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The Telegraph Quartet Channels a Hundred Years of Vigorous, Dark, Relevant Revelry

In their sold-out performance at Carnegie Hall last night, the Telegraph Quartet took one of the richest sources in the history of music and traced how profoundly it could resonate in the here and now.

They started in the middle, then leapt into the precarious present with the world premiere of Robert Sirota’s harrowing String Quartet No 3: Wave Upon Wave. Closing with Schoenberg’s String Quartet No. 1 in D Minor might have been the respectful thing to do – or simply a decision to end the night with equal amounts fun and fire. Either way, the cutting-edge thread that Schoenberg first spun off with that 1905 work gave the group a strong seam from which to weave their magic.

As the night went on, commonalities among the works broke the surface forcefully: tonalities, riffs, humor and sarcasm. All that, and an intuitive camaraderie within the ensemble, as well as the quartet’s close attunement to the music. From the first smoldering cello notes and then the snarling introduction of Leon Kirchner’s riveting String Quartet No. 1, they had come to conquer.

It’s a shattering piece of music, and a showcase for chops, whether the slithery harmonics of violinists Eric Chin and Joseph Maile, Chin’s plaintive tradeoffs with violist Pei-Ling Lin, or cellist Jeremiah Shaw’s deep washes of grimness and sometimes sheer wrath. They made a case that eerie close harmonies, subtly wafting microtones and an elegant roller-coaster ride through its dynamics were to be reveled in rather than shunned for their harshness and relentlessness.

Sirota’s quartet was just as relentless, and drove the vector home – he studied with Kirchner, and Schoenberg was Kirchner’s mentor. Of the three works on the bill, it was the most chillingly cinematic. Terror growing amidst bustling crowds, a sinisterly marching fugue of sorts, lingering funereal ambience and a cruelly reharmonized snippet of a Presidential anthem brought to life Sirota’s search for hope within the human soul in an era “rife with threats of tyranny, environmental catastrophe and the human potential for evil,” as the composer’s liner notes put it. The incessant dynamic push-pull and inventive pairings between voices mirror Kirchner’s work: he would be proud of this. It doesn’t have the sheer terror of Sirota’s unforgettable Triptych, his 9/11-themed first string quartet, but it’s close.

Schoenberg’s quartet came across as a sardonic celebration of a paradigm shift – and maybe an audience being dragged against their will into it. What a crushingly sarcastic piece of music…or at least that’s how the quartet played it. Proto-Shostakovian faux-pageantry and a mockery of a dainty minuet were highlights, but hardly the only moments when the group seemed to be saying, “To hell with these antediluvian conventions: let’s party!” In their hands, even the surprising calm of the final movement seemed tacked on, an afterthought: “After all you’ve been through, ok, you deserve a little lullaby.” The long procession through precise, expertly coordinated contrasts between serene and agitated, stolid placidity and the ache to bust loose more than validated that unlikely payoff. The crowd rewarded them with three standing ovations.


Future Soul Star Jalen N’Gonda Channels the Spirit of Stars Past at Lincoln Center

On one hand, there’s absolutely nothing original about what Jalen N’Gonda does. On the other, if this was 1967, he would be a major star in the world of soul music. As his tireless, methodical set at Lincoln Center Thursday night proved, he has an encyclopedic grasp of vintage 60s and 70s Stax/Volt and Motown riffs, he’s an understatedly strong singer, a gifted guitarist, capable pianist and also a hell of a tunesmith. He’ll always have a paying gig somewhere, playing his own material.

Born in Maryland of Zambian heritage and now based in Liverpool, N’Gonda played solo for more than an hour, varying his vocals from an allusive tenor to the occasional jump into falsetto. As the show went on, it was easy to imagine a brass section punching in behind him, maybe a smoky baritone sax accenting a slinky bass/drums groove. N’Gonda obviously has experience fronting good bands.

The night’s best song was Easy Street, a swaying, sunny, jangly number that would have been a strong tune in the Curtis Mayfield catalog. From there N’Gonda went into insistent minor-key reggae with I Guess That Makes Me a Loser and followed that with a doo-wop tinged anthem set to lingering jazz chords: it was hardly the only place in the set where Smokey Robinson’s influence could be felt.

N’Gonda opened Lucky Love with a bouncy blues bassline, then took the song in a jaunty mid-60s Carnaby Street pop direction. He switched to piano for the world premiere of his new ballad When You Belong to Me, building out of an anxious, lingering verse to a catchy chorus in a late-60s Marvin Gaye vein. From there N’ Gonda took a step in the direction of vintage Bacharach-style balladry with The More I See Your Face and then a more theatrical tangent  with Love Don’t Live Here, which brought to mind both David Bowie and Al Green.

N’Gonda made dancing Jackson Five-ish funk out of the riff from Blondie’s One Way or Another, hit a brooding Little Milton-style guitar shuffle groove, went deep into the blues and eventually evoked Gil Scott Heron more than once. In an age where every other band seems to want to rebrand themselves as the next Lake Street Dive, where any rich Long Island lawyer can pull some random, mopey beardo singer-songwriter off the tiny stage at Rockwood Music Hall, rechristen him as a blue-eyed soul crooner, throw a band of mercenaries behind him and send them all on tour at respectable midsize venues across the country, N’Gonda is a desperately needed breath of fresh air. Authenticity is a slippery concept, but if anybody has it, it’s this guy. Hopefully we’ll be seeing more of him on this side of the pond.

The next free concert at the Lincoln Center atrium space on Broadway north of 62nd Street is tomorrow, Feb 8 at 7:30 PM with singer Imani Uzuri and her mashup of vintage soul and many global styles; get there early to make sure you get a seat.

High-Voltage Suspense and State-of-the-Art Big Band Jazz From Darcy James Argue’s Secret Society Uptown Saturday Night

The suspense was relentless throughout Darcy James Argue’s Secret Society’s sold-out concert Saturday night at the Miller Theatre. Although a couple of numbers on the bill had genuinely visceral suspense narratives, there was no central mystery theme. That’s just the way Argue writes. What a thrill!

Throughout the show, four of the composer/conductor’s favorite tropes jumped out over and over again: artful variations on simple, acerbic hooks; circular phrases that widened and sometimes contracted; unexpected pairings between instruments, and high/low contrasts that often took on a sinister quality. Gil Evans did a lot of that, but drawing on vintage swing; Argue does that with just as much symphonic sweep, but more acidic harmonies.

Obviously, with a eighteen-piece big band, there was a whole lot more to the night than just that. They opened the first of their two marathon sets with Phobos, a mighty showstopper from the group’s debut album Infernal Machines, inspired by the moon of Mars which will someday either crash into the planet or shatter under the force of gravity. Drummer Jon Wikan’s first ominously shuffling notes of the night introduced bassist Matt Clohesy’s grim, gothic riffs that bookended the piece, guitarist Sebastian Noelle’s smoldering chords looming behind the steady interweave of brass and reeds. Tenor saxophonist John Ellis’ lyrical solo proved to be a red herring.

They’d revisit that catchy, cinematic ominousness with a pulsing take of Transit, seemingly slower and more portentous than the album version, to close the first set with a mighty, cold ending that nobody but the band could see coming.

Blow-Out Prevention, a shout-out to Argue’s late influence Bob Brookmeyer, juxtaposed bright but astringent brass harmonies against a shifting, lustrous backdrop. All In, a tribute to the late, longtime Secret Society mainstay and “trumpet guru” Laurie Frink, got a Nadje Noordhuis trumpet solo which offered somber homage to her old bandmate, then took a triumphantly spiraling turn and eventually wound down against pianist Adam Birnbaum’s stately, Satie-esque minimalism.

Codebreaker, a salute to Alan Turing, bristled with spy-movie twists and turns but never went over the edge into John Barry-style menace. The second set was a performance of Argue’s recent, mammoth, labyrinthine Tensile Curves, inspired by Ellington’s Crescendo and Diminuendo in Blue. The bandleader, who was in rare form as emcee, explained that he’d decided to assemble the piece – a commission requiring a full forty minutes of music – as a study in subtle rhythmic decelerations. And much as it was a clinic in the use of that effect, it also was packed with innumerable dynamic shifts, a wryly squirrelly Sam Sadigursky clarinet solo, a much longer and eventually wildly churning one from trombonist Ryan Keberle, and a characteristically translucent one from trumpeter Adam O’Farrill – among other things.

Animatedly loopy phrases filtered throughout the ensemble, from a snide, nagging introductory theme through a final comfortable touchdown on the runway. Let’s hope this mighty tour de force makes it to the web – and maybe even a vinyl record – sooner than later. A towering performance for the rest of the crew, including but not limited to saxophonists Dave Pietro and Rob Wilkerson, baritone saxophonist Carl Maraghi, trumpeters Seneca Black, Matt Holman and David Smith, trombonists Mike Fahie, Jacob Garchik and George Flynn.

The next show at the Miller Theatre is on Feb 13 at 6 PM with the Mivos Quartet playing new works by  Marisol Jimenez, Jeffrey Mumford, their own Victor Lowrie and Mariel Roberts. It’s one of the wildly popular free concerts here. Get there close to when the doors open at 5:30 and there might be free beer or wine; show up later and there probably won’t be.

Yet Another Brilliant, Mysterious, Richly Tuneful Album and a Stone Residency by Sylvie Courvoisier

Pianist Sylvie Courvoisier’s new album D’Agala, with her trio – streaming at Spotify – is a characteristically dark, rich, gorgeously melodic tour de force. Courvoisier has been one of the most vivid tunesmiths in jazz for a long time. Here she takes that translucent sensibility to new levels, along with plenty of subtle and not-so-subtle humor, jaunty interplay and extended technique. She’s played as many Stone residencies as any other member of John Zorn’s circle, and she’s got one coming up starting tonight, Feb 6 at 8:30 PM, running through Feb 11. Cover is $20; the full list of ensembles she’s playing with is here. The Feb 8 show, a duo set with her violinist sparring partner Mark Feldman may be the most intense of all of them.

Impish upper righthand fragments peek over a muted, sotto-vocce ba-bump groove amid pregnant pauses as the album’s opening track, Imprint Double – written for her pianist dad Antoine Courvoisier- gets underway. From there she follows a steady, ominously lingering stroll, Janacek’s tortuous overgrown path dotted with Satie-esque belltones. Then she brings back the opening groove, drummer Kenny Wollesen and bassist Drew Gress matching the playful suspense.

Courvoisier opens Bourgeois’s Spider – dedicated to sculptor Louise Bourgeois – with chiseling inside-the-piano figures, then pedals down a long runway, the rhythm section matching her increasingly gritty intensity all the way. More of those Satie-esque close harmonies give way to starlit peek-a-boo phrases as Wollesen and Gress hang back, steady and distantly relentless.

All of the tracks here are dedications as well. With its loopy riffs, subtly dancing variations and cat-chasing-the-yarn piano, Éclats for Ornette isn’t hard to figure out. Simone (for Simone Veil) has an aptly rapt, mystical sensibility, cached within Courvoisier’s scampering lines and brought to the forefront by Wollesen and Gress’ looming presence.

