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Catherine Russell Brings Her Edgy Retro Swing and Blues Reinventions to Birdland

Catherine Russell has made a career out of bringing edge and freshness to old swing jazz tunes both popular and obscure. Much as she’s often mined the so-called “great American songbook” for much of it, she and her band steer clear of cliches. Other than the present, the time period they most closely evoke is the early 30s, before swing got watered down for segregated white audiences. And where so many other jazz singers mimic icons from decades past, Russell long ago developed a resolute, purposefully individualistic style, with a deep if not always immediately present blues influence – something you might expect from someone whose pianist father Luis was Louis Armstrong’s musical director. Her new album Alone Together – which hasn’t hit her Spotify channel yet – is just out. She and her similarly purist group are celebrating the release with a stand at Birdland this Feb 12-16, with sets at 9 and 11 PM. You can get in for thirty bucks.

They open the new record with the title track: ultimately, it’s an optimistic ballad, but both Russell and the band anchor it with a steady, gritty swing, pianist Mark Shane and trumpeter Jon-Erik Kellso ramping up an underlying, steely bluesiness. Likewise, Russell and Shane max out the irony in You Turned the Tables on Me, over bassist Tal Ronen and drummer Mark McLean’s steady stroll.

When Did You Leave Heaven has a plush string section, a subtle 12/8 rhythm and a spare, spacious soul solo from musical director/guitarist Matt Munisteri. They reinvent Early in the Morning as a barrelhouse piano cha-cha, punctuated with Mark Lopeman’s tenor sax and Munisteri’s wry Chicago blues solo. Then they turn Is You Is or Is You Ain’t My Baby into a wary New Orleans stroll with a terse, edgy horn chart, probably the last thing Louis Jordan ever imagined for this song – at least until Kellso cuts loose with his mute.

Russell matches sass to knowing sarcasm while the band romp through You Can’t Pull the Wool Over My Eyes, Lopeman and Kellso trading off with trombonist John Allred with some lively dixieland. Her angst is more distant in Shake Down the Stars, Shane’s emphatic solo giving way to Kellso’s airier, more wistful lines. Then the group take their time with a gorgeously bittersweet, take of the blues ballad I Wonder, lowlit by Munisteri’s tremoloing guitar and resonant washes of brass.

The real gem here is the innuendo-packed hokum blues He May Be Your Dog But He’s Wearing My Collar, a 1923 hit for singer Rosa Henderson, who would no doubt approve of Russell’s defiance over Shane’s stride piano and Munisteri’s shivery slide work. The band romp through the sudden tempo shifts of Errand Girl for Rhythm and then flip the script with a steady, darkly ambered take of How Deep Is the Ocean. Likewise, they keep a purposeful slink going through their take of I Only Have Eyes for You.

They wind up the album with a tasty version of You’re Not the Only Oyster in the Stew, with a nod over the shoulder at those great 1920s Bessie Smith/James P. Johnson collaborations. Russell has made a bunch of good records over the years but this might be the best of them all.

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Haunting Intensity from the Navarra String Quartet at Lincoln Center

Just about every month this spring, there’s a free classical concert at the Lincoln Center atrium space on Broadway just north of 62nd Street in conjunction with the current Great Performers series. There’s also just about every other stye of music made in every community in New York here too. It’s especially interesting to see who turns out for the classical shows. Last night a packed house representing just about every age group and community here in town was treated to a performance by UK group the Navarra String Quartet.

Cellist Brian O’Kane introduced Latvian composer Pēteris Vasks’ music as “Full of beautiful landscapes, very atmospheric…one can hear his love of nature and quite a lot of spirituality. In contrast, there are quite a few episodes of struggle after a very horrible regime in the Eastern Bloc.”

The group moved gently into the stillness, ghostly glissandos and subtle trills of the opening movement of his 1999 String Quartet No. 4. O’Kane anchored the group’s slow climb from brooding austerity to agitation and then back, violinists Magnus and Marije Johnston rising alongside Sascha Bota’s viola.

Furtively circling, rhythmic variations on a chase theme grew to a blaze, reflecting O’Kane’s comments about the music’s political content. The group channeled desolation and loss in a muted series of ominously stacked, Arvo Part-like harmonies, going deep into the relentless angst as the music peaked in a series of waves.

The contrast between the violins and the lower instruments underscored a growing terror as the chase scene recurred: no doubt this kind of thing happened all the time when the KGB were prowling Vasks’ home turf. Exchanges of guarded prayerfulness and forlorn resignation mingled in the mist; Bota adding  hushed, somberly tremoloing pedalpoint. The eerily wafting conclusion offered no sense of closure: the audience, who’d already been taken by surprise by the composer’s many full stops earlier i the work, slowly processed the intensity.

Right at the second the group returned to the stage for Ravel’s String Quartet in F Major, a siren wailed down Columbus Avenue. Undeterred, the quartet built Parisian wistfulness toward a heroic overture, Magnus Johnston’s silken but aching lines telgraphing that all would not be fin de siècle contentment here.

The group’s vigorous pizzicato had the same effect in the waltzing second movement, foreshadowing the twists and turbulence that ends up infusing the dance. The wounded calm the ensemble built in the third was as it was gorgeous, especially when they hit the big crescendo. Likewise, their fiery launch into the fourth. Credit the quartet for realizing what a perhaps surprisingly good segue it made after the harrowing intensity of the first half od the program.

They encored with a moody miniature by Kurtag, “To calm ourselves down,” as O’Kane grinned. The next Lincoln Center atrium concert is on Valentine’s Day at 7:30 PM with energetic, individualistic Cape Verde islands singer/guitarist Tcheka. Show up early if you want a seat.

Fearless Pro-Immigrant Advocacy and Catchy Tunes from Ani Cordero at Lincoln Center

“If you feel fed up with the current political situation, you can get out the streets…or you can sing along,” Ani Cordero teased the crowd at Lincoln Center last week.

