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Tag: miramar band

The 100 Best Songs of 2017

This is a playlist. Click on each song title to stream it, click on the artist name for their webpage.

It was tempting to pick one of the segments of the Satoko Fujii Orchestra New York’s new release, Fukushima, as the best song of the year. But the single most relevant and mesmerizing album of 2017 is best heard as a contiguous suite. Taking one of its five movements out of context would spoil the experience. And it’s nowhere to be found online at the moment, anyway.

In lieu of that, the single best song of 2017, Kitten, by Dennis Davison, is still in the embryonic stage. It wasn’t released by a record label, or even recorded in a studio. It reached this blog as a voice memo, just vocals and guitar in a practice space. The frontman of cult favorite psychedelic band the Jigsaw Seen has written a lot of great songs over the years, but this one is the most harrowing. On the surface, it’s about a homeless guy who finds a kitten. He’s in trouble: he lives by the exit sign. And this is not a sweet love-conquers-all narrative. It’s a wish song – and a portrait of terminal depression as vivid and chilling as anything Phil Ochs or Ian Curtis ever wrote. And it’s as catchy as it is depressed.

Rather than trying to rank the other 99 songs here, they’re listed in rough chronological order of when they were either received or witnessed onstage. Rather than regurgitating the Best Albums of 2017 list, this one has a lot of songs that either haven’t been officially released, or were just so amazing to see live over the past year that it wouldn’t be fair to exclude them. Same rules as last year: one song per band or artist. Otherwise, half this list would be Ward White and Amir ElSaffar, and that would be counterproductive. You can go down the rabbit hole with any of the hundred artists on this list all by yourself without any further help from this blog.

Ward WhiteCoffee Maker
A pair of accomplices grow more desperate by the hour in this catchy yet characteristically enigmatic, Charming Disaster-esque post-murder narrative. The way White caps off his guitar solo is as cruel as it is priceless. From the even more inscrutable As Consolation, best rock album of 2017.

Jack GraceGet Out of Brooklyn
The baritone Americana crooner’s somber, heartbreaking requiem for a pre-real estate bubble New York. “The place held its own ground, the rivers separated where you bothered to go – really used to try to get out of Brooklyn, now everybody’s trying to get in.” From the album Everything I Say Is a Lie.

The Dream Syndicate  – Like Mary
The most harrowing track on Steve Wynn’s recently regrouped, legendary 80s band’s new album How Did I Find Myself Here is a catchy, tensely muted, grim portrait of a woman who may be a child killer…or just an Oxycontin casualty.

Amir ElSaffar’s Rivers of Sound – Ya Ibni, Ya Ibni (My Son, My Son)
A vast, oceanic Iraqi-flavored lament from the paradigm-shifting trumpeter/multi-instrumentalist’s Middle Eastern orchestral jazz group’s latest album Not Two. 

The Sadies – The Good Years
A brisk shuffle beat beneath hypnotically lingering guitars in this chilling Nashville gothic elegy for a disastrous marriage: “She couldn’t wait to clean out the place he occupied.” From the album Northern Passages.

Alice Lee – Your Blues
A savagely lyrical, spot-on soul anthem for the era of Ferguson and Eric Garner from the ex-New York singer/multi-instrumentalist’s brilliant new album The Wheel.

Charming Disaster – What Remains
The New York noir supergroup– led by Jeff Morris of lavish, dark, latin-flavored rockers Kotorino and Ellia Bisker of parlor pop existentialists Sweet Soubrette – slink their way through this chillingly allusive post-murder narrative inspired by Flannery O’Connor’s The River. From the album Cautionary Tales.

Los WemblersSonido Amazonico
A brand-new version of the eerie, slinky national anthem of psychedelic cumbia, which the Peruvian band wrote and first recorded almost fifty years ago. This one’s a lot longer and more psychedelic than any other version in existence, Chicha Libre’s included. From their unlikely and amazing comeback album Ikaro Del Amor.

 Sofia TalvikLullaby
Catchy, anthemic and resolutely optimistic on the surface: “Still you wish you were dead.” When the Nordic Americana songwriter played this at the American Folk Art Museum this past spring, you could have heard a pin drop. From the album Big Sky Country.

Castle Black – Broken Bright Star
Guitarist Leigh Celent’s evil, spare icepick intro kicks off this slowly marauding anthem that eventually explodes in a fireball of reverb. From the album Trapped Under All You Know.

Morricone YouthClunes Town
Del Shannon mashed up with Ennio Morricone – makes sense, right? – with distantly ghostly multitracked Karla Rose vocals. From the band’s Mad Max soundtrack

LusterlitCeremony
Frontwoman/drummer Susan Hwang gives this long, creepy, ineluctably crescendoing, chromatically-charged Cormac McCarthy-inspired anthem her most luridly Lynchian vocal ever. From the album List of Equipment.

Lorraine LeckieAmerica Weeping
Leonard Cohen died the day before the fateful 2016 Presidential election. This careening psychedelic riff-rocker is the eclectic bandleader’s anguished response. Free download!

Son of SkooshnyUntold History
With Steve Refling’s keening slide guitar, this is one of the band’s harder-rocking numbers, Mark Breyer’s chillingly autobiographical account of growing up amid all sorts of familial and social Cold War-era dysfunction. From the album Matchless Gifts.

Aimee MannLies of Summer
Slow and lush, heavy like a thunderstorm, this mutedly depressed orchestral rock tale doesn’t reveal whether the narrator is addressing a prisoner or a dead person until the very end. From the album Mental Illness.

Brian Carpenter & the ConfessionsCity on Fire
The Ghost Train Orchestra trumpeter/bandleader plays keys and guitar and lends his baritone voice to this brilliantly Lynchian band, duetting with chanteuse Jen Kenneally in this slinky, bolero-tinged smash. They managed to steal the spotlight from Big Lazy on a Friday night in the East Village last month, no joke. 

Changing ModesDust
Awash in orchestral keys and troubled close harmonies from the band’s two frontwomen, this slowly crescendoing apocalypse anthem makes an apt coda to the New York art-rock band’s brilliant album Goodbye Theodora.

James Williamson and Deniz TekNo Sense of Crime
The best and most death-obsessed track from the Stooges’ immortal Kill City album, reinvented as lush, poignant, similarly opiated acoustic parlor rock. Giant Drag’s Annie Hardy adds plaintive high harmonies, with violin from Petra Haden. From the killer, wryly titled ep Acoustic K.O.

Miramar  – Sin Ti
A psychedelically Lynchian, allusively Middle Eastern-tinged bolero, the highlight of the Virginia group’s show at Drom back in January.

Joshua GarciaThat’s the Way You Drop a Bomb
Oldschool first-wave-style folk revival narrative as one of the crew of the Enola Gay might have heard it. Chililng beyond belief, and a staple of the New York songwriter’s live show.

Greek JudasKontrabandistas
A drug-smuggling anthem from the 1930s Greek underworld reinvented as searing, menacing, twin guitar-fueled metal. From the band’s brand-new debut album. 

The New Pornographers – High Ticket Attractions
Motorik Pulp-style new wave satire of yuppie status-grubbing. Llittle do they know how much corporations are taking advantage of them. From the album Whiteout Conditions.

Kerem Guney – Sicak Bir Sevda
Is it fair to put a haunting Turkish psychedelic rock anthem from the late 70s – like the Doors with an electric saz – on a list of 2017 songs? It hasn’t been released outside Turkey until the Uzelli Psychedelic Anadolu compilation came out earlier this year. 

MeszecsinkaHajnalban (At Dawn) – fifteen minutes of evil shamanic post-Velvets Balkan crash and wail from this phantasmagorical female-fronted Balkan group. Another band who killed it back in January at Drom.

Jaye BartellSwim Colleen
With his deadpan baritone and reverb-drenched, spare guitar hooks, nobody’s better at allusive macabre narratives than this guy. From his album In a Time of Trouble, a Wild Exaltation.