Similarly, he and Gress swing the icepick Andriessen changes of Pierino Porcospino (for Charlie), the blues hidden away in Courvoisier’s blips, bleeps and circles bringing to mind Myra Melford in a particularly animated moment. The title track – a salute to Geri Allen – pairs Courvoisier’s somber minimalism against the rhythm section’s insectile scrapes and rustles, Gress adding mutedly brooding blues. Courvoisier weighs that gravitas against lighter, more carefree sounds and opts for an elegy: Allen would not doubt appreciate this.

Circumbent (For Martin Puryear) is the album’s most overtly improvisational number, Courvoisier’s disappearing-ink chordlets and staccato accents grounded by a steady, almost trip-hop sway from bass and drums. Fly Whisk (for Courvoisier’s fellow Swiss pianist Irène Schweizer) interchanges judiciously spaced piano clusters amidst Wollesen’s misty ambience, tersely accented by Gress. The ending is too good to give away, and is vintage Courvoisier. She and Gress switch roles, with her shadowing him throughout the album’s concluding cut, South Side Rules (for John Abercrombie), bass punctuating its resonant, immutable unease as Wollesen builds a cumulo-nimbus backdrop. This record’s going to be on a whole lot of people’s best of 2018 lists.

Another Clinic in Searing Lead Guitar and a Williamsburg Show From the Great Eric Ambel

Eric Ambel is an artist who ought to be playing record stores – because he makes vinyl records. Spectacularly good ones. His most recent studio album, Lakeside, sent a ferocious, guitar-fueled shout out to his beloved East Village club, Lakeside Lounge, forced out of business in 2014 in a blitzkrieg of gentrification. His latest record, Roscoe Live, Vol. 1 – streaming at Bandcamp – captures him in his element, onstage at a summer festival in upstate New York in 2016. The backing band is obviously psyched for this gig: alongside Ambel, there’s Spanking Charlene’s Mo Goldner on rhythm guitar, Ambel’s old Yayhoos bandmate Keith Christopher on bass and Phil Cimino on drums. Ambel’s playing an unlikely early weekday show tomorrow, Feb 6 at 8:30 PM at Rough Trade; cover is $10.

Ambel has a vast bag of hot licks, but most of them are his own. If you asked him to play like Neil Young, or Buck Owens, or Ron Asheton, or David Rawlings, he would, but he’d rather be himself. And although he’s a connoisseur of every possible sound you can get out of a guitar amp, he’s got a noisy side too. There’s pretty much all of that on the live record.

Just the way that he edges his way into the set’s opening number, jabbing around the harmonies of the first chord of the brisk shuffle Girl That I Ain’t Got is typical. As are the nasty, string-stretching first solo and a tantalizingly slashing second one. Here Come My Love, by his Del-Lords bandmate Scott Kempner, comes across as an amped up Jimmy Reed number. The blend of the two guitars is especially tasty; Ambel’s solo out is unexpectedly carefree and chill.

Hey Mr. DJ, a sarcastic dig at the kind of clown who’d pay a cover charge to hear some other clown plug his phone into the PA, is a co-write with the Squirrel Nut Zippers’ Jimbo Mathus and one of several tracks from the Lakeside album. Over the slow, slinky beat and a buzzsaw backdrop, Ambel turns the sarcasm loose: “Crank the drums, crank the bass, crank that shit all over the place.”

The slow waves of the warped blues Don’t Make Me Break You Down keep the smokering intenstiy going, through lingering phrases that Ambel takes into the grimy depths, then up again.

“Just to show you I’m not anti-cisco, I have a disco song,” Ambel tells the crowd, then launches in to the strutting Have Mercy, which is actually more of a simmering take on vampy early 70s psychedelic soul.

The band follow Let’s Play With Fire, a shuffling mashup of honkytonk and Lynchian Nahville pop with a slowly crescendoing take of the David Rawlings/Gillian Welch hit Look at Miss Ohio, a staple of Ambel’s live show back in Lakeside’s glory days in the 90s and zeros.

Massive Confusion, the loudest track on the Lakeside recod, is a more swinging take on a familiar Ramones formula. Ambel then closes the show with two of his best songs. Buyback Blues, the centerpiece of the Lakeside record, is a slow, evil rollercoaster in a Cortez the Killer vein. The night’s last number is Total Destruction to Your Mind, the Stonesy Swamp Dogg cover that was Ambel’s signature song as a solo artist for years. For anybody who got to hear Ambel blast his way through this one back in the Lakeside days, Christopher making his way up the fretboard as the chorus kicks in, it’s a real shot of adrenaline. How long do we have to wait until the real estate bubble finally bursts so somebody can open up a place like Lakeside, with cheap beer and great bands every night? The closest thing we have to that in New York these days, Barbes, won’t last forever,

Brilliant Violinist Alicia Svigals and Pianist Uli Geissendoerfer Reinvent Haunting Songs Rescued From the Holocaust

Moshe Beregovski was sort of the Soviet Alan Lomax. But there were a couple of major differences in the careers of the 20th century’s two greatest musicologists. Lomax received deservedly worldwide acclaim for sleuthing out folk tunes across the country, and eventually around the globe. And some of the artists he discovered, like Muddy Waters, became stars.

Beregovski, whose research and sense of adventure were just as keen, paid with his life, and most of the folk musicians he recorded were murdered. They were killed in the Holocaust; Beregovski, his health shattered after a long, brutal prison term in the gulag, died broke and virtually unknown in 1961. His crime? Recording Jewish music. 

Since Beregovski’s archives in the Ukraine were rediscovered in the 1990s, musicians from around the world have plunged into a world that was for a long time thought to have been lost forever. Now, iconic klezmer violinist Alicia Svigals – a founding member of the Klezmatics – and perennially eclectic pianist Uli Geissendoerfer have teamed up for a brand-new album, The Beregovski Suite, a frequently radical reinvention of a total of seventeen rare songs from the archive. The result is a gorgeous, chillingly bittersweet triumph of daunting scholarship and lyrical musicianship – if you think Svigals was pretty sensational in the Klezmatics, wait til you hear her now. They’re playing the album release show tonight, Feb 4 at 7 PM at Joe’s Pub; cover is $20. With songs like these, who needs the Super Bowl?

These melodies leap out at you. We’re used to hearing poorly digitized , probably fourth or fifth-generation copies of this stuff, which was recorded on the fly  to begin with. This album  has a breathtakingly immediate, pristine quality. Although there’s accordion here – Iliya Magalnik is featured on several tracks – the presence of the piano adds considerable majesty and unexpectedly syncretic accents from around the world to the material.

The album – which isn’t officially out yet and hasn’t hit the usual online spots – opens with Lightning, a brisk minor-key dance. Svigals’ sinewy, bounding lines and shivery melismas soar over the pulse of the accordion, the piano anchoring the music with a heavy-spring bounce. Svigals throws off sparks of microtones throughout Dawn, a neoromantic waltz, Geissendoerfer switching between piano and toy piano to ramp up the surrealism. The brooding Lament For a King makes a good segue, Geissendoerfer’s low-key chords behind Svigals’ meticulous yet ferally tremoloing ornamentation.

By contrast, Iliyad, another waltz, has a playful, almost devious strut which becoms more wistful when the accordion kicks in; then the piano leads the rest of the group in an unexpectedly Lynchian direction. It will give you goosebumps.

The bracing Fugue for B has a cleverly acerbic baroque arrangement, Svigals digging in with a practically crushing intensity on the final verse, up to a spine-tingling coda. She reins in her melismatics somewhat for the quieter but no less plaintive, somewhat prayerful take of The Plea.

The surrealism reaches even higher with the disjoined intro of First Night, its uneasy close harmonies smoothing out into a jaunty, celebratory dance. The revelry continues with Market Day, with Vanderlei Pereira on pandeiro, Geissendoerfer adding an unexpected ragtime interlude. Getting groceries has never been so much fun! His jazz voicings contrast with Svigals’ mesmerizing, edgy chromatics and microtones throughout The Lover’s Dance, a slow, moody hora intro of sorts.

Rumshinky’s Bulgar, by Joseph Rumshinsky, comes across as a mashup of the early 20th century Jewish vaudeville that he made his name in and the darker – dare one say more relevant? – sounds of the old country. The duo go deep into that milieu with the plaintive Winter Dance, its wintry pizzicato and eerie belltone piano.

The duo follow Patshtants, an insistent, pulsing miniature in the Middle Eastern freygish scale, with the lively peek-a-boo phrasing of Kinder in Shul – yeah, these kids are up to no good. Svigals takes a rare turn on vocalese in Conversation With the Rebbe, s shapeshifting, pensively dynamic  minor-key song.

A Hero’s Report has an aptly emphatic intensity; after that, the unexpected Celtic tinges of Big Bear come as quite a surprise. The album concludes with a brief reprise of the opening tune. On one hand, this is the kind of salute that Beregovski deserves. Without him, these frequently heartwrenching melodies would no longer exist. And of course, the elephant in the room is how many more songs like this would we be able to enjoy if the people who played them into Beregovski’s wax cylinder recorder hadn’t been murdered?

Eerily Glimmering, Cinematic Nightscapes From Suss

Cinematic instrumental quintet Suss are the missing link between Brian Eno and Ennio Morricone – or the Lost Patrol without the drums. Which makes sense, considering that guitarist/bandleader Pat Irwin got his start with enigmatically loping and prowling 80s instrumentalists the Raybeats, but since then has made a mark in film music – when not playing in one version or another of the B-52’s, that is. The new group’s debut album, aptly titled Ghost Box is streaming at Bandcamp.

Never mind the album – if there’s any act out there that really makes their song titles come alive, it’s these guys. The band – which also comprises guitarist Bob Holmes, pedal steel player Jonathan Gregg, keyboardist Gary Lieb, and William Garrett – are  playing the release show tomorrow, Feb 4 at 8 PM for free at the Secret Theatre, 4402 23rd St. in Long Island City. Since the 7 train isn’t running, take the E or G to Court Square; the cozy black-box space is about three  blocks away.

The opening track, Wichita begins with a lingering big-sky riff answered by a wash of steel, then the echoes begin to gently swoosh and clang through the mix. Almost imperceptibly, wisps and flickers of steel and guitar begin wafting over the loop. It’s hypnotic to the extreme.

Opening with and then shadowed by a haze of feedback, Late Night Call is a slow, nostalgic conversation between guitar and steel, Likewise, Big Sky alternates between oscillating, slightly distorted washes, blippy electric piano fragments and sparse Old West riffs.

Twangy Lynchian guitar chords intersperse within a distantly menacing Angelo Badalamemti-style vamp in Rain. The band pick up the pace, at least to the extent that they ever do, with Laredo, putting reverbtoned 80s electric piano out front of the shifting clouds of guitar and spare spaghetti western licks.

Oscillating loops, disembodied dialogue, jagged clangs. resonant tremolo phrases and finally some gently acerbic, bluesy resonator guitar blend over a muted beat in Gunfighter. The album closes with a starrier, livelier, more expansive reprise of the opening theme. Drift off to your own private Twin Peaks Lodge with this.