““I’ve been to a lot of protests in the last three years,” the singer and multi-instrumentalist mused, her back to the Puerto Rican flag at the side of the stage. “How many of you have been to a Black Lives Matter protest?” she asked.

There was a small show of hands.

“We have to be there for each other across issues. There’s a lot of work to be done. So I’ll see you in the streets!” she grinned. “If you want to start some activism, see me after.”

When Cordero isn’t reinventing classic protest songs and freedom fighter anthems from every culture south of the border and throughout the Caribbean, she’s writing slashing, catchy janglerock tunes in both Spanish and English. Backed by a similarly eclectic, talented trio, this show was a mix of classics and politically-fueled new material from Cordero’s forthcoming album Machete. “We have some machetes over there,” she enthused, motioning to the far wall. “Don’t worry, they’re made of wood.”

Playing acoustic guitar, she opened with Caminando, a song “About immigrants and how we should support them,” she said succinctly before launching into the catchy, bouncy anthem, backed by accordion, punchy bass and drums. They wound it up with a soaring accordion solo – then the accordionist switched to bass, and the bassist picked up a gorgeous, vintage Danelectro, and they kicked off an even more emphatic, catchy love song, Pienso en Mi.

Cordero put down her acoustic gutar and picked up her maracas for a rocking take of Ay Choferito, a big Pueto Rican plena hit from the 30s. The drummer got the conga patch on his syndrum going as the guitar fired of a new wave funk line to jumpstart Sacalo, a fiery number from Cordero’s Querido Mundo album that works as a broadside against violence on many levels.

Introducing a starkly pulsing, surf-tinged take of El Pueblo Esta Harto (which translates as “The People Have Had It Up to Here), Cordero explained that “I love pretty much everyone, but there’s some people…you’ve got to get them out of here quick. There’s a guy who has a building over here…”  – she pointed in the direction of the Trump Tower and let the crowd figure out the rest.

They went back to accordion rock for a gritty take of the ranchera-rock opening track from the album, Corrupcion: “The corruption in Puerto Rico is kind of legendary now, but the US is really rising in the ranks,” Cordero noted.

She left the politics behind for a coy plena-rock number about meeting somebody who might have been a viable option, say, fifteen years ago but has  since timed out. The rest of the set included  loping border rock, an insistent new wave-flavored number with a coy bread-and-butter metaphor for politicians on the take. They closed the set with another metaphorically-charged new one, Mi Machete, the guitarist firing off some terse, jagged funk lines, Cordero energizing the crowd with her guiro over a repetitive dancefloor thump.

As optimistic as Cordero’s performance was, it was sad to see Lincoln Center’s Meera Dugal making her exit official with this show. After many months of being one of the very few programmers in town creating genuinely visionary, cross-pollinated performances across cultures and artistic disciplines, she’s earned three weeks in Mozambique (that’s where she’s headed). Happily, the Lincoln Center atrium space remains in good hands as far as booking is concerned: it earned the annual award for Best Manhattan Venue when Dugal was working here and is just as strong a contender for that designation now.

The concerts here – on Broadway just north of 62nd Street – run the gamut from sounds from all over the globe, to jazz, rock, and classical. This week’s free show is tonight, Feb 7 at  7:30 PM with the Navarra String Quartet playing Pēteris Vasks’ hauntingly dynamic String Quartet No. 4 and Ravel’s String Quartet in F Major. Admission is free; be aware that the mostly-monthly classical shows tend to be wildly popular with a neighborhood crowd, so show up early if you want a seat.

Poignancy and Exhilaration with Claudia Acuña at Birdland

There was a point last night during her first set of a four-night stand at Birdland where singer Claudia Acuña started pogoing across the stage. She got as far as guitarist Juancho Herrera’s pedalboard before she ran out of room and had to chill out a little. If you’d been on that stage with that band and that setlist, you would have been just as ecstatic – but you wouldn’t have sung as rivetingly as she did.

Because the majority of this particular setlist was hers. She opened with a punchy take of Hey, a no-nonsense empowerment anthem for women everywhere and closed with a shamanic, enveloping take of her mentor Abbey Lincoln’s Holy Earth. In between, she mixed a couple of acerbic Lincoln tunes and a knowingly angst-fueled take of Jimmy Van Heusen’s But Beautiful in with a gorgeously lyrical mix of songs from her new album Turning Pages.

Acuña gets all sorts of props for her often shatteringly direct alto voice, but here the crowd was just as blown away by her songwriting and the quality of the band. Pianist Pablo Vergara spun intricate, plaintive neoromantic filigrees, with a couple of starry solos as openers. Behind the kit, Yayo Serka played what seemed to be both sides of a conspiratorial talking drum interlude to start one number, underscored much of the material with a subtle clave and went way back to the banks of the Nile to foreshadow the end of the set.

Starting on Fender and finishing on upright, bassist Carlos Henderson’s minutely nuanced touch matched the bandleader’s subtlety, notably with his allusions to the steady propulsion of Bob Marley’s Exodus throughout an understatedly dancing take of Futuro, one of the new record’s standout tracks. Acuña explained that she’d written it to her yet-unborn son and then sang with hushed joy about how much she was looking forward to seeing him “Dancing through the constellations, and through the onion and garlic patch. That translation from the Spanish is less poetic  than the actual lyric.

The high point of the new album, and arguably the show as well, was the poignant, brooding anthem Aguita de Corazon. Lowlit by Herrera’s spare accents and Vergara’s rippling angst, the wounded payoff packed a wallop whenever the chorus came around. “I’m from Chile,” Acuña explained. “We have a tea for everything. You have a broken heart? We have a tea for that too.” It was strong and potent medicine in this group’s hands, guest Gregoire Maret’s harmonica reaching an unexpectedly wrenching coda after he’d taken his time, going deeper into the blues as the narrative unfolded.

