Israeli Ethiopian dance band took the intensity to redline with a ferocious, psychedelic couple of sets.

Castle Black at the Well, 8/25/17
Guitarist Leigh Celent’s power trio have grown from a haphazardly promising band into a dark, fearsome monster: not even the sonic interference from the adjacent labyrinth of rehearsal rooms could silence this beast.

Melissa & the Mannequins at LIC Bar, 9/3/17
Put up a good youtube video and the crowd will come. With their killer chops and songs, New York’s best new band switched from jangly new wave to psychedelic soul and tantalizing hints of noir.

Bobtown at the Brooklyn Americana Festival, 9/23/17
Plaintive Anglo-American folk maven Jan Bell books this annual event: it would have been a lot of fun to have been able to catch more of it. With their gleaming four-part harmonies and songs about ghosts and other dead people, New York’s finest folk noir band were at the top of their game.

Greek Judas and the NY Fowl Harmonic at Hank’s, 9/28/17
Volcanic twin-guitar heavy metal versions of Greek songs from the 1920s and 30s about smoking hash, smuggling drugs and outrunning the cops, followed by Gato Loco bass sax monster Stefan Zeniuk’s carnivalesque punk-mambo group.

Seungmin Cha and Ned Rothenberg in Tribeca, 10/1/17
A riveting, intense, enveloping electroacoustic jazz loft set by the paradigm-shifting avant garde Korean daegeum flute player with the downtown multi-reed virtuoso.

The 24-Hour Raga-Thon at the Rubin Museum of Art, 10/22/17
This blog was only around for the wee-hours part that started about three in the morning: prime time for haunting, rarely heard morning ragas reinvented by an adventurous cast of Indian musicians including but not limited to saxophonist Aakash Mittal, guitarist Rez Abbasi, sarodist Camila Celin , trumpeter Aaron Shragge, bansuri flutist Eric Fraser and santoor sorceress Deepal Chodhari. 

Tom Csatari’s Uncivilized Playing Twin Peaks at Barbes, 10/29/17
Brooklyn’s best and most individualistic jazz guitarist led his fearlessly adventurous group through some careening and some absolutely chilling versions of iconic David Lynch tv and film scores.

Edna Vazquez at Lincoln Center, 11/2/17
You could call this charismatic guitarist/singer’s music “noiriachi” – haunting, kinetic, fearlessly relevant dark mariachi rock.

La Mar Enfortuna at the Jewish Museum, 11/9/17
Elysian Fields guitarist Oren Bloedow’s lush, luscious twelve-string jangle and his bandmate, singer Jennifer Charles’ multilingual reinventions of ancient Ladino songs and themes from across the Sephardic diaspora ran the gamut from haunting to even more so.

The ClaudettesBrian Carpenter and the Confessions and Big Lazy at Drom, 11/10/17
The piano-driven Chicago group have reinvented themselves as a catchy blue-eyed soul band; Carpenter, a connoisseur of oldtimey swing jazz, mined a deep noir rock vein, capped off by NYC’s finest noir cinematic instrumentalists.

The Navatman Music Collective at Symphony Space, 11/19/17
This hemisphere’s only Indian carnatic choir sang and played a mammoth, shapeshifting set of reinvented classical themes from across the centuries.

The Greenwich Village Orchestra in the Lincoln Center complex, 12/2/17
A poignant, violin-fueled take of Rachmaninoff’s Vocalise and Michael Daugherty’s timpani concerto Raise the Roof set the stage for a withering performance of Shostakovich’s classic antifascist Symphony No. 10. Anybody who thinks classical music isn’t relevant wasn’t there.

The Todd Marcus Orchestra at Smalls, 12/3/17
The bass clarinetist/bandleader led his brilliant eight-piece group through his brand-new, catchy, picturesque Middle Eastern jazz suite.

Manhattan’s Best Venue Stages a Thunderous Benefit for Their Brooklyn Counterpart

The Barbes benefit concert at Drom Friday night wasn’t sold out, but the East Village venue was close to capacity. Big Lazy headlined. By then the dancers had been on their feet for the better part of four hours, yet didn’t seem the least bit worn out. So the shadowy, cinematic trio of guitarist Steve Ulrich, bassist Andrew Hall and drummer Yuval Lion played their slinkiest stuff. Ulrich shifted eerily between desolate big-sky tableaux, furtively chromatic crime jazz, a wryly strutting go-go theme or two and red-neon roadhouse scenes while Hall spun his bass, supplying a tight rubber-band low end in tandem with Lion’s thicket of textures from every part of his kit. Gato Loco trombonist Tim Vaughn and Balkan Beat Box baritone sax player Peter Hess added extra careening, elusive textures at the end of their tantalizingly brief set, whose centerpiece was the title track from the band’s latest album Don’t Cross Myrtle, a muted bump-in-the-night theme that turned completely savage in seconds flat.