The Black Lillies Rock City Winery With a New Lineup

The version of the Black Lillies that played City Winery last weekend was a lot different from the considerably larger version of the band who got a rave review here in the fall of 2013. Frontman/multi-instrumentalist Cruz Contreras has most recently pared the group down to a tight, lean four-piece. Drummer Bowman Townsend, who propelled the unit through this show with his usual blend of purist four-on-the-floor rhythm and vintage shuffle grooves, is the only holdover from that lineup.

But they still jam as psychedelically, if not as quite as much  as that incarnation. After a steady, upwardly driving hour and a half onstage, the takeaway was that this is as good a version of the Black Lillies as there’s ever been – Contreras has always drawn from a wide talent base, anyway.

The band’s not-so-secret new weapon is lead guitarist Dustin Schaefer. It was easy to see where his camaraderie with the bandleader comes from, considering the two’s encyclopedic appreciation of classic bluegrass, honkytonk, soul, stadium anthems and psychedelic rock. By the end of the night’s first number, Schaefer had cranked out two of his most sizzling solos of the night on his big vintage hollowbody Gibson, smoldering with chromatics and uneasy bluesy bends.

These Black Lillies rock harder than they ever have. Interestingly, the set had very little from the band’s most recent album Hard to Please. Instead, they focused on new material as well as a lot of the strongest anthems from 2013’s Runaway Freeway Blues, the band’s definitive statement to date.

Much as there were drinking songs, and band-on-the-road songs, and a handful of regretful ballads in the mix, the night’s central theme was the struggle to stay stay on solid ground in hard times. Maybe because of the current political climate, those songs of dashed dreams but also guarded hope resonated the most. In a revamped, amped-up take of Gold & Roses, Schaefer’s lead guitar substituted for the steel on the album version. Likewise, the band took Catherine – set in a surreal place with “nothing but blue skies and fire on the ground” – and made brisk bluegrass-inspired highway rock out of it.

The night’s longest number was a long, twisting psychedelic epic that went on for at least ten minutes, through a couple of false endings, part peak-era 1980s Grateful Dead and also Dark Side of the Moon Pink Floyd, a blend you might think would be crazy – but it worked. Contreras put down his Telecaster and played acoustic for most of the show, for one anthem after another. Matter-of-factly, the group followed a steady path through the exasperated 99-percenter tale All This Living, the cynical, honkytonk-tinged Two Hearts Down, and a terse version of Ruby, the group’s take on the old country blues standard Ruby, about a party animal who can’t stay out of trouble.

Contreras waited until the encore, a scurrying take of the old 70s Eddie Rabbitt radio hit Driving My Life Away, to take a solo on the Tele, but he made it count. And the best solo of the night was his two-handed, barreling charge down the keys of his piano on one of the new numbers. New bassist Sam Quinn played with a cool, low-key pulse, once in awhile rising to the top of the fretboard as a verse would turn around into a mighty chorus, and took over lead vocals on an unexpectedly Beatlesque new song.

The Black Lillies’ next gig is on Feb  15 9 PM at the Visulite Theatre, 1615 Elizabeth Ave in Charlotte, NC; cover is $14. For New York fans of similarly energetic if more lavish oldschool American sounds, crooner Brother Joscephus is bringing his New Orleans funk/soul orchestra there on Feb 6 at 8 PM. You can get in for $20.

Live Music Calendar for New York City and Brooklyn for February and March 2018

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

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

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

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

On select Wednesdays and Sundays, an intimate, growing piano music salon on the Upper West Side featuring iconoclastically insightful, lyrical pianist Nancy Garniez – a cult favorite with an extraordinarily fluid, singing, legato style – exploring the delicious minutiae of works from across the centuries. Next up: 2/14 at 7 PM, 2/18 at 4 PM Haydn, Clementi and Chopin. beverages and lively conversation included! email for info/location.

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

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

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

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

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

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

Wednesdays at 8 in February the Brooklyn Raga Massive – a rotating cast of A-list Indian, jazz and rock musicians who love to jam out classic Indian themes from over the centuries to the present day – play the Jalopy, $15 adv tix at the bar at the main space. Tons of special guests followed by a wild raga jam!

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

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

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

Free classical concerts return on Saturdays at 4 PM in March at Bargemusic;  usually solo piano or small chamber ensembles. If you get lucky, you’ll catch pyrotechnic violinist/music director Mark Peskanov and/or the many members of his circle. Early arrival advised.

Saturdays in February, 6 PM one of New York’s most eclectic, interesting oudists, Brian Prunka at Barbes. 2/3 and 2/10 with his group Nashaz playing originals; 2/17 in a guitar trio with Ben Gallina and Joe Nero and 2/24 with Sharq Attack, who play haunting Egyptian classics

Saturdays eclectic compelling Brazilian jazz chanteuse Marianni and her excellent band at Zinc Bar, three sets starting at 10 PM.

Sundays there’s a klezmer brunch at City Winery, show starts around 11:30 AM – 2 PM, $10 cover, no minimum, lots of good bands

Sundays in February, at sometime past noon at Hank’s, Nashville gothic crooner Sean Kershaw‘s legendary honkytonk brunch is back; special guests from his wide circle of NYC Americana acts keep the afternoon going until about 7. It’s just like 1999 again -at least until the bar closes sometime this year.Phil Gammage plays his dark Americana and blues there this month at 6 PM every Sunday this month as well.

2/1, 7 PM intense, fearlessly relevant Middle Eastern clarinetist Kinan Azmeh  leads his haunting Middle Eastern piano trio at National Sawdust, $30 adv tix rec. Followed by ($25 separate adm) by the album release by similarly intense, more  lavish Middle Eastern/Balkan band the Epichorus

2/1, 7 PM Zlatne Uste, NYC’s first and arguably most deeply authentic, explosive Balkan brass unit at Drom, $10

2/1, 7 PM tenor saxophonist Ken Fowser leads his band at the Fat Cat. Jukebox jazz in a JD Allen vein but not as dark and more straight-ahead/groove-oriented: as postbop party music goes, nobody’s writing better than this guy right now.  Followed a 10 by the great unsung hero of darkly purposeful, noir-tinged jazz guitar, Saul Rubin leading his Zebtet  at the Fat Cat. Rubin is also there on 2/13 at 7

2/1 ,7:30 PM daunting postbop technique and dynamic tunesmithing from saxophonist Carl Bartlett Jr,  leading his quartet at Smalls

2/1, 7:30 PM oldschool-style Liverpool-based soul dude Jalen N’Gonda at the Lincoln Center Atrium, free, early arrival advised

2/1, 8 PM kinetic, hard-hitting Raphael Cendo chamber works performed by Vasko Dukovski on contrabass clarinet (!?!?!), percussion and piano quartet Yarn/Wire  and indie classical ensemble Either/Or at the Miller Theatre, $20 tix avail

2/1, 8 PM solo piano works from German pianist George Graewe; Carman Moore leads the voices, strings ands reeds of Skymusic Ensemble in a program of NY-centric pieces at  Roulette, $15 adv tix rec

2/1, 8:30 PM Innov Gnaw’s Samir LanGus on sintir and vocals with his hypnotic cross-pollinated group at Bar Lunatico

2/1-4, 8:30/10 PM perennially popular sax player Donny McCaslin leads his group with Jason Lindner (piano) Nate Wood (bass) Mark Giuliana (drums) at the Vanguard

2/1, 9 PM intense female-fronted psychedelic groove/funk band Imunuri  at Bar Chord. 2/3 at 0 they play the album release show for their new one at the Knitting Factory, $10 adv tix rec

2/1, 9:30 PM chanteuse Dor Sagi’s wildly eclectic, elegantly artsy band Sage – who float between enigmatic pastoral jazz-tinged themes, sleek new wave and janglerock – at Sunnyvale, $10

2/1. 10 PM wryly funny, psychedelic covers of 60s Russian pop with the Eastern Blokhedz – who specialize in the catalog of legendary Polish singer Edita Piaha –  at Barbes

2/1, 10 PM intense, haunting Americana/honkytonk singer Ruby Rae at Hank’s

2/1, 10:30 PM charmingly inscrutable Parisienne chanteuse Chloe & the French Heart Jazz Band at the Manderley Bar

2/2, 5:30 PM ethereal folk noir songstress Belle-Skinner – who wrote the chilling ballad John Wayne Gacy Jr. – at the American Folk Art Museum

2/2, 7 PM irrepressible cross-genre violinist/composer Tom Swafford  plays the complete Ravel Sonata for Violin and Piano with pianist Emile Blondel; then he joins guitarist/banjoist Benjamin “Baby Copperhead” Lee and bassist Zach Swanson for a set of oldtime country blues and originals in the same vein at Brooklyn Conservatory of Music, $15

2/2, 7 PM Benjamin Sung, violin plays music by Schnittke, Berio, Maderna; 6 Caprices by Sciarrino followed at 8 by pianist Karl Larson playing dystopic Scott Wollschleger works at Spectrum, $15

2/2, 7 PM spine-tingling art-rock/avant-garde/chamber pop songwriter Carol Lipnik – pretty much everybody’s choice for best singer in all of NYC – celebrates three consecutive years of her ongoing Pangea residency with special guest singer and LES noir cabaret legend Little Annie Bandez

2/2, 7:30 PM the Queens Symphony Orchestra play Villa-Lobos: Bachianas Brasileiras No. 9; Tchaikovsky: Variations on a Rococo Theme, and “music by the Beatles in the Baroque styles of Handel, Bach, Vivaldi, and more,” at Flushing Town Hall, free, get there early

 2/2-3, 7:30/9:30 PM Nicholas Payton – trumpet; Matt Brewer – bass; Justin Brown – drums; plus special guests at the Jazz Gallery, $25

2/2, 7:30 PM edgy, eclectic pan-Mediterranean art-rock/latin/chanson ensemble Banda Magda at the Bronx Museum of the Arts, 1040 Grand Concourse, free, B/D to 167th St.

2/2, 7:30 PM the Mannes Orchestra play Bernstein: Symphonic Dances from “West Side Story”;4 songs by Richard Strauss with soloists: Lydia Ciaputa, Isabelle Freeman and Alexa Jarvis; and Brahms: Symphony No. 4 in E Minor at Tishman Auditorium, 63 5th Ave., free

2/2, 7:30 PM Juilliard’s Axiom new music ensemble plays Hans Abrahamsen’s season-appropriate Schnee at the Sharp Theatre at Juilliard, free

2/2, 8 PM the debut of Nadja Verena Marcin‘s Ophelia, “an architectural live performance and video sculpture focusing on the human destruction of the biosphere” at Fridman Gallery, 287 Spring St, free

2/2, 8 PM the ambient duo of Stephen Vitiello/Taylor Deupree, pianist Gust Burns and the innovative Rhythm Method String Quartet at Fridman Gallery, 287 Spring St, $15 

2/2, 8 PM fiery garage/powerpop band the Lord Calverts followed by the similarly guitar-fueled female-fronted Americana punks Spanking Charlene at Sidewalk

2/2, 8 PM Syrian bandleader Yousef Shamoun & the Tarab Ensemble play lushly orchestrated Middle Eastern classics by Umm Kulthumm, Hafez and Mohammed Abdel Wahab at the Poisson Rouge, $20 standing room avail.