His animated exchanges with Acuña’s scatting on the next number were more lighthearted, and a lot of fun. But ultimately, depth and emotional impact is what she’s all about, and she delivered all of that, whether the wistful hope of Tres Deseos – a wish song times three, basically – and Lincoln’s The World Is Falling Down, which she and the group built matter-of-factly and aptly, with a bittersweet knowingness that was closer to Rachelle Garniez than the woman who wrote it, a deeply personal political artifact from the Civil Rights era whose relevance hasn’t dimmed.

The album release stand continues tonight, Feb 7 through 9 with sets at 7 and 10 PM; you can get in for $20.

A Harrowing, Shattering Quartet for the End of Time Uptown

Olivier Messiaen premiered his 1941 prison break suite Quartet for the End of Time in the very same prison he wanted to break out of.

And got away with it.

The program notes for last night’s performance of that immortal partita at the Crypt Sessions uptown quoted the composer as saying that “Never before have I been listened to with such attention and understanding.” That the Nazis there missed the point speaks volumes. The prisoners obviously got the message.

Messiaen was eventually liberated from that Nazi POW camp, where he’d debuted it in on a grim, rainy night, playing a barely functional piano alongside a violinist, clarinetist, and cellist who had to make do with only three strings. Talk about chutzpah!

Almost eight decades later, amid the rich natural reverb beneath the vaulted ceiling in the stone crypt at the Church of the Intercession in Harlem, the quartet of violinist Stefan Jackiw, cellist Jay Campbell, clarinetist Yoonah Kim and pianist Orion Weiss channeled the terror and defiance and hope against hope that kept Messiaen going at a time when he had no idea that he’d survive the war, let alone be released the following year.

The official story, of course, is that the suite is a portrait of a biblical apocalypse. Considering that Messiaen was a devout Catholic and had a whole liturgical script worked out, there’s no reason to doubt that. But the subtext here screamed as loudly as it possibly could: GET ME OUT!

The four musicians had obviously sized up the sonics, realized what powerful amplification they had in the space’s rich natural reverb, and rolled with it. Kim’s long series of slow upward crescendos, requiring daunting displays of circular breathing, left the audience as breathless as she was. Campbell’s shivery, masterfully nuanced, white-knuckle ascent later on was every bit as haunting and elegaic. And Jackiw’s final pairing with Weiss at the end peaked with an almost horrific cadenza, throwing off the Nazi chains to make way for the opening of heaven…or maybe just a return to prewar normalcy

The interweave of birdsong (Messiaen was cruelly tantalized by birds singing outside his cell window) and stark, jagged close harmonies was all too clear early on. The escape sequence and subsequent chase scene – uneasy, sometimes Indian-tinged harmonies furtively scampering and spiced with one sudden, horrified cadenza after another – in the sixth movement could not have been more vivid, or Hitchcockian.

And in the preceding movement, Weiss’ decision not to go for the jugular with grand guignol but instead to hang back and let the menace linger was ultimately the key to the whole performance. Despite the temptations of innumerable creepy tritones and endless dirge passages rising slowly with mournfully tolling, upper-register belltone accents, the group went for foreshadowing. Yet at the end, Weiss didn’t try to mask Messiaen’s forlorn echo phrases, underscoring a vision of a very Pyrrhic victory.

The likelihood of this same group getting together for this same piece is pretty slim, but the next concert in the Crypt Sessions series, on March 7 at 8 PM, has a similarly dark theme. Baritone Lucas Meachem and his wife, pianist Irina Meachem – who will be six months pregnant by the time she plays the concert – will be performing Mahler’s Kindertotenlieder suite.  To get tickets, you need to get on the email list – the website, http://www.deathofclassical.com says it all.

The crypt is easy to get to, two blocks up the hill from the 157th Street station on the 1 line. There’s plentiful wine and cheese and crudites and banter beforehand. The crowd tends to skew young, and old: lots of twentysomethings out on a date along with more than a few seniors doing the same. And there never seems to be anyone gratuitously gramming here; this crowd comes to descend into the darkness and listen.

Haunting Film Noir and Desert Rock Themes from Reverend Screaming Fingers

Reverend Screaming Fingers’ cinematic, surfy instrumental themes don’t often scream, but boy do they resonate. And there are no doubt films in development screaming out for these songs. The guitarist (real name: Lucio Menegon) layers colorful multitracks over a steady, low-key rhythm section for a mix of creepy noir themes, spaghetti western tunes and midtempo surf rock. The Desert Years, his new third volume in his series of Music for Driving and Film, is streaming at Bandcamp. Big Lazy’s highly anticipated new album isn’t out yet, but until then, this twangy, dusky masterpiece will do just fine. It’s a lock for one of the best albums of 2019.

Here Menegon is supported by a rotating rhythm section: Wally Ingram on drums, with Danny Frankel, Damian Lester, Kip Powell and Janie Cowan sharing bass duties.The opening track, No Destination starts out with a fleeting, insistent new wave guitar riff but quickly slinks into the shadows with a southwestern gothic ambience capped off midway through with a little Tex-Mex. Then the bandleader completely lfips the script with the tender, oldtimey country ballad Chapparal Kiss, with low-key mandolin over a graceful 6/8 sway.

Dream of the Desperado comes across as a mashup of rapt Japanese temple music mingled with slow-burn Black Lodge guitar that finally coalesces as a creepy slide guitar blues: it would be a solid track on any Big Lazy album. Monsoon Gully has snarling, distorted, serpentine guitar leads set to a gently tumbling cha-cha beat: Beninghove’s Hangmen are a good point of comparison.

Spare, spaciously fingerpicked guitar figures mingle above a backdrop of rain and tree frog samples throughout Funereal. Speaking of funereal, the organ beneath the loping, savagely crescendoing desert theme Dance of the Dust adds immensely to the ominous ambience.