Carol LipnikMy Piano
Stately, graceful art-rock eco-disaster parable: after all, pianos are made from trees. Her vocal crescendo will give you goosebumps. She and pianist Matt Kanelos held the crowd rapt with this at Pangea back in January.

The Jigsaw SeenMy Name Is Tom
A rare successful mashup of dark Indian raga theme and American psychedelic rock, and one of the LA band’s most iconic songs. They ripped the roof off with this at Bowery Electric back in March.. From their latest album For the Discriminating Completist.

Ran Blake & Dominique Eade It’s Alright, Ma (I’m Only Bleeding)
The iconic noir pianist and the brilliant jazz singer outdo Dylan’s original. Eade’s rapidfire articulation underscores the venom and bitterness in this exasperated capitalist treadmill tirade as Blake anchors it with his signature blend of eerie glimmer and murk. From their album Town & Country.

Rev. Billy & the Stop Shopping Choir End of the World
The fearless environmental activist and his mighty, roughly sixty-member choir opened their towering Prospect Park Bandshell set this past summer with this ominous original gospel tune: “Only so many beautiful days on earth!”

The Robert Sabin Dectet – Ghost
A portrait of a house whose occupant has just died, a somber belltone pavane punctuated with artfully suspenseful use of space and moody horns. From the bassist’s album Humanity Part II with his lushly cinematic large ensemble

Gacaltooyo Band – Ninkaan Ogayn (He Who Does Not Know)
Never before released outside of Somalia, this late 70s jam is a slow, haunting mashup of noir soul, Bollywood balladry, Ethiopiques and what sounds like J-pop – Somalian pentatonic scales come across as positively Asian in places here. From the compilation Sweet As Broken Dates: Lost Somali Tapes from the Horn of Africa

The Mehmet Polat TrioEverything Is in You
Joined by kora and ney flute, the brilliant Turkish oudist shifts between otherworldly Middle Eastern modes, Asia and Africa in this pensive epic. From the album Ask Your Heart

Black Lesbian FishermenRagged Ritual
This trippy, practically fifteen-minute drone-rock dirge has subtle Indian raga allusions, moody Middle Eastern ambience and a slow build to a darkly majestically macabre, resonant swirl of organ and guitar. From the album Ectopic Apiary.

Hearing ThingsStalefish
A mashup of growling go-go funk, horror surf, Middle Eastern music and the Doors, it’s a staple of Brooklyn’s funnest band’s live show.

NO ICELeave Her Alone
Musically, it’s a bitter, fiery soul-rock anthem. Lyrically, it’s one of the year’s classiest numbers: cool guys don’t harass women. From the Brooklyn band’s amazingly multistylistic, fun debut full-length album Come On Feel the NO ICE.

Orkesta MendozaContra La Marea
The  briskly strutting noir centerpiece of the slinky psychedelic mambo/cumbia band’s latest album ¡Vamos A Guarachar!, brooding baritone sax and clarinet alongside bandleader Sergio Mendoza’s reverberating guitar multitracks.

The Trio JoubranLaytaka
The gorgeously fluttering, understatedly elegaic intro to the oud-playing brothers’ album and DVD A’Lombre Des Mots (In the Shadow of Words), their tribute to their longtime collaborator, iconic Palestinian poet and activist Mahmoud Darwish. They mesmerized the crowd with this at their Lincoln Center show this past June.

Doug Wieselman’s Trio S  Dreambox
A cello drone and flickers from the drums underpin the bandleader’s moody Balkan melismas. building to a ferocious, Macedonian-flavored dance – the high point of their new album Somewhere Glimmer.

Money Chicha – Tamborcita
The most epic number on the debut album by the Austin psychedelic cumbia monsters (a spinoff of the slightly less psychedelic Grupo Fantasma), simmering and swooshing with ominous chromatics, reverb guitar and dub tinges.

Ella AtlasLeave Me in Blue
The most darkly lingering, epically sweeping track on 2017’s best debut album, The Road to Now, the Lynchian first release by enigmatic singer Tarrah Maria and Lost Patrol guitarist Steven Masucci.

King Gizzard & the Lizard WizardOpen Water
A hash-smuggling Red Sea speedboat theme of sorts, it’s got an energetic, hypnotically shuffling, qawwali-ish groove, icepick staccato guitar and all sorts of eerie chromatic hooks. From the album Flying Microtonal Banana.

Timatim FitfitLiving in the City
A stabbing parlor pop tune, John Cale mashed up with the Handsome Family from the menacing, carnivalesque solo album The Sugar Man, a creepy side project by Orphan Jane accordionist Tim Cluff.

Omar SouleymanMawal
An uncharacteristically slow, hauntingly violin-driven refugee’s lament from the gruff Syrian-born crooner’s album To Syria With Love.

Clint Mansell – Wheatfield With Crows
With its shivery violins, lustrous long tones and darkly ambient washes, this is where the film composer’s score to the Van Gogh movie Loving Vincent breaks into a scream.

 What Cheer? Brigade Black Cannon
Sort of a swaying Balkan brass Hawaii 5-0; the stampeding doublespeed bridge and the breathless charge on the way out are the high points of the East Coast’s largest brass band’s album You Can’t See Inside of Me.

The Legendary Shack Shakers  – White Devil
“White is the color of hipsters,” frontman JD Wilkes snarls as this noir blues stomps along, flickering with out-of-tune piano and Rod Hamdallah’s screaming distorted guitar. From the album After You’ve Gone.

BobtownMagilla Lee
New York’s best folk noir band blend their charming voices for this blithely bouncy narrative about “true meditation through medication” with dire consequences. They slayed with this at this year’s Brooklyn Americana Festival.

Nicole Atkins  I Love Living Here
A slow-simmering, crushingly sarcastic, angst-driven piano-and-horns anthem set in 2017 Brooklyn gentrifier hell. From the noir soul singer’s latest album Goodnight Rhonda Lee.

Anbessa OrchestraNagatti Si Jedha
The Israeli-American Ethio-jazz band jam the hell out of this uneasily catchy, slinky, reverb guitar-driven anthem, a mashup of vintage soul and ancient African riffs, when they play it live. From their most recent ep.

Red Baraat – Gaadi of Truth
Fiery, chromatic horn-driven live bhangra with a little hip-hop flavor: like an Indian Slavic Soul Party. From the album Bhangra Pirates.

The Sirius QuartetSpidey Falls!
This high-voltage microtonal string epic is part Big Lazy crime jazz, part Bernard Herrmann, part Piazzolla and part turbocharged tarantella.

Rahim AlHajChant
The Iraqi-born oudist and his trio entertained the crowd at Lincoln Center this past spring with an intimate version of this uneasily bouncy, subtly sardonic theme inspired by his mom trying to keep her kids out of trouble. This video link above is the full orchestrated version

Dos Santos Anti-Beat Orquesta – Red
Slinky, luridly organ-driven psychedelic cumbia mixed up withChicano Batman-style psychedelic soul. From the album Fonografic.

Nina Diaz – Star
Towering, angst-fueled noir punk cabaret, like a mashup of Vera Beren and Nicole Atkins. From the Girl in a Coma’s excellent debut album The Beat Is Dead.

Kalyani SinghEllis
An allusively grisly Ellis Island scenario set to a soaring Indian carnatic melody recast as gothic Americana – told from the point of view of a ghost. Or is she? You could have heard a pin drop when Singh sang this at the American Folk Art Museum last year. 

The NYChillharmonicBlumen
A lush, hypnotic, uneasily circling Radiohead-inflected epic from singer Sara McDonald’s mighty 22-piece New York band, who mash up big band jazz and symphonic rock. They raised the roof with this at Joe’s Pub last spring.

Dalava – The Bloody Wall
A murder victim haunts the crime scene over almost imperceptibly crescendoing art-rock in guitarist Aram Bajakian and singer Julia Ulehla’s reinvention of this old Moravian folk tune from their latest album The Book of Transfigurations.