2/2, 8 PM singer/guitarist Anna R0berts-Gevalt of Anna & Elizabeth, fiddler Dave Bing and banjoist Ben Townsend play rare West Virginia tunes at the Jalopy, dessert included, $10

 2/2, 8 PM wild, explosive, chromatically intense Serbian-style brass music with Cocek Brass Band at Radegast Hall

 2/2-3, 8:30 PM hardworking, perennially tuneful bassist/composer Linda May Han Oh  at the New School’s Glass Box Performance Space, 55 W 13th St, $20

2/2-4, 8:30 PM savagely eclectic guitarist Mary Halvorson leads a series of groups at the Stone, $20. Choice pick: playing selections from John Zorn’s Masada, Book 2 with her quartet on 2/3.

2/2, 9 PM moodily lyrical, politically savvy Irish folk-rocker Niall Connolly at the small room at the Rockwood. He’s also here on 2/23 followed eventually at 11 by lush, intense, artfully orchestrated psychedelic rockers Aunt Ange 

2/2, 10 PM crystalline-voiced noir Americana songwriter Jessie Kilguss and her killer band at Hank’s, $8

2/2, 10:30 PM 10:30 PM cutting-edge B3 organ and trombone soul/jazz grooves with the Jared Gold and Dave Gibson Band at the Fat Cat

2/3, 2 and 8 PM, repeating 2/4 at 3 PM the Tango Fire Company of Buenos Aires blend music and dance at the Queens Theatre in the Park, $20 seats avail

2/3, 2 PM charming front-porch folk duo Anna & Elizabeth celebrate the Celtic holiday Imbolc at the Irish Arts Center,553 W 51st, $10

 2/3, 4 PM cinematic, psychedelic quirk-pop keyboardist Michael Hearst presents “Curious, Unusual and Extraordinary” songs from his many bands followed eventually at 10 by epic ranchera/bolero brass crew Banda de los Muertos at Barbes

2/3, 4 and 7:30 PM the CCB Reggae Allstars celebrate Bob Marley’s birthday at B.B. King’s, $25 adv tix rec

2/3, 7 PM wryly retro, period-perfect classic 60s style female-fronted honkytonk band the Bourbon Express, legendarily eclectic surf band Tiki Brothers and Brooklyn surf cover crew Band of Others at the Parkside

2/3, 7 PM intense, soaringly lyrical dark Americana songwriter Lara Ewen followed  followed by darkly torchy southwestern gothic/Europolitan songwriter/guitarist Miwa Gemini at at the Way Station

2/3, 7:30 PM sharply lyrical southwestern gothic/Americana songwriter Tom Shaner at Bowery Electric, $8

2/3, 7ish Bobby Radcliff – the rare blues guitarist who plays a ton of notes but doesn’t waste them, sort of a funkier Stevie Ray Vaughan – with his trio at Terra Blues

2/3, 7:30 PM ambitious, smart, noir-inclined tenor saxophonist Patrick Cornelius on saxophone with Harish Raghavan on bass and Mark Ferber on  drums at the Bar Next Door, $12

2/3, 7:30 PM indie classical chamber ensemble Hotel Elefant play music by Kaija Saariaho (Nocturne, Oi kuu) with the New York City premières of new works by Hotel Elefant composers Hannis Brown, Patrick Castillo, Jascha Narveson, Leaha Maria Villarreal, and Kirsten Volness at St. Batholomew’s Church, $25/$15 stud

2/3, 8 PM the hilarious Gerry Segal – who wrote the classic I Love Facebook – and veteran comedic cabaret chanteuse Lois Morton at the People’s Voice Cafe, sugg don, $20; $12 for subscribers; “More if you choose; less if you can’t; no one turned away”

2/3, 8 PM Ekmeles and Tilt Brass play Julius Eastman’s work for 10 cellos The Holy Presence of Joan D’Arc and its introspective companion vocal piece Prelude to the Holy Presence of Joan d’Arc at the Kitchen, $25

2/3, 8 PM this era’s most cutting-edge, politically relevant large jazz ensemble, Darcy James Argue’s Secret Society play their Ellington-inspired suite Tensile Curves in its entirety at the Miller Theatre, $20 tix avail

2/3, 8 PM fun, catchy, noisy girlpunk band Sharkmuffin at Union Pool, $12

2/3 8:30 PM pianist Chang Wang plays works by Bach, Beethoven, Dutilleux and Chopin at Paul Hall at Juilliard, free

2/3, 9 PM Unsteady Freddie‘s monthly surf rock extravaganza at Otto’s begins at 9 PM with surfed-up tv themes from Commercial Interruption, at 10 gloomy surfed-up Russian prison songs with the Vivisectors, at 11 jangly New York original surf rock cult heroes the Supertones and at midnight or so fiery rockabilly chanteuse Alix & the Mechanix 

2/3, 10 PM catchy, fun indie soul band Sunshine Nights  at Pine Box Rock Shop

2/3, 10 PM high-v0ltage ghoulabilly with Lynchian chanteuse Lara Hope & the Ark-Tones at Skinny Dennis

2/3. 10:30 PM erudite, purist torchy cosmopolitan jazz chanteuse Svetlana & the Delancey 5  at the Django, $15

2/3, 10:30 PM roaring 20s hot jazz with Sweet Megg & the Wayfarers at St. Mazie’s

2/4, 2 PM the annual Super Bolus of improvised music with an allstar lineup: Anaïs Maviel, Andrew Livingston (Piad Guyvessant, thingNY), Angela Morris (Rallidae), Brian McCorkle (Panoply Performance Lab), Carl Testa, Dave Kadden (Invisible Circle), Dave Ruder (thingNY), ellen o, Hans Tammen, and John King at the Glove, 885 Lexington Ave, btwn Patchen Ave & Broadway, J to Kosciuszko $tba

2/4, 3 PM sharply lyrical janglerock/Americana/soul songwriter Matt Keating and guitarist Steve Mayone’s catchy new project the Bastards of Fine Arts at Pete’s

2/4, 3 PM edgy indie classical pianist Niloufar Nourbaksh plays original, politically fearless compositions plus works by Semegen and Kagel at Spectrum, $15

2/4, 4 PM charismatic, politically fearless, historically-inspired oldtime country blues duo Piedmont Bluz  at the Old Stone House in Park Slope, $10

 2/4, 5 PM Michael Brown (piano), Elena Urioste (violin), and Nicholas Canellakis (cello) perform Fauré and Dvořák piano trios  at the Dreck Center at the Brooklyn Public Library, free, no under-sixes.

2/4, 7 PM sensational ex-Klezmatics fiddler Alicia Svigals and pianist Uli Geissendoerfer play the release show for their fascinating new Beregovski Suite –  inspired by the tragic story of the guy who was essentially the Russian Jewish Alan Lomax – at Jpe’s Pub, $20

2/4, 7:30 PM hypnotic, cinematic ambient/noir quintet Suss – guitarist Pat Irwin, Bob Holmes, Gary Leib, Jonathan Gregg and William Garrett at the Secret Theatre, 4402 23rd St, Long Island City, free, G to 21st/Van Alst

2/4, 8 PM electronic composer Phill Niblock, keyboardist Tim Shaw, and multimedia artist Katherine Liberovskaya at Fridman Gallery, 287 Spring St, $15

]2/5, 7:30 PM the Kronos Quartet joins up-and-coming new music ensemble Face the Music in works by Haber and Ramnath at Merkin Concert Hall, $20

2/5, 8 PM unpredictably fun, funny psychedelic art-rock band the Academy Blues Project  at LIC Bar

2/5, 8 PM conscious Ghanian hip-hop artist Poetic X and pianist Yvette Janine Jackson‘s Destination Freedom at Fridman Gallery, 287 Spring St, $15

2/5, 9 PM sweeping, swinging vibraphonist Behn Gillece leads his quartet at the Fat Cat

2/5, 9:30 PM Dilemastronauta Y Los Sabrosos Cosmicos play their cumbia-inspired stoner dub jams at Barbes

2/6, 7 PM purposeful, uneasy, ferociously smart guitarist Sean Moran’s Sun Tiger trio followed at 9 by clever, fiery, eclectic ten-piece Balkan/hip-hop/funk brass maniacs Slavic Soul Party at Barbes

2/6, 7:30 PM violinist Ben Sutin’s high-voltage, eclectic klezmer jamband Klazz-Ma-Tazz at Club Bonafide, $10

2/6, 8 PM lavish oldschool style New Orleans funk/soul orchestra bandleader Brother Joscephus at City Winery, $20 standing room avail

 2/6, 8:30 PM epic cinemascapes and Bollywood cumbia revelry: atmospheric postrockers Empyrean Atlas, accordionist/sitarist Kamala Sankaram’s hot surfy Bollywood/cumbia/psychedelic rock project Bombay Rickey – a launching pad for her spellbinding four-octave voice – and darkly cinematic postrock band the Knells at Littlefield, $15. Bombay Rickey are also at Barbes at 10 on 2/9.

2/6, 8:30 PM Eric Ambel at Rough Trade, $10. Time to put this revered lead guitar monster in the pantheon along with guys like Keith Richards and B.B. King – he’s that good and that diverse. Steve Earle knew that and put him in his band for a long time. 

2/6, 8 PM the Telegraph Quartet play Robert Sirota’s new politically-inspired String Quartet No. 3 plus acerbic quartets by Kirchner and Schoenberg at Weill Hall at Carnegie Hall, $20

 2/6-11, 8:30 PM darkly counterintuitive pianist Sylvie Courvoisier  leads a series of ensembles at the Stone, $20. Choice pick: 2/8 with violinist Mark Feldman

 2/6-11, 8:30/10 PM alto sax icon Miguel Zenón leads his long-running quartet with Luis Perdomo on piano at the Vanguard, $30

2/6, 9 PM oldschool Texas fingerstyle acoustic blues, Romany swing and all sorts of fiery antique styles with fantastic guitarist Noe Socha at Freddy’s

2/6, 9 PM irrepressible multi-instrumentalist Joanna Sternberg wearing her front-porch folk guitarist hat at Sunny’s

2/6, 9:30 PM quirky, smartly lyrical avant chamber pop with the Icebergs at Sidewalk. 2/27, 8:30 they’re at Pete’s 

2/6, 10:30 PM “comedy night” with eclectic, paradigm-shifting B3 jazz organist Brian Charette‘s band at the Django. Not as ridiculous as it seems because he’s actually a great wit if not a FB comedy “star” 

2/6, 10:30 PM state-of-the-art postbop guitarist Will Bernard leads his trio at Korzo

2/6. 10:30 PM charismatic, adventurous postbop/avant garde trombonist/crooner Frank Lacy leads his  quintet at Smalls. He’s also there on 2/27

 2/7, noon French oboist Olivier Stankiewicz with pianist Jonathan Ware play works by Poulenc, Dorati, Saint-Saens and Sancan at the Morgan Library $20 incl museum adm

2/7, 7:30 PM guitarist/songwriter Alicyn Yaffee -the rare artist who successfully bridges the gap between lyrically-fueled chamber pop and jazz –  and her group at the Bar Next Door

2/7, 7:30/9:30 PM inspired, cutting-edge trombonist/composer Ryan Keberle’s Suite Ravel quartet with Frank Woeste – piano; Erik Friedlander – cello; Adam Cruz – drums at the Jazz Gallery, $25

2/7, 8 PM psychedelic klezmer/bluegrass mandolin and clarinet legend Andy Statman at Barbes, $10

2/7, 8 PM Dervisi feat. guitar god Steve Antonakos play haunting underground Greek  revolutionary anthems and hash-smoking songs from the 20s and 30s at Troost. 2/16 at 8:30 they’re  at Espresso 77, 35-57 77th Street, Jackson Hts.