Delicate tremolo-picking beneath lingering reverbtoned riffs raises the suspense in Yuma Interlude, up to a tantalizing exchange of riffs in both channels, then back down again. Lost Alien Highway slowly builds into a simmering roadhouse blues. Almost Home is a lively blend of Buck Owens twang and roller-rink organ theme. The final cut is Rattler Ranch, an upbeat, catchy, woodsy groove for guitar and bass.

Tredici Bacci Bring Their Sick Sense of Humor to the Mercury

The album cover painting for cinematic, lushly orchestrated psychedelic band Tredici Bacci’s new album La Fine del Futuro – streaming at Bandcamp – shows a knife stuck in the back of a beach chair, blood dripping from the blade. How much of that is outright menace and how much is the band’s signature, cosmopolitan snark? This time out, the jokes and the satire in bandleader/bassist Simon Hanes’ themes are much more front and center. You can decide out for yourself at the album release show at 11 PM on Valentine’s Day at the Mercury; cover is $12. Since the band name is Italian for “thirteen kisses,”  they get a pass for booking a show on one of the three nights when everybody should stay home (St. Paddy’s and New Years Eve are the others).

In the time-honored tradition of Booker T & the MG’s and the Ventures, there were two versions of this band in their earliest days: in their case, one in Boston and one in New York. That might explain why their Bandcamp page doesn’t have musician credits. The baritone sax solo in the new album’s first number, Titoli de Testa, sounds like a series of split-second attempts to cover mistakes. However, versatile singer Sami Stevens’ deadpan arioso vocals seem committed to the bouncy, blithe, bossa-tinged theme. It brings to mind Banda Magda before they got serious and political.

In the 1970s is a bizarre mashup of Italian film score and fluffy American disco, Stevens enumerating how many reasons things were better forty-plus ago. As anybody who was there will tell you, they weren’t – it’s just that contested elections were swung by phony ballots instead of Russian hackers, and in lieu of mining data, employers and banks simply wouldn’t hire or lend to people from certain neighborhoods.

Minimalissimo pokes fun at both 70s motorik instrumentals and peevishly repetitive 20th century composers – and the 21st century ones who still don’t know better. Barbarians is a mashup of the album’s first and third tracks: repetitive hooks, operatic vocals and a tongue-in-cheek heroic fanfare at the center. Complete with peppy brass, Stevens’ high-voltage vocalese and a probably intentionally wretched attempt at singing by one of the guys in the band, Emmanuelle could be the great, twisted lost spaghetti western psychedelic pop tune from Manfred Hubler’s Vampyros Lesbos soundtrack.

Felicity Grows could be Weird Al Yankovic making fun of Burt Bacharach, with a woman out front. Promises, Promises is much the same: it’s so spot-on it could be a Dionne Warwick b-side from when she spelled her last name with an E. As a parody of 70s easy-listening pop, The Cavalry is even more blithely savage: Ward White at his most sardonic comes to mind.

Awash in elegant strings and woodwinds, the moody Impressions shifts in and out of waltz time: it’s the only track on the album that doesn’t sound like a joke, at least until the bizarre mashup of tropicalia and horror film score kicks in. Ambulette is a series of variations on a simple, ridiculously obvious theme – it’s not a real ambulance, get it? To close the album, the band make disco out of a phony patriotic tune they call The Liberty Belle. How apropos for 2019, right? If this isn’t the best album of the year, it’s definitely the funniest so far.

A Clown-Free Valentine’s Day Show at Lincoln Center

Obviously, if you run a music blog in a town where there are over 230 fulltime venues, it pays to get out as much as possible. This blog takes three official vacation days a year: New Year’s Eve, Valentine’s Day and St. Paddy’s. What’s out there in the clubs on those three nights is almost inevitably worse than what’s onstage.

If Celtic sounds are your thing, you can wait til the 18th when all the amateurs are still at home recovering. New Year’s Eve is a ripoff pretty much everywhere, and Valentine’s Day is cheese central. Venues that wouldn’t ordinarily consider booking a Justin Beiber cover band blink and and hope that there are enough Jersey tourists to justify torturing the sound guy and waitstaff for a night.

But this year there is a show on Valentine’s Day that’s neither cheesy nor extortionistic, and that’s Cape Verde singer/guitarist Tcheka’s gig at 7:30 PM at the atrium space at Lincoln Center on Broadway just north of 62nd St. As with the rest of the mostly-weekly early evening shows here, there’s no cover, although the seats tend to get taken as early as an hour before showtime.

Tcheka’s album Boka Kafe is streaming at Bandcamp. He plays solo acoustic guitar, with flair and flurrying energy in an individualistic style that draws on samba, bossa nova, soukous and even funk in places. Which makes sense: music from island nations tends to be a mashup of everything that’s blown in on the trade winds. He sings in an earnest tenor voice, with a smoky falsetto, in his native vernacular and also in Portuguese.

He chops his way through thickets of rainy-day jazz chords on several of the album’s faster numbers; on one, he strums into rapidfire flamenco territory. The quieter songs have a lingering luminosity with echoes of Portuguese fado balladry. And his hooks are catchy: you walk away humming them. Lyrics are a big deal for this guy – themes of the rigors of rural island life, coastal mythology and on one track here, women’s rights are front and center, so his music will resonate most with those who can understand them. But fans of tropical acoustic sounds also ought to check out Tcheka (sorry – couldn’t resist).

What’s Next at the Miller Theatre? High Voltage Indian Jazz

In Sanskrit, “agrima” means “what’s next.” That’s the title of whirlwind alto saxophonist Rudresh Mahanthappa’s 2017 album with his Indo-Pak Coalition: guitarist Rez Abbasi and drummer Dan Weiss. The trio are bringing their sometimes raptly hypnotic, sometimes wildly intense show to the Miller Theatre at 8 PM on Feb 9. You can get in for $30, which by ever-more-extortionistic Manhattan jazz club standards isn’t bad. And you won’t get hustled to spend more on drinks, either.