Ulrich dedicated the song to Barbes, the band’s embattled Park Slope home base, which serves the same purpose for many other artists, the rest of the night’s bill included. Considering the song’s title and its creepy themes (it’s an instrumental), on face value it seems to address deep Brooklyn nocturnal peril. But this time out, introducing the song, Ulrich alluded to a “changing Brooklyn,” and suddenly another meaning, 180 degrees the opposite, emerged: keep your wrecking balls and other weapons of mass destruction, your money-laundering, your swindler speculators and “luxury” condos, and the status-grubbing yuppies who move into them, out of our part of town. It may be sketchy, but it’s all we have left. There isn’t anyplace else in New York in 2017 where a working class person or an artist can survive.

The brain drain out of New York and the mass displacement of artists to the most remote fringes of the five boroughs aren’t the only reasons that Barbes is in trouble. Their building has been hit with a lien for city services, no fault of the venue; in the meantime, their Indiegogo campaign is almost eighty percent funded. “I can’t believe this place still exists,” marveled one patron under her breath at the bar Saturday night while Sean Cronin’s oldschool honkytonk band played in the back room. If there’s any Brooklyn venue that deserves support or patronage right now, it’s this one.

And they have a lot of overlap with Drom, their more spacious but similarly friendly Manhattan counterpart, where acts from around the world continue to make their North American debuts, month after month. It’s not clear whether MaracatuNY, who opened the benefit, had played there before; whatever the case, it’s probably safe to say that they’re the loudest band ever to play there. And they did it without amplification. Gathered in a semicircle on the floor in front of the stage, the roughly fifteen-piece drum troupe built a thunderous torrent of intricate Brazilian polyrhythms, turning on a dime as their conductor signaled changes with his whistle and hand signals in the eye of the storm. They’d return later on.

The Jazz Passengers were just as intricate and even more entrancing. Frontman Roy Nathanson played alto sax, soprano sax and on We’re All Jews, their most epic number, both at once, working his polytonal sorcery for extra overtones. Bass player Bradley Jones teamed with the drums for a serpentine groove and lowdown funk as vibraphone star Bill Ware took a rare turn on electric piano. Their first number was the most vividly murky exploration of the noir they’ve become known for; after that, Nathanson harmonized wryly with trombonist Curtis Fowlkes on a smoky take of the 70s soul standard Everybody Plays the Fool.

Romany chanteuse Sanda Weigl – who has a new album due out from Barbes Records this fall – went deep into her powerful alto for a couple of a-cappella Romanian songs. Then a three-piece version of the all-female Mariachi Flor de Toloache, New York’s only all-female mariachi band, joined their soaring voices for a harmony-fueled, all-too-brief set that began like a Mexican-flavored Dixie Chicks and then went deeper into the tricky tempos and clapalong vigor of classic south-of-the-border string band sounds, with intertwining violin, cuatro and bajo sexto.

The next two bands each put their own rustic, exhilarating spin on ancient African call-and-response chants. Charismatic singer Carolina Oliveros’ Bulla En El Barrio led her ten-piece choir-and-percussion ensemble through a mesmerizingly kaleidoscopic series of Colombian bullerengue, which sounded like a South American take on African-American field hollers, the guys and women in the band taking turns spiraling and cavorting in front of the upraised voices.

Then Innov Gnawa – who brought the biggest crowd of the night – got the crowd bouncing with their trance-inducing forest of click-clack cast-iron castanets and sintir bass lute, first played by Samir LanGus and then bandleader, Moroccan expat maalem Hassan Ben Jaafer. Their first number kicked off a rousing Arabic welcome-to-the-party jam, with sub-Saharan rhythms from what could be two thousand years ago welded to undulating North African acoustic funk, infused with bracing, sometimes moody allusions to both Arabic music and the roots of the blues.

To keep the dancers on their feet, the massive Fanfare Brooklyn – a mighty twenty-plus piece Balkan brass band comprising most of Slavic Soul Party and Red Baraat – blazed through careening jams packed with some pretty unhinged soloing, drawing from both band’s catalogs of hip-hop-inspired Eastern European brass music and Indian bhangra.

All of these bands play all over town when they’re not at Barbes. Mariachi Flor de Toloache are playing an album release weekend for their new one, with shows on June 16 at 10 and the following night, June 17 at midnight at Joe’s Pub; cover is $25. Bulla En El Barrio are back at Barbes on June 26 at around 9:30. Innov Gnawa’s next big show is at Prospect Park Bandshell at 7:30 PM on July 21, where they open for intense, psychedelic Malian microtonal guitar band Amadou and Mariam. And Big Lazy return to their monthly Friday night residency at Barbes on July 7 at 10 PM.