Electric YouthIt’s Them
The Canadian duo’s enveloping, slowly crescendoing take on a classic Lynch film theme – in this case, for a movie that never came out. From the album Breathing.

Mulatu AstatkeYekatit
The godfather of Ethio-jazz, backed by an impressively tight pickup band including keyboardist Jason Lindner and trumpeter Adam O’Farrill, kept the uneasy, brassy groove going for almost fifteen minutes with this classic in Central Park back in August.

Los Crema Paraiso – Shine On You Crazy Diablo
The cinematic Venezuelan psychedelic trio have been playing their deadpan version of the Pink Floyd epic all the way through in concert. for more than a year now. They didn’t extend it all the way through at Barbes back in July, but it was still amazing how they can recreate it while adding wry dub tinges. This is a similar, relatively brief eight-minute studio version.

Melissa & the MannequinsCan’t Let Go
The latest deliciously catchy, jangly single from New York’s best new band of 2017; bittersweetly coy vocals, ringing guitars and a little vintage soul too. 

BrigaBela Sum
Mesmerizing singer Eva Salina and Balkan accordionist Sergiu Popa join the Quebecoise violinist on this broodingly gorgeous ballad from the album Femme.

Funkrust Brass Band – Dark City
The title track, and most distinctively chromatic, Balkan-flavored anthem from the debut album by New York’s largest and most explosive brass band.

 Sofia Rei – Arriba Quemando El Sol
The stark Violeta Parra peasant’s lament reinvented as relentless, marching art-rock fueled by Marc Ribot’s unhinged guitar. From the album El Gavilan.

Kelly GreenCulture Shock
A bustling, epic noir jazz theme that eventually descends into dissociative Sketches of Spain allusions, flutters loosely and then jumps back into the rat race again. Centerpiece of the album  Life Rearranged.

David Smooke & the Peabody Wind Ensemble – Nutshell Studies of Unexplained Death
The epic, sixteen-minute title track to the toy pianist’s new album is a real cinematic showstopper. Horrified tritone cadenzas, thunderous swells, unexpectedly dusky microtonal banjo, and then toy piano plinking and clicking mutedly under extreme duress.

Mike Neer’s Steelonious – Off Minor
Smoking steel guitar, organ and a rhythm section take Thelonious Monk’s classic to the next Lynchian level. From the band’s debut album.

Vigen HovsepyanGulo
The most haunting track on the powerful Armenian singer and multi-instrumentalist’s new album Echoes: Revived Armenian Folk Music is this slowly swaying 6/8 piano ballad.

La Mar EnfortunaAman Minush
Elysian Fields guitarist Oren Bloedow and singer Jennifer Charles’ Sephardic art-rock side project made entrancing psychedelic rock out this darkly bouncy old tune at their November show at the Jewish Museum

Noura Mint SeymaliSoub Hanak
A microtonal duskcore anthem, the most straight-up rock number from the fearless jamband leader’s album Arbina.

Hilary DownesSecrets of Birds
The art-rock songwriter’s band take their deepest plunge into noir on the album’s title track: “Save me from these thoughts, divebomb every part,”…yet, “I am not afraid of the  darkness in my way.”

Trina Basu & Arun RamamurthySindhu Bhairavi
Haunting, edgy, hypnoticallly dueling Indian violins – since this live recording from their amazing Noguchi Museum show in September is an audio-only clip, it’s tantalizingly hard to figure out who’s playing what.

The Hooten Hollers – Scrapper’s Lament
An amusing, amped-up oldschool country ballad about the joys of scrounging for scrap metal – a perfect job in these new depression times. From the band’s 2017 album.

Borbely Mihaly Polygon2/1
A bouncy, uneasy, staccato Hungarian bass clarinet/cimbalom/drums theme, one of the highlights of the trio’s amazing show at Drom back in January.

Tomas Fujiwara’s Triple DoubleLove & Protest
Mournful, spacious blues trumpet over a twin-drum stampede spiced with burns and scrapes from guitarists Mary Halvorson and Brandon Seabrook: Wadada Leo Smith clarity and Amir ElSaffar majesty. From the group’s debut album.

River CultShadow Out of Time
Epic Daydream Nation-era Sonic Youth slides into galloping post-Sabbath in this careening live track from the heavy psych band’s latest ep Live at WFMU.

Bridget KibbeyToccata in D
This is the famous J.S. Bach organ piece that’s been used in a million horror movies…played solo, matter-of-factly and celestially, on the harp. It’s as funny as it is subversive, but ultimately it’s still arguably the creepiest piece of music ever written. A downtown crowd at the Times Arrow Festival earlier this year didn’t know what to make of it. 

Dawn ObergNothing Rhymes With Orange
The most bleakly hilarious song of the year is this sharp, literary middle finger raised at “Putin’s little bitch” in the Oval Office. Title track from the parlor pop pianist’s latest ep.

Kacy & Clayton – A Certain Kind of Memory
A dead ringer for Jenifer Jackson in wounded dark country mode circa 2007, down to the slow, lingering, Richard Thompson-esque arrangement. From the album The Siren’s Song.

Super Yamba BandControl Per Capita (C.P.C.)
One of the Brooklyn psychedelic Afrobeat band’s most lavish, funky jams. They got a packed house at Barbes boiling over with this last summer. 

 Chicano BatmanThe Taker Story
A anti-imperialist broadside, part Isaac Hayes hot butter, part Gil Scott-Heron, with a hazy latin tint from the psychedelic latin soul stars’ latest album Freedom Is Free.

Marcellus HallStill in Range
The ex-White Hassle frontman treated a Williamsburg crowd to an unexpectedly slashing take of this deviously allusive, pouncingly catchy, sardonic social media-era critique last spring. From the album Afterglow.

The Klezmatics – The Yoke
A crushingly bitter Catalan dirge told from a slave’s point of view, the highlight of NYC’s original klezmer punks’ latest album Apikorsom/Heretics. They held a Central Park crowd rapt with this last summer. 

Agnes ObelTrojan Horses
Creepy horror-movie piano and dark low strings anchor the evil, whispery harmonies of this moody Nordic art-rock waltz from the album Citizen of Glass.

 Pokey LaFargeSilent Movies
An offhandedly stinging, sarcastically swinging oldschool soul anthem for an era of selfie overkill. He and his band motored through this at Bowery Ballroom back in July. From the album Manic Revelations.

Algiers – Cleveland
A fierce yet enigmatic anti-police violence anthem, part noir gospel, part postrock, part postapocalyptic film theme from the band’s second album The Underside of Power.

Paris ComboBonne Nouvelle
Big bustling noir swing tune with a bitter undercurrent from a darker, more lyrically hilarious French counterpart to the Squirrel Nut Zippers. From the album Tako Tsubo.

Bridget KearneyLiving in a Cave
Orbison noir through the prism of 2017 new wave revival. From the Lake Street Dive bassist’s excellent, catchy debut album Won’t Let You Down.

Gold DimeDisinterested
The side project by Talk Normal’s Andrya Ambro punctuates this surreal drone-rock epic with all kinds of delicious, darkly explosive riffage. From the band’s debut album Nerves.

The Dirty Bourbon River ShowPoor Boy, Rich Girl
A sly steamboat-soul slap upside the head of an easy target – but some targets deserve to be hit upside the head. From the album The Flying Musical Circus.

 Meaghan BurkeGowanus
A swirling, theatrical orchestrated rock lament from the charismatic cello rock songwriter’s new album Creature Comforts.

The Ed Palermo Big BandOpen Up Said the World At the Door
A wry big band jazz cover of the haphazardly careening Jeff Lynne cult favorite from the Move’s 1970 Looking On album that perfectly crystalizes the angst-fueled bustle the original was shooting for. From the album The Great Un-American Songbook Volumes 1 & 2.

Touched By GhoulMurder Circus
The title track from the darkly enigmatic, female-fronted Chicago punk/postrock band’s debut album works artfully cynical variations on a familiar carnival theme. 