All three of the band members have been involved with very diverse projects over the years: this may be the best project Weiss has been in, and Abbasi has never played more resonantly or tunefully than he does here. The album opens with a lingering, suspenseful, rubato overture simply titled Alap (referring to the improvisation at the beginning of a raga). From there Mahanthappa hits a rapidfire bhangra riff and they’re off, into the ominous, modal melody of Snap, Weiss’ cymbal crashes leaving no doubt how epic this will get. A scampering, bristling conversation between guitar and sax; a Mahanthappa solo packed with his signature, unwavering wind-tunnel microtonal attack; a gritty, more enigmatic one from Abbasi; and a long, somewhat wry crescendo based around a popular carnatic riff ends it in a tightly wound frenzy. if this doesn’t raise your heart rate, you aren’t alive.

Showcase has an oldtime gospel/blues sway anchored by Abbasi’s prowling rhythm, the bandleader fluttering brightly overhead, Weiss’ clave taking it in a more latin direction. The album’s title track expands from a hypnotic, motorik intro to a rather joyous theme, Abbasi’s burning, sustained chords holding it down. They take it halfspeed, then back, with another adrenalizing crescendo.

Can-Did, a steady, disquieting stroll, has uneasy, sustained Abbasi jangle against Mahanthappa’s resonant lines, until the band brighten and shift in a funkier direction. The trio begin Rasikapriya as a gorgeous mashup of rustic oldtime blues and ominously modal raga melody, then dip to an opaque, atmospheric interlude. This time it’s Abbasi’s jagged solo fueling the upward climb.

Revati, the album’s most epic number, has a surrealistically techy solo guitar intro, moodily circling sax and numerous tempo shifts, Weiss alternating between tabla and a full drum kit. The long trajectory before a series of false endings is more blithe and also more predictable than anything else here. The final cut is Take-Turns, with insistent, minimalist sax contrasting with scampering guitar; then the two switch roles. Whether you consider this raga music with jazz instrumentation, or jazz based on Indian themes, it’s the best of both worlds.

Now…other than the vinyl record, which a lot of people will want, where can you actually hear this? Not at Mahanthappa’s Bandcamp page, or youtube, or even Spotify. That was a problem when the album came out and that’s why it wasn’t reviewed here. For now, try Soundcloud and good luck.

Live Music Calendar for New York City and Brooklyn for February and March 2019

Daily updates – if you go out a lot, you might want to bookmark this page and check back regularly. If you’re leaving your hood, make sure you check http://www.mta.info for service changes considering how the trains are at night and on the weekend.

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.

If you see a typo or an extra comma or something like that, remember that while you were out seeing that great free concert that you found out about here, somebody was up late after a long day of work editing and adding listings to this 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, beverages and lively conversation included!  email for details/address

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 in February, 8 PM the unpredictably fun, funny  art-rock/psychedelic soul band the Academy Blues Project at Shrine

Mondays in February at 10 PM Melissa Gordon of Melissa & the Mannequins at LIC Bar. One of the best purist janglerock songwriters in NYC works up new material – should be a clinic in good tunesmithing

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

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

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

Mondays in February, 10 PM noir guitar legend Jim Campilongo leads his trio at the big room at the Rockwood, $10

Mondays in February, Rev. Vince Anderson and his band play Union Pool in Williamsburg, two sets starting at 10:30 PM. The Rev. is one of the great keyboardists around, equally thrilling on organ or electric piano, an expert at Billy Preston style funk, honkytonk, gospel and blues. He writes very funny, very politically astute, sexy original songs and is one of the most charismatic, intense live performers of our time. It’s a crazy dance party. Paula Henderson from Burnt Sugar is the lead soloist on baritone sax, with frequent special guests.

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

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

Wednesdays in February, 9 PM Trio Quimbombo play salsa, son, trova, bossa nova, changui, and more!! Featuring vocals and tres by Cuban virtuoso Yuniel “El Guajiro” Jimenez at the 18th Room, 134 9th Ave @ 19th St 

Three Wednesdays in March: 3/13, 3/20 and 3/27, 9 PM atmospherically anthemic Indian-influenced spacerock band Humeysha at C’Mon Everybody, $10

Thursdays at 8:30 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!

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 and March, 6 PM charmingly inscrutable Parisienne jazz chanteuse Chloe & the French Heart Jazz Band at Club Bonafide, $20. They’re also there on 2/24 at 5:30 PM

Fridays at 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 on Saturdays at 4 PM in February as well as

March 23 and 30, returning to weekly Saturdays in April 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 low register reedman Josh Sinton’s Phantasos play Morphine at Barbes. Hard to think of anyone more capable of tackling that ominously kinetic songbook.

Most Sundays at 5:15 PM, a free recital on the amazing, powerful, dynamic new organ at St. Thomas Church at 5th Ave and 53rd St. featuring some of the world’s greatest organists. The space is magnificent and the music usually is too. Right now the church fathers are programming pretty much everybody who used to work here and play the mighty old Aeolian-Skinner organ that finally had to be replaced. Check the concert calendar for details. 