2/7, 7:30 PM witty Microscopic Septet pianist Joel Forrester followed by darkly hypnotic postrock/art-rock supergroup Heroes of Toolik with Moppa Elliott on bass, omfg at Spectrum, $15

2/7,  8 PM Kara Rooney’s But for What’s My Axis? Part 2. Desire, Brian Chase‘s Drums and Drones and Ursula Scherrer at Fridman Gallery, 287 Spring St, $15

2/8-9, 7 PM spectacular, fearlessly relevant singer and Bombay Rickey frontwoman Kamala Sankaram’s multimedia work in progress Looking At You, examining the sinister growth of the surveillance state at Bric Arts, $8 adv tix highly rec

 2/8, 7 PM the record release concert for guitarist Matteo Liberatore‘s “SOLOS ” with an allstar cast feat. Matteo Liberatore, Elliott Sharp, Steve Dalachisky, Carlo Costa at Spectrum, $15

2/8, 7:30/9:30 PM vibraphonist Sasha Berliner with Maria Grand – tenor saxophone; Chris McCarthy – piano ; Ben Tiberio – bass; Mareike Wiening – drums at the Jazz Gallery, $15

2/8, 7:30 PM bluegrass/newgrass mandolin star Sierra Hull featuring Ethan Jodziewicz and Eddie Barbash at Joe’s Pub, $22

2/8, 7:30 PM repeating 2/10 at 8 the NY Philharmonic play Saint-Saens’ Organ Symphony plus the Britten Piano Concerto and Vaughan Williams’ Fantasia on a Theme by Thomas Tallis at Avery Fisher Hall, $32 tix avail 

2/8, 8 PM plush, balmy, oldtimey uke swing band Daria Grace & the Pre-War Ponies at Barbes

2/8, 8 PM amazing Thai psychedelic jamband Drunken Foreigner Band at Holo, $10

2/8, 7:30 PM multi-stylistic global avant-soul chanteuse Imani Uzuri at the Lincoln Center Atrium, free, early arrival advised

2/8, 8 PM mesmerizing sound sculptor/singer Lesley Flanigan, composer/performers Jacob KirkegaardTristan Perich and Katinka Fogh Vindelev at Fridman Gallery, 287 Spring St, $15

2/8, 8 PM awesome psychedelic Afrobeat band Golden Dawn Arkestra at Elsewhere, $12

2/8, 8 PM hard-hitting, brass-fueled newschool latin soul/boogaloo dance band Spanglish Fly play the album release show for their new one followed by 60s boogaloo legend Joe Bataan at Highline Ballroom, $20

2/8, 8:30 PM spellbinding Indian carnatic string jamband Karavika at the Jalopy, $10 adv tix rec

2/8, 10 PM intense gutter blues band Jane Lee Hooker play the album release show for their new one at the Cutting Room, $12

2/8, 10 PM fiery oldtimey string band the Four O’Clock Flowers at Sunny’s

2/9, 7 PM haunting Middle Eastern guitarist/bouzouki player Ayman Fanous with Tomas Ulrich (cello) & Mark Feldman (violin); at 8 he plays with Jason Kao Hwang (viola), Ned Rothenberg (woodwinds), Willam Parker (bass) & Michael Wimberly (percussion) and at 9 with Kali Z. Fasteau (reeds) and guests at Jack, $25 to benefit the Arthur Ashe Foundation

2/9, 7 PM the New Amsterdam Symphony Orchestra play Beethoven’s Archduke Overture plus Mendelssohn’s Scottish Symphony at Symphony Space, $25/$18 stud/srs

 2/9, 7 PM haunting noir cabaret pioneer Little Annie & Botanica piano mastermind Paul Wallfisch at Pangea, $20. They’re also here on 2/11

2/9, 7:30 PM pianist Eliza Garth performs new alternately shimmery and kinetic  works by composers Sheree Clement and Perry Goldstein at the Tenri Institute, 43 W 13th St.., $20/$10 std/srs

2/9, 7:30/9:30 PM drummer Rodney Green leads his quartet at the Cave at St. George’s, 209 E. 16th St (east of 3rd Ave), $15

2/9, 7:30 PM powerful Malian songstress Awa Sangho and the Brooklyn Raga Massive take classical Indian themes to wild new places at the Lincoln Center Atrium, free, early arrival advised

2/9, 7:30 PM all-female chamber choir Lorelei Ensemble sing works by Guillaume Du Fay, David Lang, Scott Ordway, Peter Gilbert, Joshua Bornfield, Shawn Kirchner, Joshua Shank, Adam Jacob Simon and Moira Smiley at Church of St. Luke in the Fields, 487 Hudson St., $25

2/9, 8 PM energetic acoustic Veracruz-style folk-punk band Radio Jarocho at Guadalupe Inn

2/9, 8 PM Buenos Aires bandoneonista Matilde Vitullo followed at 10 by accordionist/sitarist Kamala Sankaram’s hot surfy Bollywood/cumbia/psychedelic rock project Bombay Rickey – a launching pad for her spellbinding four-octave voice – at Barbes

 2/9. 9 PM Palehound – who blend eerie, lyrical new wave with hypnotic motorik vintage Wire-style postpunk – at Brooklyn Bazaar, $15

2/9, 9ish catchy, enigmatic female-fronted dreampop band Loosie at the Owl, $10. 2/25 at 10 they’re at C’Mon Everybody, same price

2/9, 9:30 PM Ava Luna plays Serge Gainsbourg’s Histoire De Melody Nelson at Joe’s Pub, $20. Could be really cool or could be a trainwreck…

2/9, 10 PM the hauntingly kinetic, cinematic Ghost Funk Orchestra at the Gutter, $5

2/9, 10:30 PM acoustic punkgrass band Big High Hills at Freddy’s 

2/10, 3 PM intense, charismatic singer Sami Stevens’ oldschool soul group at the small room at the Rockwood

2/10, 4 PM the Erik Satie Quartet, a stately wind ensemble who reinvent Satie material as well as obscurities by his contemporaries folllowed at 8 by art-song stylist Karen Mantler and at 10 by Yotoco, the “bastard child of Umoja Orchestra, Bioritmo, and Cumbiagra playing a melange of salsa, Afro-Cuban rumba, boleros, and cumbia” at Barbes

2/10, 4 PM this era’s most spellbinding oldschool country singer, Laura Cantrell at Pete’s 2/19, 8:30 PM she’s at City Vineyard for $15

2/10. 7:15ish dark psychedelic acoustic blues/klezmer/reggae/soca jamband Hazmat Modine at Terra Blues.

2/10. 7:30 PM pianist Marc-Andre Hamelin plays works by Liszt, Debussy and Samuel Feinberg at Irving HS Auditorium, 17th/Irving Place, $14

2/10, 8 PM singer Lara Solnicki backed by a killer band – Marta Sanchez, piano; Roman Filiu,alto sax; Rick Rosato, bass; Rodrigo Recabarren, drums at the Cell Theatre, $15/$10 stud/sr

2/10, 8 PM acerbic, spot-on, fearlessly funny political folksinger Rod MacDonald at the People’s Voice Cafe, sugg don, $20; $12 for subscribers; “More if you choose; less if you can’t; no one turned away”

2/10, 9 PM slinky, oud-fueled Middle Eastern/Nile Delta dance orchestra Alsarah & the Nubatones at C’Mon Everybody, $12

 2/10, 9:30 PM creepy lo-fi horror-folk band Lucky Witch & the Righteous Ghost at Sidewalk

2/10, 10 PM bass sax monster Stefan Zeniuk does double duty, first with his punk mambo band the NY Fowl Harmonic  followed by his larger, intense, intricately orchestrated, low register-loving psycho mambo crew Gato Loco at Hank’s, $7

2/10, 10 PM oldschool psychedelic soul/groove band Empire Beats at  the Way Station. 2/14 at 9 they’re at Hill Country

2/11, 2 PM pianist Kirill Gerstein plays works by Schumann, Bach, Debussy and Chopin at the Town Hall, $14 tix avail

2/11, 3 PM a Charles Wuorinen 80th bday tribute by the composer’s champions Steven Beck, Alan Feinberg, Marilyn Nonken, Ursula Oppens, and Jeffrey Swann at the NYU Loewe Theatre, 35 W 4th St, free

2/11, 3 PM the NY Choral Society perform Sir Charles Stanford’s Songs of the Fleet, Op. 117, featuring baritone Jarrett Ott, Mendelssohn’s Hebrides Overture, plus the East Coast premiere of Frank Ticheli’s Symphony No. 3, The Shore at Stern Auditorium at Carnegie Hall, $30 seats avail

2/11, 4 PM Ensemble Leonarda – Susan Hahn Graham, flute; Claire Smith Bermingham violin; Sarah Stone cello; Nancy Kito, harpsichord. – play works by Czech composers Biber, Benda, Tuma, & Zelenka at the French Church du St. Esprit, 109 E. 60th Street (betw. Lex. & Park Ave), $20/$15 stud/srs

2/11, 7 PM a mighty thirty-something piece ensemble plays new big band and orchestral works by trumpeter Matt Holman at Shapeshifter Lab, $10

2/11, 8 PM metalpunks Sharptooth, metalcore crew Stray From the Path and political punk vets Anti-Flag at Highline Ballroom, $20 adv tix rec

 2/11. 8 PM intense Balkan chanteuse Jenny Luna‘s haunting, traditional Turkish band Dolunay  and Sharq Attack with Marandi Hostetter, 5 string violin; Brian Prunka, oud; John Murchison, double bass and Philip Mayer, percussion jamming out classic Middle Eastern themes at the Owl, $10

2/11, 8 PM fearlessly populist LA folk-punks Las Cafeteras and  noir mambo powerhouse Orkesta Mendoza at B.B. King’s, $25 adv ti rec

2/11, 8 PM the Sono Auros Trio with flutist Lucian Rinando, cellist Samuel Magill and harpist extraordinaire Mélanie Genin at the Cell Theatre, free

2/11, 8:30 PM a wild klezmer night with Josh Waletsky, Deborah Strauss & fiddler Jake Shulman-Ment at the Jalopy, $15

2/12, 7:30 PM lush, majestic string ensemble the East Coast Chamber Orchestra play works by Dvořák and Shostakovich as well as the New York Premiere of Derek Bermel’s Murmurations at Music Mondays, Advent Church, northwest corner of 93rd and Broadway, free 

2/12, 7:30 PM the Chosen Vale Trio – trumpeters Sandy Coffin, Erika Izaguirre, and Annie Lemieux – play the world premiere of  Scottish trumpeter/composer John Wallace’s “Spontaneous Combustion: A Trilogy for 3 Brass and Keyboard,” at Christ & St. Stephen’s Church, 122 W. 69th St.  $10

2/12, 8/10 PM  ageless, perennially hard-hitting jazz piano sage and ex-Coltrane bandmate McCoy Tyner at the Blue Note, $30 standing room avail. He’s also here on the 26th.