 Marta SanchezScillar
The jazz pianist and her band artfully shift roles in this broodingly modal, looping, haunting elegy of sorts. From her new quintet album Danza Imposible.

Seun Kuti & Egypt 80African Dreams
“Conscious capitalism doesn’t exist,” the torchbearer of the original Nigerian Afrobeat legacy remarked at his Central Park show this past summer before launching into this pouncing, undulating cautionary tale for those who might want to play that game.  

Ensemble Mik Nawooj Gin & Juice
A deadpan, operatic orchestral cover of the Snoop Dogg driving-while-wasted classic. For real. They killed with this in Harlem back in March.

NehedarThe Grudge
Broodingly punchy 60s psych pop with coy 80s new wave tinges and a deliciously vengeful lyric. “Wanna step on me so you can rise to a better pedigree?…Put the claws back in your kitty paws.”

 Ani Cordero – Culebra
Growling surf bass contrasts with spare Spanish guitar and ominously reverberating electric riffage in this kinetic number from the fearless protest song specialist. From the album Querido Mundo.

Maximo ParkWork and Then Wait
A defiant 99-percenter singalong anthem, sort of a cross between mid-90s Blur and an artsy dance act like the Cat Empire. From the album Risk to Exist.

The PorchistasMr. Chump
Which raises a middle finger to the American Boris Yeltsin. This orange-wigged creep is a “draft-dodging scum” who “beats on little girls and cheats on Monopoly.” Then the girlie chorus chimes in: “Eats shit!” From the album Axis & Allies.

GalanosFeel Good
Echoey and surreal, this macabre, whispery, reverb-drenched noir theme slowly coalesces out of a Lynchian spoken word interlude laced with evil guitar flickers. From the album Deceiver Receiver.

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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.

Three Nights in a Row at Drom: An Embarrassment of Riches

Last night at Drom, the crowd had reached critical mass by the time Innov Gnawa took the stage. It was the second weekend in a row that the seven-piece Moroccan trance-dance ensemble had packed a Manhattan club. This group is hot right now.

“What’s the appeal of this music?” the energetic, personable Virginia publicist asked the worn, haggard New York bass player.

“It’s the blues,” he replied, pulling himself out of a walking dream state. “You hear what the sintir player, the guy with the lute, is doing? He’s bouncing off an octave, but in between he’s playing a blues riff. Catchy, isn’t it? And I think that’s what people latch onto. That, and the castanets on the high end, and the bassline on the low, with the vocals in the middle. Total stereo from a thousand years ago.”

“I don’t really follow blues,” the publicist responded, guardedly. “I like Middle Eastern music.”

“Me too!” the bassist enthused. “This is the roots of Middle Eastern music, from North Africa. And my theory with the blues is that it’s in everybody’s DNA, everybody can resonate to it because the blues goes back to Ethiopia and that’s where the human species comes from.”

There were a lot of conversations like that over the course of the night. This weekend, the booking agents’ convention, a.k.a. APAP, is in town, which for ordinary people means that there are an unusual number of fantastic multiple-band bills happening for cheap or even free. The conventioneers call themselves presenters. Before you dismiss that as pretentious, consider that if you were a booker, you would probably prefer to be called a presenter. The mix of presenters, club people – the night was put on by the folks at Barbes, Brooklyn’s elite venue along with eclectic dance music label Electric Cowbell Records and Multiflora Productions – as well as random dancers got to enjoy a tantalizingly short set of shapeshifting, undulating grooves and energetic call-and-response chants in Arabic that began not onstage but on the floor in the middle of the crowd. What did it feel like to be literally rubbing elbows with bandleader Hassan Ben Jaafer, who, before he strapped on his sintir, walloped on a big bass drum slung over his shoulder? Thunderous fun. This music is obviously as adrenalizing to play as it is to be part of on the dance floor.

The previous band, Miramar, channeled a completely different kind of intensity. Singer Rei Alvarez rocked a sharp black suit, pairing off fire-and-dry-ice harmonies with his counterpart Laura Ann Singh, inscrutable in a vintage midnight blue pencil dress. The two looked like they just stepped out of a David Lynch or late-period Buñuel film, with music to match. It wouldn’t be a stretch to say that the most spellbinding performer of the night was keyboardist Marlysse Simmons, who played terse, elegant piano on several of the band’s moody boleros, including the opener, Sylvia Rexach’s classic Di Corazon, one of the saddest songs ever written. But it was her slinky, luridly tremoloing funeral organ on the band’s most haunting numbers, a mix of Rexach covers and originals that defines this band more than anything else. They made their way through a noir Vegas bossa that brought to mind Brooklyn art-rockers Tredici Bacci, a dramatic tango-flavored anthem with some rippling flamenco guitar lines, and a shattering version of another original, Sin Ti. The rest of the material, afloat on a murky river of organ, channeled nonstop angst and longing. In all of latin music, the bolero is the ultimate expression of estrangement and angst: in the hands of this band, that atmosphere was relentless, and breathtaking, and in its own dark way as comforting as the Moroccan grooves afterward.

The night’s most dynamically captivating singer, among many, was Eva Salina, who’d been called in on short notice since Ethiopiques groovemeisters Feedel Band weren’t able to get up from Washington, DC in the snowstorm. Her longtime accordionist Peter Stan shifted from mournful ambience, to slithery cascades downward along with plenty of jaunty Balkan party riffage as the singer moved gracefully and eloquently from a brassy wedding theme, to a brooding abandoned-wife scenario, to an understatedly wrenching Saban Bajarmovic cover addressed to someone he never got the chance to say goodbye to. Eva Salina could front any Balkan band in the world she wants (one might say that she already has). Nobody works harder at getting the accents and ornaments right, or channeling the most minute expression of emotion or shade of irony. Midway through her set, she entreated the agents in the crowd to pair experienced artists with younger groups in order to keep the music fresh…and alive.

Alash were the funniest band of the night: the crowd loved them. The trio of multi-instrumentalist/singers Bady-Dorzhu Ondar, Ayan-Ool Sam and Ayan Shirizhik take their bandname from a river in their native Tuva in central Asia, and they backed that up with a couple of sweeping, uneasily rustic pastorales blending spare acoustic guitar with wood flute and the group’s signature, oscillating throat-singing harmonies. There was also a rather spare, severe number that could have easily passed for American gospel or blues from the 1800s if it had English lyrics. But the big crowd-pleasers were the funny stuff: a swaying drinking song, a tonguetwisting number that brought to mind an auctioneer’s rapidfire delivery, and the catchy, emphatic folk tunes that they began and ended with. “Shoot,” barked Ondar as each reached a sudden, cold ending: it’s a fair guess that means something more optimistic in Tuvan than it does in English.

And Ladama, a pan-latin, mostly female (hence the name) supergroup of sorts – assembled under the auspices of the US State Department under Obama – opened the evening with mix of upbeat folk-rock, a hint of tango and a couple of serpentine cumbias. The band’s not-so-secret weapon is Maria Fernanda Gonzalez, whose axe is the bandola llanera, which looks like a Mexican bajo sexto but sounds something like a baritone ukulele with more bite. Her fleet, flamencoish flurries on a handful of numbers made for some of the night’s most intense moments; otherwise, the band – including a couple of male ringers on accordion and bass, along with singer Sara Lucas, drummer Lara Klaus, conguera Daniela Serna and a violinist, kept a seamless bounce over beats from across South America, mirroring the band members’ diverse backgrounds. That was the night’s subtext. It’s hard to imagine the incoming Presidential administration having any interest in promoting music any more globally-inspired or edgy than Bon Jovi.