2/1, 5:30 PM soul/gospel belter (and Lenny Molotov collaborator) Queen Esther at the American Folk Art Museum 

2/1, 7 PM indie classical ensemble SoundArt NYC play a rare program of Costa Rican composers including Valeria Brenes, Carlos Jose Castro Mora and Susan Campos-Fonseca at the Americas Society, free

2/1-2, 7:30 PM eclectic, paradigm-shifting, irrepressibly fun B3 jazz organist Brian Charette leads his trio at Smalls

2/1, 7:30 PM Alloy Orchestra play their live score to Josef von Sternberg’s silent gangster film Underworld at the World Financial Center, free

2/1, 7:30 PM the Juilliard Orchestra play works by Ligeti, Betty Olivero and Michael Tippett at Alice Tully Hall, free

2/1, 8 PM a rare Queens appearance by Vince Giordano & the Nighthawks – the Boardwalk Empire house band – at Flushing Town Hall, $25/$20 stud

2/1, 8 PM pianist Jeremy Denk plays works by John Adams, Mendelssohn and Beethoven at Stern Auditorium at Carnegie Hall, $25 tix avail

2/1-2, 8 PM the NY Philharmonic play Mozart’s first and 41st (Jupiter) Symphonies plus works by Haydn and Stravinsky at Avery Fisher Hall, $34

2/1, 8 PM Fresh Squeezed Opera presents world premieres of works by Whitney George, Gabi Herbst, & Gemma Peacocke for voice & electronics at Roulette, $18

2/1-3, 8/10:30 PM bouncy live hip-hop groove band the Hypnotic Brass Ensemble at the Blue Note, $20 standing room avail

2/1, 9:30 PM chamber tango night with poignant, eclectic, lyrical jazz bassist/composer Pedro Giraudo’s Tango Quartet and similarly adventurous pan-latin singer Sofia Tosello at joe’s Pub, $20

2/1, 9:30 PM Cumbiagra – who’ve been going in a much more psychedelic direction lately – at Barbes. They’re also here on 2/11 at 9:30ish

2/1, 10 PM Atlas & the All World Band play fiery, socially aware roots reggae at Shrine 

2/2, 3 PM the Brooklyn Conservatory Chorale plus 14-piece chamber orchestra, sopranos Tami Petty & Kate Maroney perform works by Lauridsen, Yardley, and Gjeilo, plus Vivaldi’s Gloria, at Lafayette Avenue Presbyterian Church, 85 S. Oxford St., Ft. Greene, $20/$15 stud/srs

2/2, 4 PM cinematic, psychedelic quirk-pop keyboardist Michael Hearst presents “Curious, Unusual and Extraordinary” songs from his many bands followed eventually at 6 by low register reedman Josh Sinton’s Phantasos playing Morphine covers,  followed at 8 by pianist Lucian Ban and violist Mat Maneri playimg their creepy Transylvanian jazz at Barbes

2/2, 5 PM pensive, Middle Eastern-tinged guitarist Jonathan Goldberger and band followed at 6 by atmospheric, cinematic drummer/composer Tim Kuhl and his group at Pete’s

2/2, 6 PM postbop sax legend Oliver Lake and ensemble at Bethany Baptist Church, 275 W Market St, Newark, free

2/2, 7:30 PM the NJ Symphony Orchestra play a Chinese New Year celebration at NJPAC in Newark with Beethoven’s Festival Overture, works by Tan Dun and Li Huanzhi and others, $20 tix avail 

2/2, 8 PM left coast postbop pianist Richard Sears with his trio followed by torchy singer Jennifer Charles’ and guitar mastermind Oren Bloedow’s haunting, fearlessly political art-rock/noir band Elysian Fields on their home turf at the Owl, $10

2/2, 8 PM Wet Ink Ensemble play pianist Eric Wubbels’ new microtonal trio at the DiMenna Center, $10

2/2, 8 PM spirited Irish/Scottish folk singer Pamela Jean Agaloos followed by sea chantey duo Twa Corbies at the People’s Voice Cafe, sugg don, $20, “more if you choose; less if you can’t; no one turned away”

2/2, Unsteady Freddie‘s monthly surf rock extravaganza at Otto’s begins at 9 PM with Brooklyn cover trio the Band of Others, Link Wray cover band the Wraycyclers at 10, the Superbness (let’s hope they have it) at 11 and at midnight wickedly jangly surf/twang/country instrumentalists the Bakersfield Breakers 

2/2, 9 PM ubiquitous, moodily lyrical, politically savvy Irish folk-rocker Niall Connolly at the small room at the Rockwood

2/2, 10 PM the Last Internationale – sort of the Patti Smith Group of latin rock – play the album release show for their new one at Rough Trade, $10 adv tix rec

2/2, 10 PM bass sax monster Stefen Zeniuk’s punk mambo crew the NY Fowl Harmonic at Hank’s, $10

2/2, 10 PM Epic Order play roots reggae at Silvana 

2/3, 3 PM Orpheus Chamber Orchestra concertmaster Eriko Sato leads a piano quartet playing works by Saint-Saens, Dvorak, Charles Villiers Stanford and Ellen Taaffe Zwilich at Concerts on the Slope, St. John’s Episcopal Church, 139 St. John’s Place downhill from 7th Ave, sugg don

2/3, 6 PM irrepressible tuba player Jesse Dulman leads his punk dixieland quartet with Ras Moshe, Dave Sewelson and Leionid Laganov followed by the acerbically atmospheric Beyond Group at Downtown Music Gallery

2/3, 7 PM tuneful, state-of-the-art postbop jazz guitarist Will Bernard and band play Strayhorn followed at 9:30  by Romany jazz/psychedelic rock guitar mastermind Stephane Wrembel at Barbes

2/3, 9:30 PM tunefully adventurous tenor saxophonist Seamus Blake leads a rare chordless trio at 55 Bar

2/3, 9:30 PM guitarist Ilusha Tsinadze does his pensive, rustic Georgian folk thing at Joe’s Pub, $15 adv tix rec

2/4, 7:30 PM the Mannes Orchestra play Verdi’s Overture to The Force of Destiny, Rachmaninoff’s Symphonic Dances and Tschaikovsky’s overture to Romeo & Juliette at the ground-floor U100 auditorium at the New School, 63 5th Ave., free

2/4, 9:30ish Los Mochuelos plays classic Colombian vallenato music at Barbes

2/5, 7 PM purist pop tunesmithing: powerpop titan George Usher and the hilarious, politically fearless Amy Rigby at the Mercury, $12 adv tix rec