2/12, 8 PM the NYU Chamber Ensemble plays Missy Mazzoli’s Still Life with Avalanche and other contemporary works at the NYU Loewe Theatre, 35 W 4th St, free

 2/12, 9:30 PM psychedelic cumbia band Los Cumpleanos – new wave synths & retro organ sounds with effect-laden trombone and trumpet as well as a three piece percussion section – at Barbes

2/12, 10 PM no idea who’s playing but could be fun: music from Twin Peaks: The Return live at LIC Bar

2/13, half past noon organist Roman Krasnovsky plays a program TBA at Central Synagogue, 54th/Lex, free

2/13, 5:30 PM drinks at 5:30 PM, show at 6, the Mivos Quartet plays works by their members: Marisol Jimenez, Jeffrey Mumford, and Victor Lowrie’s Streya for violin solo  at the Miller Theatre, free

2/13, 6 PM an acoustic jam followed by an acoustic set by Eugene Hütz and Sergey Ryabtsev of Gogol Bordello along with performance by klezmer legend Frank London & Deep Singh, Bulgarian sax titan Yuri Yunakov, accordion wizard Yuri Lemeshev, oudist Avram Pengas and probably others at Mehanata in celebration of the iconic Bulgarian bar’s unlikely 20th anniversary, $20, first 200 through the door get a free Mehanata 20th anniversary t-shirt

 2/13, 7:30 PM the San Francisco Girls Chorus sing works from their album by Philip Glass, Lisa Bielawa, John Zorn, Carla Kihlstedt, Matthew Welch, and Theo Bleckmann at the Poisson Rouge, $15 adv tix rec

2/13, 7:30 PM legendary downtown performance artist Penny Arcade’s scathingly anti-gentrification memoir/call to arms Longing Lasts Longer at the Lincoln Center Atrium, free, early arrival advised

2/13, 8 PM the all-female Resistance Revival Chorus sing anti-trumpie broadsides with special guests at the Knitting Factory, $15, all proceeds to their fave pro-immigrant groups. Special superstar guests are likely. 

 2/13-18, 8:30/10 PM state-of-the-art large jazz ensemble the Vanguard Jazz Orchestra play a week on their home turf, $30

2/13-18, 8:30 PM legendary klezmer/Balkan trumpeter Frank London leads a series of ensembles at the Stone, $20. Choice pick: 2/17 with LES Elegy 5: Fuck Gentrification (Tribute to Lester Bowie) with Edward Arrocha aka Eak the Geek (poet) Jaimie Branch (trumpet) Vincent Chancey (horn) Brian Drye, Josh Roseman (trombones) Eyal Maoz (guitar) Newman Baker (drums) Marcus Rojas (tuba)

2/13. 8:30 PM captivating, darkly tuneful  pianist Shai Maestro leads his trio at Shapeshifter Lab at Shapeshifter Lab, $12

2/13, 9:30 PM the Bronx Conexion play their mighty salsa big band jazz at the Nuyorican Poets Cafe

2/14, 6 PM santoorist Vinay Desai with table player Tejas Tope at the Rubin Museum of Art, free w/museum adm

2/14, 6 PM dark parlor-pop pianist/songwriter Juliet Strong at the small room at the Rockwood

2/14, 7:30 PM dark psychedelic soundtrack legends Morricone Youth with special guest, haunting noir singer Karla Rose on vocals at Nighthawk Cinema in Williamsburg is sold out. Bummer!

2/14, 8 PM Melissa & the Mannequins play all their lusciously tuneful, heartbroken janglerock songs at LIC Bar

2/14, 10 PM fiery, deviously fun oldtimey swing guitarist/crooner Seth Kessel & the Two Cent Band at Sunny’s – a cool anti-Valentines night out

2/15-16, 7:30.9:30 PM intense pianist Gerald Clayton  with Joel Ross – vibraphone; Matt Brewer – bass; Obed Calvaire – drums; Gabo Lugo – percussion at the Jazz Standard, $30

2/15, 7:30 PM Tito Puente Jr. and many alums from his dad’s band at the Lincoln Center Atrium, free, early arrival advised

2/15, 8 PM intense Balkan chanteuse Jenny Luna‘s haunting, traditional Turkish band Dolunay  at Barbes

 2/15, 8:30 PM the socially conscious Paul Jones on saxophone with Tim Thorton on bass and Colin Stranahan on drums at the Bar Next Door, $12

2/15, 8:30 PM sensational Indian classical violinist/improviser Arun Ramamurthy ’s Unstruck Sound drone project at the Jalopy, $10 adv tix rec

2/15, 9 PM a klezmer dance party with chanteuse Sarah Myerson, Lauren Brody, Aaron Alexander & a special surprise guest at Funky Joe’s, 455 W.56th St, $15

2/15, 9:45 PM excellent, darkly jangly psychedelic band Oberon Rose at the Gutter, $5 

2/15. 10:30 PM explosive, creepy, colorful psychedelic rembetiko metal band Greek Judas at Hank’s 

 2/16, 6:30 PM elegant, sharply lyrical parlor pop stylist Heather Eatman at the American Folk Art Museum

2/16, 7 PM Whitney George’s chamber ensemble plays George’s Chasing Light and new works by New York based composers at Brooklyn Conservatory of Music, reception to follow, $15/$10 stud/srs

2/16, 7 PM the Ariel Winds with pianist Tania Tachkova play an all-French program including works by Rameau – Vier Stuke, Jacques Ibert, Georges Auric, Claude Debussy, Gabriel Pierné, and Francis Poulenc at Bloomingdale School of Music, 323 W 108th St (off of Broadway), free

2/16, 7:15 PM cinematic guitarist Demir Demirkan plays the album release show for his ferocious, politically-inspired new one at Drom, $10 adv tix rec

2/16, 7:30/9:30 PM haunting, epic, tunefully individualistic pianist/composer Fabian Almazan’s epic Alcanza septet at the Jazz Galley, $25

2/16, 8 PM the sleek, new wave-influenced Wye Oak, and Metropolis Ensemble play William Brittelle’s song cycle Spiritual America featuring Brooklyn Youth Chorus and Ben Cassorla (guitar) at Symphony Space, $25, $20 under 30

2/16, 8 PM an unclassifiable trio of adventurous violinists at the Owl, $10: the ambient-inclined Zosha Warpeha, the Israeli Gaya Feldheim-Schorr & the carnatically-inspired Ashni

2/16, 8 PM 178 Product play their slinky, psychedelic latin soul jams followed bybass goddess Felice Rosser’s ageless reggae-rock-groove band Faith at Rose Gold, 96 Morgan Ave, Bushwick, L to Morgan Ave, $10

2/16, 8 PM jugband music with the charming, all-female Queens of Everything Crisco Dreams, the Brotherhood of the Jug Band Blues – who do an awesome, slyly funny evocation of the Memphis Jug Band – and the Ever-Lovin’ Jug Band at the Jalopy, $12

2/16, 8 PM  rustic Brazilian jungle guitar sounds with Regional de NY followed at 10 by the intoxicatingly clattering, sintir bass lute fueled Moroccan trance grooves of Innov Gnawa at Barbes

2/16, 9 PM lush, atmospheric female-fronted art-rock/postrock/soul band Votive Crown at Club Bonafide, $10

2/16, 9ish excellent female-fronted metal-tinged 80s style powerpop band Bat Fangs at Union Pool 

 2/16, 9 PM luminous, astonishingly eclectic, wickedly tuneful cello-rock badass Serena Jost at Pete’s

2/16, 9 PM hilarious, smartly political faux-French retro 60s psych-pop band les Sans Culottes at Bar Chord

2/16, 9ish exotic vibraphone surf rock band the Vibro-jets – a Sea Devils spinoff – at Troost. 

2/16, 11 PM the darkly eclectic, enigmatic Lorraine Leckie  – equally adept at Slavic and Americana noir and dark cabaret – at Sidewalk

2/16. 11:30 PM cleverly lyrical, murderously witty murder ballad/chamber pop allstars Charming Disaster at Pine Box Rock Shop

  2/17, 2 PM everybody’s welcome to join in a community spiritual singalong at St. George’s Church, on Stuyvesant Park, 7 Rutherford Place between 16th and 17th Sts, east of Third Ave.

2/17, 4 PM trumpeter Ben Holmes and  clarinetist Michael Winograd play their haunting, occasionally wild new klezmer tunes  followed at 6 by oudist Brian Prunka taking a rare turn on guitar leading a jazz trio, at 8 by art-rocker Pierre de Gaillande’s Bad Reputation playing witty chamber pop English translations of Georges Brassens classics  and then at 10 by psychedelic latin bandleader Zemog El Galle Bueno at Barbes

2/17, 7 PM zydeco road warriors the Lost Bayou Ramblers at National Sawdust, $15 adv tix rec

2/17, 7:30 PM torchy, oldschool fadista Sofia Ribiero’s trio at Club Bonafide, $20

2/17, 7:30 PM all-star septet collective ECCE play an Italian/American-themed program comprising Clara Iannotta’s Limun, Salvatore Sciarrino’s Tre Notturni Brillanti, and the New York premiere of Angelus Novus,  a new monodrama by ECCE’s John Aylward at the DiMenna Center,$20/$10 stud/srs 

2/17, 8 PM high-voltage psychedelic cumbia band MAKU Soundsystem – whose latest album takes a detour toward Caribbean and African sounds – at C’Mon Everybody, $12

2/17, 8 PM jugband music with Washboard Slim & the Blue Lights, thDirdy Birdies Jug Band, eclectic, electric C&W/blues band the Jug AddictsSwampgrass Jug Band and at midnight Fatboy Wilson & Old Viejo Bones at the Jalopy, $12

 2/17, 8:30 PM noir guitar legend Jim Campilongo leads his trio at Bar Lunatico

2/17, 9 PM the Crown Heights Saxophone Quartet play a program TBA at Spectrum, $15

 2/17, 11 PM fiery, psychedelically bluesy oldschool soul/southern rockers Lizzie & the Makers  at Sidewalk. 2/21, 7 PM they are at Arlene’s for $8

 2/18, 3 PM adventurous organist Renee Anne Louprette plays works by Bach, De Grigny, Boulanger and Maurice Duruflé  from her new album at St. Ignatius Church, 980 Park Ave at 84th, $25, reception to follow

 2/18, 4 PM percussionist Ian Rosenbaum, violinist Emily Daggett Smith and cellist/composer Andrea Casarrubios play works by Osvaldo Golijov, Andy Akiho, and Casarrubios herself –  the world premiere of Liberty Rose Weeping – at National Sawdust, $30 adv tix rec

2/18, 4 PM trailblazing pipa goddess and singer Min Xiao-Fen and guitarist Rez Abbasi create a live score to the 1934 Chinese silent film The Goddess at  Roulette, $15 adv tix rec

2/18, 4 PM pianist Steven Masi plays the seventh concert in his eight-part Beethoven sonata cycle  at the Dreck Center at the Brooklyn Public Library, free, no under-sixes.