Mariachi Flor de Toloache and Patti Smith Play an Unforgettable Opening to This Year’s Lincoln Center Out of Doors Festival

What was most miraculous about Patti Smith’s performance yesterday evening, opening this year’s Lincoln Center Out of Doors festival, was that everybody who wanted to get in to see her was able to. That may seem bizarre, considering how far the line snaked around Damrosch Park and down Columbus Avenue before the gates opened at six, but by the end of the night, everybody was in, there was plenty of room and if everybody wasn’t listening attentively – most were – at least the crowd seemed contented. Prospective concertgoers should be aware that this year, in the wake of the tragedies in Paris and Nice, the security staff here are checking everybody’s bags. But they did that quickly and efficiently, and even courteously, something that should be the case everywhere but is not. Getting practically strip-searched by the sadistic door crew at Brooklyn Bowl Tuesday night was beyond the pale: that venue most assuredly won’t ever get any coverage at this blog again.

But Lincoln Center Out of Doors will, because even by cynical New York standards, this concert was transcendent, and there are several on this year’s slate that are equally enticing – the full schedule is here. The all-female Mariachi Flor de Toloache opened the night auspiciously with a tantalizingly brief set that ran short of forty minutes. Frontwoman Mireya Ramos dazzled the crowd with her soaring vocal range and her lightning chops on the violin, backed by her bandmates on bajo sexto, guitars and percussion. Ramos’ originals ran the gamut from plaintively waltzing to bouncy quasi-schoolyard rhymes, with a couple of playful detours into Led Zep and a less successful grunge remake. While the group – who take their name from the moonflower, which is reputedly an aphrodisiac – have a thing for the stately, dramatic strains of classic mariachi music, they transcend that genre. They closed with an irrepressibly jaunty, snazzily harmonized, Andrews Sisters-inspired arrangement of the jazz standard Blue Skies, a hint that this group has even more up their collective sleeves.

Smith told the crowd that she’d been asked to read a lot, in lieu of playing, but then added that she didn’t always do what she’s told. And drew lots of applause for a couple of poignant reminiscences of her Chelsea Hotel days with Robert Mapplethorpe, from her wildly popular memoir Just Kids. Then she led the band – her daughter Jesse Paris Smith on keys and longtime supporting cast Lenny Kaye on lead guitar, Tony Shanahan on bass and J.D. Daugherty on drums – through a mix of crowd-pleasers and unexpected treats. They opened with a delicate, slowly waltzing version of Wing, then picked up the pace immediately with a bristling Dancing Barefoot, the prototype for a million janglerock hits or would-be hits. Pouncing, intense versions of Summer Cannibals and Ghost Dance followed: Smith was on a roll and building to something that would prove to as unforgettable and impossible to turn away from as it was characteristically relevant.

A toweringly elegaic, organ-fueled take of This Is the Girl brought down the volume but raised the intensity. Introducing a tensely waltzing take of Break It Up, the bandleader explained how the song was based on Jim Morrison appearing to her in a dream as a marble statue in chains, finally breaking free and flying off to “his next adventure,” as Smith put it. The highlight of the show, musically at least, was a searing if relatively brief and almost unrecotnizable take of Radio Ethiopia, opening with a misty, hypnotic wash of acoustic guitar and building to a firestorm where Smith lashed out at the Donald Trump camp for calling for Hillary Clinton’s execution. In a long, heated address to the crowd, Smith reasserted that “This isn’t the American way,” and railed at the media for being lapdogs to the Trump crowd. Ultimately, Smith’s message is what it’s always been: “We want peace, we want love, we want to be fucking free!”

From there, the dynamic sweep of the rest of the show ranged from a soft electric piano-driven easy-listening radio take of of Peaceable Kingdom, matched by a cover of Prince’s When Doves Cry, to the garage-rock energy of  the Stones’ The Last Time. From there they made a familiar run-through of Because the Night and then hit an apt coda with People Have the Power. And then segued into the Who’s My Generation, complete with Shanahan doing a spot-on John Entwistle impersonation on the bass breaks, his treble turned all the way up. As the rhythm disintegrated and the band descended into a cauldron of noise, Smith alluded to the righteous wrath of Rock & Roll Nigger, but never ended up going there as the group left their instruments to feed into the amps. As she’d been doing all night, Smith chose a moment and let it speak for itself.

Lincoln Center Out of Doors may not have anything this politically charged coming up, but the rest of the festival is as excellent and eclectic as past years have been. Tonight features gospel and jazz; tomorrow there’s a concerto and a symphony by Mozart; Sunday has haunting psychedelic bolero band Miramar opening for salsa dura legends Richie Ray & Bobby Cruz. And that’s just this weekend. The secret to getting in seems to be not to wait for hours in the blasting heat before he gates open, but to show up about 45 minutes early, i.e. around 6:45 when the diehards are already seated.

 

The 100 Best Songs of 2011

All links here are to free downloads, streaming audio or video unless otherwise indicated. While this is an attempt to put these songs into some kind of order with the very best stuff at the top of the page, it doesn’t really make sense to even try to arrange them numerically. Consider: if  a song is good enough to be one of this year’s best one hundred, it has to be pretty special. You may find some dissonance with this year’s Best Albums list: the reason why a lot of songs from those releases aren’t on this one is because they were on this list in previous years.

#1: Erica Smith – Lucky in Love. This is a Paula Carino song from her Open on Sunday album, which topped the albums section of this list last year. And because nobody had the presence of mind to record the torchy, shattering version of this wryly haunting 6/8 lament that Smith sang at one of Carolyn AlRoy’s songwriter salons at the Parkside Lounge back in January, the link at the top of the page is to the Carino original. Which is only slightly less haunting. The link will be updated if and when audio or video becomes available; the same goes for the other songs here which haven’t made it to the web yet.

Laurie Anderson – Delirium. She debuted this achingly bitter, sweepingly atmospheric, elegaic suite at Lincoln Center last August: it may not have a title yet, and this segment may contain several individual songs.

Laurie Anderson – If You See Something, Say Something. A hilarious and spot-on dismissal of post 9/11 paranoia; it’s unreleased and may be part of a larger piece.

Laurie Anderson– The Real New York/Hard Times. As Anderson cynically explored the deterioration of a once-great city on an eerily calm, unexpectedly cool August night, a siren made its way north behind Lincoln Center. She played along with it: one of this year’s great live moments. As with the other Anderson tracks here, this is unreleased and possibly part of a larger piece.

Miramar– Di Corazon. The iconic Sylvia Rexach bolero, from the retro Puerto Rican band’s excellent Para Siempre album

Pinataland– Oppie Struck a Match. Historically rich southwestern gothic anthem from the Brooklyn chamber-rockers –  “Oppie” here is the evil nuclear scientist. From their excellent Hymns for the Dreadful Night album.

Trio Joubran – Masana. Towering, epic, elegaic suite for three ouds and percussion – it ends their new Asfar album on a wrenching, powerful note.

Marc Ribot– Scene of the Crime. Classic Andre Previn as done by one of the masters of noir guitar, live at the New School in April. Free download

Marc Ribot –Touch of Evil Theme. Classic Henry Mancini as done by one of the masters of noir guitar, live at the New School in April. Free download.

Mary Lee Kortes– Well By the Water. The darkest side of deadpan, secretive midwestern stoicism, powerfully depicted by the Americana chanteuse. From her latest album Songs of Beulah Rowley Vol. 1

Spottiswoode– Wild Goosechase Expedition. Beatlesque psychedelic travelogue as metaphor for the Iraq War and centerpiece of the art-rock songwriter’s album of the same name.

Laurie Anderson– Dark Downtown/Remembrance. As with the other Laurie Anderson tracks here, this may be a mix of individual songs: a contemplation on how much New York has changed for the worse, and how people tend to be dismissive of those who’ve died, in order to “travel lite,” emotionally speaking. Powerful stuff.

American Composers Orchestra– Andrew Norman: Unstuck. The highlight of this fall’s SONIC Festival of contemporary composers, this is a mammoth, intense noir suite. You’ll have to do some fast-forwarding to find it – the link is to the Q2 broadcast of the works from the festival voted most popular.

Either/Orchestra – Mambo #2. The second of four Ethiopian folk songs arranged for big band and rescued from obscurity – and played exhilaratingly, live this past November – at the New School. Look for a release, and a real title for this, sometime in 2012.