2/5, 7 PM Free Range Rat with Slavic Soul Party‘s John Carlson – trumpet, pocket trumpet & flugelhorn; Eric Hipp – tenor saxophone – Shawn McGloin – bass and George Schuller – drums, followed at 9 by SSP doing their amazing Balkan brass/hip-hop mashups at Barbes

2/5, 8/9:30 PM the glimmering, noir-inspired Tom Beckham on vibes with guitarist Rale Micic & bassist Peter Slavov at Mezzrrow, $20

2/5, 8 PM terse, enigmatic avant garde singer/percussionist Anais Maviel  presents a diptych: vocal-and-drums and then vox and piano: “Who is this ritual for and from? at Roulette, $18

2/5, 8:30 PM haunting flamenco/Sicilian folk chanteuse Julia Patinella.at the downstairs room at the Rockwood, $12

2/5-10, 8:30/10:30 PM reliably tuneful postbop piano vet George Cables leads a trio at the Vanguard, $35

2/6, 1 PM avant jazz singer Jay Clayton with intense Armenian-influenced pianist Armen Donelian at St. Peter’s Church, 54th/Lex

 2/6-9, 7/10 PM luminous, soulful pan-Latin jazz chanteuse Claudia Acuña plays the album release stand for her new one at Birdland, $20 at the bar

2/6, 8 PM pyrotechnic clarinetist Ismail Lumanovski’s ferociously kinetic NY Gypsy All-Stars  at Drom, $10 adv tix rec

2/6,8:30 PM Dervisi feat. guitar god Steve Antonakos play “exotic Greek gangsta blues” and hash-smoking anthems from the 1930s at Troost. 

2/6, 9:30 PM high lonesome Orbisonesque acoustic Americana with Bobby Blue the Balladeer at the Jalopy. 2/16 at 11 they’re at Better Days, 302 Broome St; 2/22 at 10 they’re at Diviera Drive, 131 Berry St in Wiliamsburg

2/6, 9 PM sweeping, swinging vibraphonist Behn Gillece and group at the Fat Cat 

 2/6, 10 PM guitarslinger Mallory Feuer’s fiery power trio the Grasping Straws – sort of a mashup of Patti Smith and Hole’s first album – at the Mercury, $10

2/7, 7 PM solo sets from women composer/performers Lea Bertucci, Carla CanalesMargaret DavisLiz FaureSarah GoldfeatherAnna Meadors,  Emily Wells, and Molly Joyce at 1 Rivington St. (at Bowery), upstairs, $15/$10 stud 

2/7, 7 PM poignant, nuanced jazz singer Amy Cervini leads her septet at 55 Bar

2/7-8, 7 PM “Spanish guitarist and composer Oscar Peñas and his Jazz Quartet combine with the Mivos Quartet to create a classical-jazz suite inspired by the 3,000-year-old Andalusian fishing tradition known as the almadraba” at Aaron Davis Hall, $20/$10 stud/srs

2/7, 7 PM Conduit: Zach Manzi (bass clarinet) and Evan Saddler (percussion) at Arete Gallery, $15

 2/7, 7:30 PM the Navarra String Quartet play Pēteris Vasks: String Quartet No. 4;  Ravel: String Quartet in F major at the Lincoln Center Atrium, free, early arrival advised

 2/7, 7:30 PM pianist Mackenzie Melemed plays a program tba at Greenwich House Music School, free

2/7, 8 PM boisterously funny oldschool 60s C&W and brooding southwestern gothic with the Jack Grace Band at Hank’s, $10. They’re at Bar Chord on 2/23 at 9 for free.

2/7-9 and 2/13-16, 8 PM Robert Ashley’s opera Improvement (Don Leaves Linda): “follows the adventures of its protagonist Linda, whose travels and romances can be read as attempts at assimilation and cultural cross-pollination, with varying degrees of success and rejection. The metaphor stretches in time from 1492—the beginning of a European consciousness of America and the expulsion of the Sephardic Jews from Spain—to the late 1940s on the West Coast (representing the future of the USA). Densely layered streams of text, lush live vocals, and a minutely structured electronic orchestra combine to present a portrait of the American psyche” at the Kitchen, $25

2/7, 8 PM New York’s most charismatic, darkly compelling lyrical songwriter/storyteller/keyboard genius Rachelle Garniez followed at 10 by Balkan chanteuse Jenny Luna‘s haunting, traditional Turkish band Dolunay at Barbes

2/7, 8 PM Wormburner – who were once Hoboken’s answer to the Jam – at 11th St Bar at 11th St. Bar

2/7. 8:30 PM brilliantly lyrical trumpeter Ben Holmes’ Naked Lore with Kyle Sanna and Shane Shahanan at Town & Village Social Hall, 334 E 14th St.(between 1st & 2nd Ave.), $15

 2/7, 10 PM the great unsung NYC hero of darkly purposeful, noir-tinged jazz guitar, Saul Rubin leads his Zebtet at the Fat Cat. He’s also here on 2/12 at 7

 2/8, 7 PM left coast improv sax luminary Jessica Jones leads her quartet followed by Tony Jones’ Pitch, Rhythm and Consciousness string jazz Quartet at Shapeshifter Lab, $15

 2/8, 8 PM a composer portrait of enigmatic, trippy electroacoustic vocal composer Erin Gee at Roulette, $18 

2/8, 6 PM the opening for visual artist Rosaire Appel’s musically-themed exhibit Untitled Scores with solo piano by klezmer-jazz piano icon Anthony Coleman at 7:30

2/8, 6:30 PM folk noir crooner Greg Connors at the American Folk Art Museum 

 2/8, 7:30 PM the Parhelion Trio followed by guitarist Liz Faure’s pensive SugarCave trio with piano and vocals at Arete Gallery $15 

 2/8, 8 PM epically trippy Laotian psychedelia with an electric phin as the lead instrument with the Drunken Foreigner Band at Secret Project Robot