2/18, 7 PM the New Thread Saxophone Quartet play a program TBA at Spectrum, $15

2/18, 8 PM art-song and excerpts from a new opera, a “Brechtian take on a detective story” by Changing Modes’ mastermind Wendy Griffiths plus Thomas Addison, Faye-Ellen Silverman, Carolyn Lord and David Tcimpidis at the New School’s Arnholt Hall auditorium, 1st floor, 55 W 13th St., free

2/19, 7 PM first-rate purist honkytonk crooner/bandleader Clifford Westfall at the small room at the Rockwood

2/19, 8ish edgy, improvisationally-inclined microtonal string ensemble the Sirius Quartet , the electroacoustic Cenk Ergun/Jason Treuting/Jeff Snyder trio, and So Percussion at Brooklyn Bound, 20 Grand Ave. #205 (Park/Flushing), Ft. Greene, F to Jay St and about a 15 minute walk, $10

2/19, 9:30 PM ex-Chicha Libre keyboard sorcerer Josh Camp’s wryly psychedelic cumbia/tropicalia/dub band Locobeach at Barbes

2/20, 7 PM Eleonore Biezunski (violin, vocals), Ilya Shneyveys (accordion) and Jake Shulman-Ment (violin) playing haunting old klezmer tunes followed at 9 by clever, fiery, eclectic ten-piece Balkan/hip-hop/funk brass maniacs Slavic Soul Party at Barbes

2/20, 7 PM classical guitarist Dan Lippel performs works by Ingram Marshall, Fausto Romitelli, Reiko Fueting, Ursula Mamlok, Martin Bresnick, Chris Rogerson and a world premiere by Ryan Harper at the Poisson Rouge, $15 adv tix rec, show up early for free kettle corn!

2/20, 7:30 PM fiery alto saxophonist Lucas Pino’s twin-guitar No No Nonet at Smalls

2/20-21, 8 PM Joe Diebes’ new chamber opera Oyster – inspired by Alan Lomax’s “cantometrics “system of analyzing and categorizing songs from around the world – featuring John Rose, Christina Campanella, Michael Chinworth, and Saori Tsukada at Roulette, $20 adv rix rec

2/20, 10 PM  brilliant drummer/percussionist Willie Martinez & La Familia Sextet play classic salsa grooves at the Nuyorican Poets Cafe

2/20, 11 PM pastoral gothic accordion art-rock with Sam Reider & the Human Hands at the small room at the Rockwood

 2/21 ,6 PM Middle Eastern jazz sorcery with Tom Chess on oud and percussionist Shane Shanahan at the Rubin Museum of Art, free w/museum adm

2/21, 7 PM the NY New Music Ensemble play new works by Brazilian composers  Alexandre Lunsqui, Flo Menezes, and Silvio Ferraz at the Americas Society, 680 Park Ave, free 

 2/21, 7 PM singer/percussionist Sandy Cressman with Vitor Gonçalves on piano and accordion, Flavio Lira on bass, Vanderlei Pereira on drums and trombonist daughter Natalie Cressman at Zinc Bar 

2/21, 7:30 PM Talea Ensemble play Luigi Nono’s “La Lontananza Nostalgica Utopica Futura” for violin and 8-channel electronics at the Italian Academy at Columbia, 1161 Amsterdam Ave south of 118th, free

2/21,  7:30 PM a rare bass-fronted large jazz ensemble (just like Mingus), the Ross Kratter Jazz Orchestra at Club Bonafide, $15

2/21, 8 PM gonzo postbop pianist Dred Scott leads his trio at Mezzrow, $20. They’re also here on 2/28

2/21, 9 PM Nik & the Central Plains – excellent dark Americana/Nashville gothic band in need of a strong lead singer – at LIC Bar 

2/22, 7:30 PM this era’s most interesting voice in retro Britrock and glam-inspired art-rock, Edward Rogers and his killer band and twelve-string guitar legend Marty Willson-Piper of the Church at the Cutting Room, $20

 2/22, 7:30/9:30 PM pianist Theo Walentiny leads a septet with Adam O’Farrill on trumpet at the Jazz Gallery, $1

2/22, 7:30 PM the Harlem Quartet perform Piston: Quartet No. 3; Debussy: Quartet in G minor; Guido López Gavilán: Guaguanco at the Lincoln Center Atrium, free, early arrival advised

2/22, 7:30 PM fiery, ambitious pan-slavic violinist/composer Iva Bittova at the Jewish Museum, $18 incl museum adm

2/22, 8 PM hauntingly innovative cellist Erik Friedlander solo at Russ & Daughters, Houston and Allen Sts., free

2/22, 8  PM haphazardly careening, occasionally theatrical dreampop/noiserockers Gold Dime  and artsy, edgy, catchily enigmatic 90s indie favorites Rainer Maria at Elsewhere, $21 (yup not $20)

2/22, 8 PM guitarist Raimundo Santander and drummer Rodrigo Recabarren’s Chilean jazz band Pergrinios at Barbes

2/22, 9 PM check out this awesome klezmer lineup: Frank London, Michael Winograd, Zevy Zions, Joanna Sternberg, Aaron Alexander at Funky Joe’s, 455 W.56th St, $15

2/23, 3 PM intricately orchestrated, low register-loving psycho mambo crew Gato Loco somewhere at the School of Visual Arts, 209 E 23rd St

2/23, 5:30 PM low-key, thoughtful oldtime country blues guitarist Jon LaDeau at the American Folk Art Museum

 2/23, 7:30 PM irrepressibly theatrical parlor pop pianist Greta Gertler Gold‘s Une Parisienne in New York at Dixon Place, free. 2/28 at 8 she’s at Barbes doing her poignant, occasionally quirky art-rock songs

2/23-24, 7:30/9:30 PM enigmatic parlor rock/jazz singer Becca Stevens solo and with special guests at the Jazz Galley, $25

2/23, 7:30 PM Estonian artists Sten Heinoja (piano) and Theodor Sink (cello) play works by Beethoven, Shostakovich, Piazzolla, Eller,Tüür at Christ & St. Stephen’s Church, 122 W. 69th St. free

2/23, 8 PM dark 90s psychedelic pop faves the Dandy Warhols at Highline Ballroom, $23 adv tix rec. They’re also at Warsaw on 2/25 at 9 for $5 more (in advance – tix at the Mercury)

2/23, 8 PM Resident Alien with Ali Sethi on vocals, Sunny Jain on drumset/dhol, Grey Mcmurray on guitar and keyboards, and Elenna Canlas on keyboards. play immigration-inspired grooves at the Poisson Rouge, $15 adv tix rec

2/23, 8 PM overtone-spiced works by Tashi Wada performed by cellist Charles Curtis, bassoonist Dafne Vicente-Sandoval and keyboardist Julia Holter at the San Damiano Mission, $20

2/23, 8 PM popular purist postbop saxophonist Eric Alexander leas his quartet at Flushing Town Hall, $16/$10 stud/srs, 13-19 free w/ID

2/23, 8 PM guitarslinger Phil Gammage plays his dark Americana and blues  at Sidewalk

2/23, 8:30 PM Brooklyn surf cover crew Band of Others, the percussively self-explanatory Bongo Surf, and the majestic, cinematic TarantinosNYC  at Freddy’s 

2/23, 10 PM this era’s most chillingly cinematic, shadowy reverbtoned noir guitar instrumentalists, Big Lazy at Barbes

2/23, 10 PM creepy Laurel Canyon art-rock/psych-folk/dark Americana band Quicksilver Daydream  at Pine Box Rock Shop

2/23, 10 PM drummer Dan Pugach leads his nonet with the explosive Nicole Zuraitis on the mic at 55 Bar

2/23-24, 10:30 PM up-and-coming postbop tenor saxophonist Immanuel Wilkins leads his quintet at Smalls

2/23, 11 PM inscrutable avant jazz singer Renata Ziegeur plays the album release show for her new one at Union Pool, $12

 2/24, 3 PM pianist Sarah Sherman, violinist Anne Marie Bermont and cellist Luke Krafka play Bach Inventions and the Rachmaninoff Cello Concerto at Scholes St; Studios, $15

2/24, 7 PM Patti Smith lead guitarist Lenny Kaye and hilariously acerbic, perennially relevant purist Americana songwriter Amy Rigby playing the album release show for her new one at El Cortez, $tba

2/24, 7 PM Unheard-of Ensemble play works by Meg Schedel, Erin Rogers, Reiko Fueting, Nickitas Demos, and Michael Lanci among others  at Spectrum $15

2/24. 7:30 PM rising star cellist Narek Hakhnazaryan plays works by Schumann, Brahms, Albeniz Tsinadze and Massenet at Irving HS Auditorium, 17th/Irving Place, $14

 2/24, 8 PM NY Polyphony sing Tallis’ Lamentations at the Church of St. Mary the Virgin, $30 seats avail 

2/24, 10 PM wild, noisy, genuinely Hendrixian virtuoso lead guitarist Viva DeConcini and her band at the Way Station.

 2/24-25, 10 PM one of NYC’s original urban country dudes, Alex Battles plays his annual Johnny Cash bday tribute at Littlefield, $10

2/25, 3 PM the North/South Chamber Orchestra performs new works by Josh Henderson and Ching-chu Hu. Soprano Elizabeth Farnum joins the ensemble for a repeat performance of David Maves’ setting of John Donne’s The Captive at Christ & St. Stephen’s Church, 122 W. 69th St. free

2/25,  7 PM smart purist oldtime blues/Americana resonator guitarist Zeke Healy & intense, eclectic violist Karen Waltuch make wild psychedelia out of classic Americana folk themes followed at 9:30  by Romany jazz/psychedelic rock guitar mastermind Stephane Wrembel at Barbes

2/25, 7 PM velvety noir jazz singer (and Tickled Pinks member) Stephanie Layton’s impressively eclectic torch/swing jazz band Eden Lane at Caffe Vivaldi

2/25, 10:30 PM noir-inspired alto saxophonist/composer Nick Hempton leads leads a quartet at Smalls 

2/26, 9:30 PM singer Carolina Oliveros’ mighty 13-piece Afro-Colombian  trance/dance choir Bulla en el Barrio at Barbes

 2/26, 11 PM the diversely rippling NY Electric Piano at the small room at the Rockwood 

 2/27. 7:30/9;30 PM drummer Adam Nussbaum’s Leadbelly Project – reinvented jazz versions of oldtime blues classics – at the Jazz Standard, $25

2/27, 8 PM singer “Amirtha Kidambi‘s Yajna, a solo vocal ritual, a sacrifice to the metaphoric sacred fire to purge the dark energies of this era” at Roulette, $15 adv tix rec.