Beninghove’s Hangmen – H-Bomb. This macabre surf rock instrumental is the best song on the noir jazz group’s debut album from earlier this year.

Either/Orchestra – Mambo #1. This is a haunting traditional Ethiopian folk song arranged for big band and rescued from the vaults – and given a North American premiere this past Fall at the New School. Look for a proper release sometime in 2012.

Christopher O’Riley and Matt Haimovitz– Nightmare Scene from Vertigo. Harrowing Bernard Herrmann noir Hitchcock film sounds, a track from the pianist and cellist’s Shuffle Play Repeat album.

Trio Joubran– Asfar. Title track to the three oud-playing Palestinian brothers’ haunting, stately new album

Billy Bang/Bill Cole– Improvisation #1. Digeridoo drone and dark improvisation, this one with the late great jazz violinist playing against the multi-reedman’s low rumbling backdrop. From the Billy Bang Bill Cole live album recorded in 2009 and just released this year.

The Oxygen Ponies – Good Thing. It crescendos out of spare, plaintive folk-pop with a cynical fury: “This is a call to everyone/Wake your daughters, rouse your sons/Take your aim and shoot to kill/So your friends don’t hurt you/Cause others will. ” From the Exit Wounds album.

Ward White – Pretty/Ugly Town. The brilliantly sardonic, literate NYC powerpop songwriter at his most caustic and cynical, giving both barrels to a starstruck wannabe who’s new in New York. From his characteristically excellent Done with the Talking Cure album.

Dixie Bee-Liners– Restless. Hypnotic intense blues-based bluegrass reinvented as noir Steve Wynn style anthem. The Virginia bluegrass band absolutely killed with this last winter at the Jalopy.

Trio Tritticali– Ditty. The title is sarcastic – this is a powerful Midle Eastern flavored mini-suite from the eclectic Brooklyn string trio’s debut album Issue #1.

Ansambl Mastika– Memede Zlatna Ptica. The best song on the Brooklyn Balkan band’s exhilarating latest album Songs and Dances for Life Nonstop reaches a literally unreal crescendo.

Michel Camilo– Then & Now. A classic macabre Erik Satie theme done as piano jazz with Dominican sabor, from the pianist’s excellent Mano a Mano album.

Steve Wynn– Cloud Splitter. Vintage hypnotic bracing intense guitar artistry – it’s hard to tell which guitarist is Wynn and which is Jason Victor. From Wynn’s Northern Exposure album.

Trio Tritticali– Azizah. The string trio go deep into the Middle East for this slinky instrumental. From their new Issue #1 album.

Either/Orchestra– 1-5-0-9. Look for this sometime in 2012, probably under a new title: it’s yet another Ethiopian-flavored anthem from the unsurpassed Boston Ethiopian jazz group.

Trio Tritticali– Who Knows Yet. The most haunting, pensive instrumental on the Brooklyn string trio’s excellent debut album Issue #1.

Christopher O’Riley and Matt Haimovitz – Vertigo Suite Prelude. Creepy Hitchcock film suspense from the pianist and NPR host with the cello virtuoso. From their new album Shuffle Play Repeat

Rahim Alhaj – Qaasim. Plaintive, intense instrumental with the Iraqi oudist carefully building a tune over a hypnotic djeridoo drone. Not on the web anywhere, it seems. From the Iraqi oudist/composer’s latest album Little Earth.

Walter Ego – Satellite.  Wickedly catchy Ray Davies-style Britpop with one of the New York rocker’s most clever, casually dismissive lyrics.

Jennifer O’Connor – 7/12/09. Cruel summertime clinical depression perfectly captured in three vivid indie janglerock minutes. From O’Connor’s album I Want What You Want.

Pierre de Gaillande’s Bad Reputation– Ladies of Leisure. Pierre de Gaillande, frontman of lush art-rockers the Snow, has been busy translating many of legendary French songwriter Georges Brassens’ funniest, most vulgar songs; this is the classic Complainte des Filles de Joie, a metaphorically loaded defense of prostitutes.

The Devil Makes Three– All Hail. A caustically funny bluegrass song about the logical effects of the whole world being wasted on antidepressants – and a whole lot more. From their album Do Wrong, Right.

The Oxygen Ponies– Jellybean. Frontman Paul Megna being his usual insightful self, “Everyone around me is just sharing the same brain…I guess they find it’s easier to be part of the whole/Searching for a reason why they buy the shit they’re sold.” From this year’s Exit Wounds album

Swift Years– Old Man Santo. The witty Canadian worldbeat group put this one out a few years back, but who’s counting – it’s a twistedly funny nursery rhyme about GMO frankenfood.

Ward White –Radio Silence. A cruel and pretty hilarious dysfunctional road trip scenario set to catchy janglerock by the brilliantly sardonic rock songwriter. From his latest album Done with the Talking Cure.

Marc Ribot – Kill for Pussy. Classic John Barry as done by one of the masters of noir guitar, live at the New School in April. Free download

Sanda Weigl– Ani Mei Si Tinertea. At the 92YTribeca this past January, pianist Shoko Nagai gave this gypsy haunter an absolutely macabre edge. From Weigl’s Gypsy in a Tree album.

Miramar– En Mis Suenos. This is the classic Sylvia Rexach bolero done with creepy psychedelic funeral organ by the Bio Ritmo spinoff. They absolutely slayed with this at Barbes in May.

Beninghove’s Hangmen– Reject’s Lament. A sad, creepy waltz from the noir jazz guys’ debut album

Beninghove’s Hangmen– Hangmen’s Waltz. Twangy 1950s David Lynch-style noir doesn’t get any better than this – also from the band’s debut album.

Ansambl Mastika– Zurlaski Cocek. A funky, exhilarating showcase for the Balkan band’s excellent soloists – from their latest album Songs and Dances for Life Nonstop.

Pickpocket Ensemble – For Those Who’ve Left. This was a good year for sad waltzes and this is one of the best of them, the Bay Area gypsy jazz band doing brooding Belgian barroom piano music. From their album Memory.

Rahim Alhaj – Going Home. More haunting oud over a low, sinister drone: gorgeously intense Middle Eastern sounds, also from his latest album Little Earth

A Hawk & a Hacksaw– No Rest for the Wicked. A blistering mini-suite of gypsy music from the Neutral Milk Hotel spinoff; from their latest album Cervantine.

Sanda Weigl – Toderel. Shoko Nagai’s creepy/icy piano lights up this dramatic gypsy ballad. From the album Gypsy in a Tree.

A Hawk & a Hacksaw– At the Vultural Negru. The Bay Area gypsy band encored with this intense, ecstatic gypsy music vamp at their killer concerrt at the Bell House this past summer; also from their latest album Cervantine.

Rahim Alhaj – Dance of the Palms. The great Iraqi expat oud player methodically building a haunting composition over ominous percussion. From his latest album Little Earth – happily this one has made it to youtube.

Mary Lee Kortes– Someplace We Can’t See. Sweeping, majestic, angst-driven anthemic literate rock by one of the great artisans in the field. Also from Songs of Beulah Rowley Vol. 1

Pierre de Gaillande’s Bad Reputation– I Made Myself Small. An original English translation of the Georges Brassens classic Je Me Suis Fait Tout Petit, which could be a love song – or it could be about being totally pussywhipped.

Karen Dahlstrom– Galena. A haunting Gold Rush tale from the Americana multi-instrumentalist’s great new Idaho-themed album Gem State

The Dirty Urchins – Don’t Let the Bastards Grind You Down. This oldtimey shuffle is one of those songs that needed to be written, and it’s a good thing these folks were the band to do it.

Stephane Wrembel – Toute la Vie. The gypsy jazz guitarist wrote this one after watching footage of the 3/11 catastrophe – it’s haunting bordering on morbid, and hasn’t made it to the web yet.

Drina Seay– I Don’t Even Know What I’m Doing. The New York Americana chanteuse at the top of her intense, torchy game: this one is a staple of her live show but hasn’t made it to the web yet. She slayed with this one several times this year, particularly in October at Lakeside

The Brixton Riot – Hipster Turns 30. This GBV-style powerpop number might sound sympathetic at first but it’s really not. From the band’s forthcoming new album.

Rachelle Garniez – Jean-Claude Van Damme. Ostensibly the campy character actor has sunk to hawking antidepressants on tv – this one features a hilarious faux-operatic outro among other things. From Garniez’ forthcoming 2012 album Sad Dead Happy Alive.

Ward White – 1964. Retro fashion gets very subtly savaged by the great literate songshark. From White’s latest album Done with the Talking Cure.

Edward Rogers– Fashion Magazine. The most corrosive track from Rogers’ stunningly diverse new Porcelain album looks at trendy posers in gentrified NYC, set to hypnotically ominous Syd Barrett rock.

The Reid Paley Trio – Take What You Want. Late one night on the Lower East Side, after scaring the crowd at the club half to death, the charismatic retro rocker blasted through an unselfconsciously exhilarating version of this oldschool soul/blues lament: charisma defines this guy.

Oxygen Ponies– I Don’t Want Yr Love. How to tell a starfucker to kiss off, in three perfect minutes: the outgoing mantra of “nobody loves you anymore” is just plain brutal. From the Exit Wounds album.

Black Joe Lewis & the Honeybears– You Been Lying. Snide, dismissive, anti-authoritarian punk funk: the band absolutely slayed with this in the middle of the summer at their show with Those Darlins here.

American Composers Orchestra– Ryan Gallagher: Grindhouse. Long, cinematic, frequently noir suite, another highlight of this year’s SONIC Festival of indie classical music. This one hasn’t made it to the web yet.

American Modern Ensemble – Robert Paterson: Sextet. A noir afternoon in the life of a man on the run – it doesn’t end on a happy note. From the new music ensemble’s collection of works by the eclectic percussionist/composer

Either/Orchestra– No Price for a Ride. Inspired by haggling over cab fares in Addis Ababa, this is another unreleased gem by the Boston-based Ethiopian jazz crew.

Beninghove’s Hangmen– Jack Miller. This is the spooky opening mini-suite from the noir jazz band’s excellent debut album

Either/Orchestra – Bati Lydian. A lush, sweeping new spin on ancient riffs: the Boston Ethiopian jazz group’s show at the New School in November featured a whole slew of excellent new pieces including this one from bandleader Russ Gershon’s forthcoming suite The Collected Unconscious.

Ansambl Mastika– More Tri Godini. A classic Macedonian tune done with slow, tricky expertise by the ferocious Brooklyn Balkan/gypsy rock band

Christian McBride Big Band– Science Fiction. This is an intense, cinematic instrumental brilliantly rearranged for big band by the iconic jazz bassist – and it’s nowhere to be found online. What a shame!

Tiken Jah Fakoly– Quitte le Pouvoir. The title means “leave office” in French – it’s the Ivoirien freedom fighter and roots reggae star’s signature song, most recently re-released on the excellent Listen to the Banned anthology.

Baseball Project– Twilight of My Career. Sympathy for the devil, in this case Roger Clemens. Steve Wynn has a career as a sportswriter waiting for him if he ever gets sick of writing great songs like this Byrdsy janglerock gem.

Spottiswoode – All My Brothers. Death on the battlefield via grim, hypnotic psychedelic rock; also from the Wild Goosechase Expedition album.

A Hawk & a Hacksaw– Cervantine. A slow, eerie, chromatic gypsy waltz with a nice jagged tremolo-picked guitar solo. Title track from their latest album.

Rahim Alhaj– The Searching. With Alhaj’s oud in tandem with an accordion, this dirge is one of the slinkiest and most haunting pieces on his latest album Little Earth. It’s also impossible to find online, strangely enough.

Randi Russo– Alienation. Scorching noiserock with Russo and guest Don Piper blasting back and forth throughout this characteristically resolute outsider’s anthem. From her Fragile Animal album, ranked best of 2011 here.

Taj Weekes & Adowa– Drill. Remember “Drill, baby drill?” The roots reggae star savagely makes fun of the idiocy of the idea in the wake of what happened in the Gulf.

Brian Landrus’ Kaleidoscope – 71 & On the Road. A haunting mid-60s style psychedelic soul vamp inspired by a veteran jazz drummer who’s stuck playing live dates in his 70s just to get by. From the baritone sax player/composer’s Capsule album.

Beware the Dangers of a Ghost Scorpion– Denton County Casket Company. Noir surf rock doesn’t get any better than this unhinged instumental by the Boston band. From their Legend of Goatman’s Bridge ep.

Dastardly – Middleground. The Chicago indie/Americana band’s hilarious and spot-on look at trendy shallowness on the small-club circuit. From their album May You Never

A Hawk & a Hacksaw – Uskudar. A tricky Turkish vocal tune from the intense gypsy band’s latest album Cervantine.

Mark Sinnis– Peep Hole in the Wall. A towering, ominous individualist’s anthem originally done by Sinnis’ band Ninth House in 2000 and resurrected here even more darkly and intensely.

Steve Wynn– St. Millwood. This is a classic example of Wynn’s pensive, jangly, evocative side. From the Northern Aggression album.

Stephanie Rooker & the Search Engine – When We Gon Care. Over seven and a half minutes of hypnotic vamping, the soul siren insightfully and wrathfully goes off on drug companies who invent diseases to market new products, and similar stunts that the 1% try to pull off to keep the other 99% of us disempowered. From her album The Only Way Out Is In

Shanghai Love Motel– The Universal Skeptical Anthem. A typical savage, corrosive anthem from the hyper-literate New York rockers. “Hang me with your velvet rope, but don’t wrap it around my brain.”

Spottiswoode – Wake Me Up When It’s Over. Irresistibly and blackly amusing look at the psychology of denial even in the most dire circumstances – yet another great song from the Wild Goosechase Expedition album.

Mark Sinnis– Fifty Odd Hours. A bitter, vengeful update on the Merle Travis classic Sixteen Tons. From Sinnis’ latest album The Undertaker in My Rearview Mirror.

Andy Akiho– To Run or Walk Through West Harlem. A noir cinematic suite complete with sirens and a brief escape from a chase scene; from the pioneering steel pan virtuoso/composer’s latest album No One to Know One.

American Modern Ensemble – Robert Paterson: Star Crossing. Otherworldly, noir, cinematic flute-and-percussion instrumental; title track from the indie classical ensemble’s amazing album of Paterson compositions.

Evanescent– Blackwater. Retro chanteuse Bliss Blood revisits the best song from her late great Nightcall band in a torchy duo with guitarist Al Street.

Laurie Anderson – Directions from Westchester. Anderson premiered this at Lincoln Center Out of Doors this past August, a LOL-funny satire of the kind of people who go to concerts there. Unreleased and possibly part of a larger suite.

Walter Ego– The Adventures of Ethical Man. Ethical Man is a cartoon character; he battles even more cynical underwear heroes in this extremely funny powerpop tune by the NYC literate rock songwriter.

Frankenpine– Blackwell Island. From the dark NYC bluegrass band’s excellent new album The Crooked Mountain – this one commemorates Nellie Bly’s undercover expedition to the nuthouse in New York Harbor in the 1890s.

Beware the Dangers of a Ghost Scorpion– Heads Will Roll. Another macabre blast of surf rock from the band’s Legend of Goatman’s Bridge ep.

Dina Rudeen– Hitting the Town. The NYC retro soul chanteuse at the top of her game: a metaphorically loaded tale of almost falling off the edge. From her excellent new album The Common Splendor.

Sanda Weigl– Un Tigan Avea O Casa. The gypsy singer/bandleader blasted through this wryly ironic song at the 92YTribeca last January. From her latest album Gyspy in a Tree.