2/27, 8 PM fearlessly haunting, dynamic, charismatic Romany/Balkan chanteuse Eva Salina with pyrotechnic accordionist Peter Stan at Union Pool, $13

2/27-3/3 8:30 PM ambitious, lustrous trumpeter/composer Jonathan Finlayson leads a series of ensembles at the Stone, $20. Choice pick: opening night with his sextet

2/27, 9 PM blues guitarist Will Scott – who can play just about any style from all over the country  at Sunny’s

2/27, 9 PM dancehall pioneer Big Youth – Jamaica’s bestselling reggae artist of the 70s – at B.B. King’s

2/27, 9 PM cinematic Quincy Jones-style B3 gutbucket organ jazz with Underground System’s Colin Brown and his band at Freddy’s

2/27, 9PM edgy lefty guitarist Damian Quinones and his psychedelic latin soul band at Bar Chord

2/28, 6 PM psychedelically machinegunning hammered dulcimer virtuoso Max ZT solo at the Rubin Museum of Art, free w/museum adm

2/28, 7 PM Blagomira Lipari, violin; Katinka Kleijn, cello and Ani Gogova, piano play works by Piazzolla, Shostakovich, Vladigerov and others at the Bulgarian Consulate, 121 E 62nd St, free, res req 

 2/28-3/1, 7:30/9:30 PM cornetist Taylor Ho Bynum leads a wild string band: Tomeka Reid – cello; Stomu Takeishi – electric bass ; Ken Filiano – acoustic bass; Tomas Fujiwara – drums at the Jazz Gallery, $20

2/28, 7:30 PM  bassist Xavier Foley plays works by Bach, Sperger, Franck and his own compositions at Merkin Concert Hall, $10 seats avail

2/28, 7:30 PM the NY Philharmonic with Jaap van Zweden on the podium plays Brahms’ Piano Concerto No. 1 with Yuja Wang as soloist and Prokofiev’s Symphony No. 5 at Avery Fisher Hall, the show repeats on 3/1 at 7:30 and 3/2-3 at 8.

2/28, 8 PM “indie classical piano/percussion ensemble Bearthoven teams up with Shelley Washington, Kristina Wolfe, Adam Roberts, Scott Wollschleger to perform new works for modern anxieties” at Roulette, $20 adv tix rec.

2/28, 8:30 PM alt-country pioneer and brilliant guitarist Robbie Fulks at City Vineyard, $15

2/28, 8 PM slinky psychedelic Americana rockers American String Conspiracy  at Silvana

 2/28 10:30 PM adventurous, individualistic postbop jazz organist Jared Gold leads his trio at Smalls

3/1, 7:30 PM the Ladies Day Jazz Quartet – MJ Territo – vocals; Linda Presgrave – piano; Iris Ornig – bass; and Barbara Merjan – drums – play material by women jazz composers including Mary Lou Williams, Marian McPartland, Peggy Lee, Abbey Lincoln, Patricia Barber,  at Club Bonafide,$tba. That’s a hell of a rhythm section.  

3/2, 5:30 PM irrepressible multi-instrumentalist Joanna Sternberg does her charming, oldschool Americana songwriter thing at the American Folk Art Museum

3/2, 7 PM violist Aundrey Mitchell & pianist Tim McCullough trace the development of viola music from the classical era to the mid 20th century with a program tba at Bloomingdale School of Music, 323 W 108th St (off of Broadway), free

3/2, 9:30 PM intricately orchestrated, low register-loving psycho mambo crew Gato Loco and searing, theatrical Romany/Balkan punk rockers Bad Buka at Brooklyn Bazaar, $10

3/3,  2 PM artist Julie Klear leads a “protest animal” workshop for children: “kids are invited to create their own animal and choose an emotion, a protest, and to voice an opinion,” at FIAF Tinker Auditorium, 55 E 59th Street (between Park and Madison Avenue), free w/rsvp  

3/3, 7 PM jazz sax icon Miguel Zenón, with Bang on a Can clarinetist Evan Ziporyn lead an ensemble playing a benefit for Puerto Rico at Silberman School of Social Work Auditorium, 2180 Third Ave, $20

3/3, 8 PM bassist Mark Wade leads his lyrical piano trio at Club Bonafide, $15

3/4, 2:30 PM the Apple Hill String Quartet play a program TBA at St. Bartholomew’s Church, 325 Park Ave at 51st, $25/$15 stud/srs

3/5, 7:30 PM the Manhattan Chamber Players with guest cellist Marcy Rosen perform Schubert’s Quartettsatz plus string quartets by Mozart and Brahms at Holy Trinity Lutheran Church, 3 W. 65th St., $20, students/kids free

3/8, 7:30 PM genre-smashing avant-jazz saxophonist/singer Stephanie Chou with Andy Li on erhu and viola and Kenny Wollesen on drums at the Lincoln Center Atrium, free, early arrival advised

3/9, 10 PM duskily  Leonard Cohen-influenced janglers the Low Anthem at Bowery Ballroom, $20 adv tix rec

3/12-14, 8/10 PM  ageless, perennially hard-hitting jazz piano sage and ex-Coltrane bandmate McCoy Tyner at the Blue Note, $30 standing room avail.

3/13, 8 PM the North/South Chamber Orchestra play Robert Martin’s Wind Quintets at Christ & St. Stephen’s Church, 122 W. 69th St. free

3/14, 7 PM Colin Stokes, cello and Sophie Zhang, piano play works by Goleminov, Stravinsky, Poulenc and Bridge at the Bulgarian Consulate, 121 E 62nd St, free, res req 

3/14, 8 PM the darkly eclectic, enigmatic Lorraine Leckie  – equally adept at Slavic and Americana noir and dark cabaret – plays the album release show for her wildly psychedelic new album Live at Mercury Lounge at…the Mercury, where else, $tba

3/15-18, 8/10 PM ageless jazz drum legend Roy Haynes celebrate his 93rd bday at the Blue Note, $30 standing room avail

3/16, 5:30 PM multi-instrumentalist Bassam Saba & guests from the NY Arabic Orchestra play a kid-friendly introduction to the magical microtone of the Middle East for zgess 4-up at the Cultural Services of the French Embassy, 972 Fifth Avenue (at 79th Street), free

3/16, 7:30 PM perennially vital latin jazz piano sage Eddie Palmieri at the Lincoln Center Atrium, free, early arrival advised

3/17, 1 PM a “Poetry as Protest” workshop for kids with Amélie Gaulier: “kids are encouraged to create their own slogan, protest poster, catchphrase, or mantra,” at FIAF Tinker Auditorium, 55 E 59th St

3/17, 8 PM haunting, dynamic oudist Simon Shaheen’s Qantara with special guest group the Qantara Berklee Ensemble play iconic themes from Arabic cinema across the decades at Roulette, $30

3/22, 7 PM a sax summit: the PRISM Quartet, Dave Liebman, Rudresh Mahanthappa, Tim Ries, and Miguel Zenón, wow, at Symphony Space, $23/$15 srs/$8 stud

3/22, 7:30 PM the Heath Quartet play Haydn: Quartet in C major, Op. 74, No. 1; Tchaikovsky: Quartet No. 1 at the Lincoln Center Atrium, free, early arrival advised

3/22, 9 PM noisy, shambling 90s Britrock nostalgia: the Wedding Present at the Bell House, $20 adv tix rec

3/23, 7:30 PM haunting, edgy Middle Eastern jazz pianist Tarek Yamani at the Lincoln Center Atrium, free, early arrival advised

3/26, 7:30 PM the Brentano Quartet play works by Haydn, Brahms and Steven Hartke at Music Mondays, Advent Church, northwest corner of 93rd and Broadway, free

3/27, 8 PM Courtney Marie Andrews – who’s gone in a refreshingly purist Melba Montgomery-ish 70s C&W/soul direction – at the Mercury, $12

3/28, 7:30 PM Elissa Cassini, violin + Roy Amotz, flute play Gervasoni reinventions of Bach at the Italian Academy at Columbia, 1161 Amsterdam Ave south of 118th, free

3/29, 7:30 PM Portuguese fado-jazz crooner/guitarist António Zambujo at the Lincoln Center Atrium, free, early arrival advised

4/2, 7:30 PM eclectic Bay Area vocal jazz sextet Jazz-Ology at Club Bonafide, $2o 

4/8. 10 PM hard-hitting, brass-fueled newschool latin soul/boogaloo dance band Spanglish Fly at Bembe, 81 S 6th St, Williamsburg

4/18, 7:30 PM Seth Parker Woods, cello, with Ashleigh Gordon, viola play a world premiere by Giorgio Nett and works by Claudio Gabriele, Matthias Pintscher, and Giacinto Scelsi at the Italian Academy at Columbia, 1161 Amsterdam Ave south of 118th, free

4/27, 8 PM a rare NYC appearance by Afghani rubab lute virtuoso Homayoun Sakhi at Roulette, $30

4/28, 8 PM epic sitarist Ustad Shahid Parvez at Roulette, $30

4/29, 7 PM Hossein Omoumi, virtuoso of the Persian ney flute, makes a rare NY appearance joined by evocative vocalist Jessika Kenney, Amir Koushkani on setar and tar lutes, and Hamin Honari  on tombak and percussion at Roulette, $30

Repartee and Revelations From Young Concert Artists on the Upper West

Is it fair to a duo act to say that the highlight of their show involved only one of them? In this case, that’s a reflection of the material on the bill rather than the performance. The piece was Tonia Ko’s mesmerizing Waves and Remains for Solo Violin; the player was Benjamin Baker, at Merkin Concert Hall this past evening.

The composer introduced it as an illustration of how clouds passing across the sky metaphorically reflect the transitory nature of home, and whether it’s actually possible to go back. Strumming, she explained, reminds her of her Hawaiian childhood, and that’s how Baker opened the work, tersely, then shifted to steady, circling phrases that interpolated pizzicato accents within them. The device can be maddeningly difficult to play, cleanly – Baker made it seem effortless. Ko’s increasingly uneasy series of waves and echo devices rose to a very amusing, atonal paraphrase of a well-known nursery rhyme at the end.

Baker and his frequent tourmate, pianist Daniel Lebhardt, also had great fun with Britten’s Suite for Piano and Violin, Op. 6. Their playful jabs during the call-and-response of the opening march segment were matched by the more lingering, lyrical camaraderie that the composer artfully shifts to in the second movement, and also in the third, almost a parody of a minuet.

There were two other pieces on the bill as well. The duo opened the show with the slow upward trajectory of Schubert’s Fantasy in C Major, D. 934, Lebhardt attacking the recurrent series of rapidfire, tremoloing phrases with remarkable restraint, leaving the floor to Baker for a display of pensive grace and silken, high harmonics. And yet, Baker couldn’t resist sliding just a hair toward the feral blue notes of Hungarian folk music when Schubert’s faux-Romany dance kicked in.

They closed with the predictable High Romantic angst of Elgar’s Sonata for Violin and Piano in E Minor, a post-World War I reflection that’s hardly the match for, say, what Bartok or Ullmann had to say about it, but the crowd enjoyed the whole thing. The takeaway from this show, staged by Young Concert Artists, seemed to be “these guys are going to do pretty much everything a classical musician is required to do in 2018.” This performance ultimately revealed as much about a professional friendship as it did the two musicians’ formidable chops.

The Young Concert Artists series has helped launch the careers of a similarly formidable list of players, including but not limited to Pinchas Zuckerman, Richard Goode and Dawn Upshaw. Ko happens to their latest composer-in-residence: based on this piece, they chose spectacularly well. The next performance on this season’s schedule is at the Morgan Library at noon on Feb 7 with oboeist Olivier Stankiewicz and pianist Jonathan Ware playing an all-French program of works by Poulenc, Dorati, Saint-Saens and Sancan; cover is $20 including museum admission.