Rahim Alhaj – Waterfall. This nine-minute oud-and-flute piece reminds of the great New York-based composer Bassam Saba. Also from Aljaj’s latest album Little Earth. The link here is to the track at Slacker radio.

Walter Ego– Made of Holes. This is another of the songs here that’s so new that it hasn’t been youtubed yet, a characteristically metaphorically-charged janglerock tune.

Vespertina – Girl in the Basement. Gothic art-rock from this collaboration between haunting chanteuse Lorrie Doriza and Stoupe from conscious hip-hop group Jedi Mind Tricks.

The Marcus Shelby Orchestra – Birmingham. A scorching, ornate big band jazz tribute to the freedom fighters of the American civil rights movement.

The Best NYC Concerts of 2011

Of all the year-end lists here at New York Music Daily, this one is the most fun to put together since it’s the most unique. Everybody has a different one: this is an attempt to be REALLY different and stay as faraway as possible from duplicating the other blogs. That’s why Sharon Jones, or the Brooklyn What, or Gogol Bordello aren’t on this list. Everybody else went to those shows – and had a good time, and more power to you if you were one of those people.

Considering how many incredible live performers play around town, and pass through over the span of a year, choosing the year’s best New York concert is usually like shooting fish in a barrel. But in 2011, there was one show that stood out over all the others, and that was one by a familiar presence, someone who’s been a force in the downtown scene for a long time, who gets more and more vital as the years go by. Laurie Anderson’s concert at Lincoln Center Out of Doors on August 11 brought an air-conditioned highrise chill, a calmly matter-of-fact indictment of post-9/11 paranoia and gentrifier cluelessness, laced with deadpan wit and set to hypnotic, pensive, icily ambient atmospherics. Though much of the concert was a requiem for an edgy New York that’s been bulldozed out of existence, it offered some hope that new version can rise again from the ashes of the old one.

In any other year, Marc Ribot’s April 3 performance of classic noir film music along with his own equally dark matter at the New School would be a no-brainer for best concert of the year; the same could be said for Either/Orchestra’s November 9 marathon two and a half-hour concert there featuring bandleader Russ Gershon’s new suite of moody Ethopian jazz as well as new arrangements of rare Ethiopiques, never before performed outside Ethiopia and probably not since the 1960s.

As far as the rest of the year is concerned, that it was impossible to whittle this list down to any fewer than 26 shows speaks for itself:

Sanda Weigl, Razia and Very Be Careful at the 92YTribeca, January 8 – Shoko Nagai was the star of this one, playing creepy, surreal, crashingly and virtuosically intense piano and accordion in the gypsy singer’s band. The Malagasy chanteuse and LA cumbia party band who followed weren’t bad either.

The Dixie Bee-Liners at the Jalopy, February 13 – since relocating from New York to the hills of Virginia, Buddy Woodward and Brandi Hart’s cutting-edge bluegrass band have made a living on the road with their Bible Belt noir. Pretty impressive in these hard times.

Miramar at Barbes, March 5 – new and classic Puerto Rican boleros, haunting and psychedelic, fueled by Marlysse Simmons’ creepy funeral organ.

Svetlana Berezhnaya at St. Thomas Church (5th Ave.), March 27 – the Russian organist played her own even more macabre arrangement of Moussorgsky’s Pictures at an Exhibition.

Caithlin De Marrais, the Oxygen Ponies and Randi Russo at the Mercury, April 17 – the former Rainer Maria chanteuse/bassist followed by two of New York’s darkest, most literate rock bands, those two groups both using two drummers.

Ward White at Bowery Electric, April 19 – the literate rock tunesmith was under the weather but still delivered a soaring, understatedly snarling cd release show for his latest one, Done with the Talking Cure , backed by keyboard maven Joe McGinty and a killer band.

Ryan Truesdell’s Gil Evans tribute at the Jazz Standard, April 22 – the composer/arranger is a major Evans scholar, and assembled an A-list big band to recreate the legendary 1961 Out of the Cool album plus a couple of surprises.

Dark & Stormy at the Tank, April 28 – the duo of Adrian Morejon and Rebekah Heller played pretty much the entire known repertoire for two bassoons, as lively and entertaining as it was sonically luscious.

Barbez at the Austrian Cultural Center, May 12 – playing mostly material from their most recent album Force of Light, a Paul Celan homage, they mixed brooding, klezmer-fueled instrumentals with spoken-word passages featuring work by the late Holocaust poet.

The JD Allen Trio at le Poisson Rouge, May 18 – the tenor saxophonist and his longtime collaborators, bassist Gregg August and drummer Rudy Royston, hit dark and forcefully again and again, airing out three-minute “jukebox jazz” songs from their darkly triumphant new album, VICTORY!

Those Darlins and Black Joe Lewis at Madison Square Park, June 12 – swirling jangly psychedelia with a little country from the 3/4 female rockers, followed by a marathon performance by the charismatic punk/funk guitarslinger and his purist, bluesy band.

Brooklyn Rider at Pace University, July 12 – a characteristically eclectic set by one of the world’s most adventurous string quartets, with works by Philip Glass and Kojiro Umezaki along with a bluegrass romp by Colin Jacobsen and several scorching gypsy tunes.

Pierre de Gaillande at Barbes, July 14 – the Snow’s frontman played a bunch of brand-new English translations of classic,smutty, wickedly literate Georges Brassens songs.

The Universal Thump at Barbes, July 16 – keyboardist Greta Gertler’s lush art-rock band brought along a string quartet for this exhilarating, majestic show featuring new songs from their brand-new First Spout album.

The New York Arabic Orchestra at Lincoln Center Out of Doors, August 5 – a rich mix of Egyptian and Lebanese classics as well as intriguing, cinematic works by bandleader/multi-instrumentalist Bassam Saba

Rachelle Garniez, Vera Beren’s Gothic Chamber Blues Ensemble and Thomas Simon at Small Beast at the Delancey, August 15 – the weekly dark rock event, which has been running on fumes lately, had a rare good night since charismatic chanteuse Beren – who booked the bands this time around – brought along both the equally charismatic and even more inscrutable Garniez as well as swirling soundtrack crafter Simon.

The Chiara String Quartet at Trinity Church, September 8 – the ensemble revisited Robert Sirota’s anguished, chilling 9/11-themed Triptych where they’d premiered it less than a year later after the attacks. Seconds after they finished, sirens echoed outside just a couple of blocks away: eerie coincidence!

And the Wiremen and the Reid Paley Trio at Small Beast at the Delancey, September 19 – this time out Lynn Wright of southwestern gothic mavens And the Wiremen booked the night, bringing along charismatic retro rocker Paley, who was not amused by the chatty bar crowd and delivered what might have been the most deliciously assaultive show of the year

Chicha Libre at Barbes, October 3 – the surfy, psychedelic cumbia band plays pretty much every Monday here on their home turf – this time they went deep, deep into dub with a swirling, deliriously fun mix of classics and a lot of new original material.

Amour Obscur and Copal at R Bar, October 5 – blazing gypsy punk and noir cabaret, followed by gorgeously slinky violin-and-cello dance grooves from Hannah Thiem, Isabel Castellvi and their hypnotic rhythm section.

Drina Seay at Lakeside, October 7 – she came out of nowhere – a year ago she was singing backup vocals with a bunch of country bands – to lead one of New York’s most versatile, smartest Americana groups. Watching her soaring through a mix of torchy, intense ballads and more upbeat songs reminded a lot of seeing Neko Case right before she got popular.

The American Composers Orchestra at the World Financial Center, October 22 – closing night of this year’s SONIC Festival featured intense, majestic new works by Paul Yeon Lee, Ruby Fulton, Ryan Gallagher, Suzanne FarrinAndrew Norman, and an unexpectedly thoughtful, pensive one by the National’s Bryce Dessner.

Walter Ego at Otto’s, November 19 – switching from guitar to piano and back again, the literate rock tunesmith was at the top of his wryly amusing game.