2/8, 8 PM the New Amsterdam Symphony Orchestra play William Levi Dawson’s 1934  Negro Folk Symphony; soloist Haerim Elizabeth Lee performs the Sibelius Violin Concerto at Symphony Space, $25/$18 stud/srs

2/8, 8 PM cinematic noir soul instrumentalists the Ghost Funk Orchestrafollowed by fourth-gen post-Velvets stompers Ghost King at Trans-Pecos, $10 

2/8, 8 PM busker legends the Xylopholks in their furry suits followed by horn band Quatre Vingt Neuf (French for 89, a revolutionary date in case you missed it) playing Little Rascals theme music at Barbes

2/8, 8 PM the Dead Jetsetters – who do a decent late 60s MC5 impersonation – at Arlene’s, $10 

2/8, 9 PM NYC’s answer to Stevie Ray Vaughan, Hugh Pool l at Bar Chord

2/8, 10 PM popular Americana highway rockers Mandolin Orange at the Music Hall of Williamsburg, $25 adv tix avail

2/8-9, 10:30 PM vibraphonist Felipe Fournier‘s wild Tito Puente and Dave Brubeck cover band, Supermambo at Terraza 7, $15

2/8, 10:30 PM popular,purist postbop guitarist Mark Whitfield at the Fat Cat

2/8, 10:30 PM semi-legendary underground Brooklyn jazz multi-instrumentalist D. Treut at Pine Box Rock Shop

2/9, noon and 2 PM Chinese musicians Wu Na and Chang Jing elicit the sounds of nature—mountains, water, wind, and moon—from traditional Chinese zithers. in Galleries 963–965 on the court level at the Metropolitan Museum of Art, free w/museum adm

2/9, 2 PM soul/funk trumpeter Lee Hogans and his Quintet at Harlem School for the Arts, 645 St. Nicholas Ave at 141st St., free

2/9, 4 PM the Erik Satie Quartet – Ron Hay (trombone), Max Seigel (bass trombone), Ben Holmes (trumpet), and Andrew Hadro (bari sax) –reinvent classic and obscure Satie chamber pieces as well as rare compositions by his obscure contemporaries, followed at 6 by low register reedman Josh Sinton’s Phantasos playing Morphine covers, at 8 by intense, lyrical jazz bassist/composer Pedro Giraudo leading his Tango Quartet and at at 10 by Rana Santacruz – the Mexican Shane MacGowan, but without the booze if you can imagine that – at Barbes 

 2/9, 7:30 PM sitarist Kinnar Seen with tabla player Samir Chatterjee at the Chhandayan Center For Indian Music, $20

 2/9, 8 PM populist Irish songwriter Joe Jencks and the perennially entertaining, funny, politically spot-on Rod MacDonald at the People’s Voice Cafe, sugg don, $20, “more if you choose; less if you can’t; no one turned away”  

2/9, 8 PM pyrotechnic bhangra-jazz alto saxophonist Rudresh Mahanthappa‘s wickedly tuneful Indo-Pak Coalition at the Miller Theatre, $30 tix avail

2/9, 8 PM the Delorean Sisters – who do funny oldtimey acoustic covers of cheesy 80s pop songs – at the Way Station

2/9, 8 PM wild rock and classical arrangements plus improvisation: Tom Swafford, violin; Zachary Swanson, bass; Leonor Falcon; Sana Nagano, violin, viola, at I-Beam, $15

2/9, 8 PM the NY Repertory Orchestra with Gretchen Windt, mezzo-soprano play Vaughan Williams: English Folk Song Suite; Elgar: Sea Pictures; Moeran: Symphony in G minor at the Church of St. Mary the Virgin, 145 W 46th St., $15 sug don

2/9, 8:30ish lustrous singer and badass cello-rock bandleader Serena Jost and wildly diverse pastoral jazz/Americana violinist Skye Steele at First Unitarian Congregational Church, 119-121 Pierrepont St, Brooklyn Heights, any train to Borough Hall, $15 

2/9, 8:30 PM Serena Jost’s old band, the original creepy cello rockers, Rasputina at the Mercury, $18 adv tix rec

2/9, 8:30 PM Nashville gothic/desert rock duo the Whiskey Charmers at the downstairs room at the Rockwood, $10

 2/9, 10 PM Hollywood’s Dan Finnerty leads his savagely hilarious top 40 parody group the Dan Band at Joe’s Pub,, $25

2/9, 10 PM sizzling electric bluegrass and C&W with Demolition String Band  at Skinny Dennis

2/9, 11 PM Brooklyn’s hilarious counterpart to Spinal Tap, stoner metal parodists Mighty High at Hank’s, $10

2/10, 2 PM Alexander Zhurbin and Irena Ginzburg – Soviet musical theatre subversives from the 70s with their kid, viola virtuoso/film composer Ljova at Joe’s Pub, $20

2/10, 4 PM fiery, deviously fun oldtimey swing guitarist/crooner Seth Kessel & the Two Cent Band  at Skinny Dennis. He’s also here on 2/26 at 8

 2/10, 4 PM vocal ensemble Blue Heron perform “the Lost Music of Canterbury” at Corpus Christi Church, 529 W 121St St, $10 tix avail  

2/10, 5 PM torchy oldtimey swing crew the Buck and a Quarter Quartet at the small room at the Rockwood 

2/10, 6 PM Xander Naylor and Ryan Dugre duel on guitars followed at 7 by the abrasive Outside World with bassist Hazel Rigby, Ben Scott and Taylor Adams at Downtown Music Gallery

2/10, 7 PM wildly theatrical, creepy circus rock band Orphan Jane at LIC Bar

2/10, 7 PM singer Bethany Yarrow and cellist Rufus Cappodocia shift between Middle Eastern, jazz and Gregorian chant inspired material followed at 9:30  by Romany jazz/psychedelic rock guitar mastermind Stephane Wrembel at Barbes

2/10, 7 PM surfed-up tv themes from Commercial Interruption at Otto’s

 2/10, 8 PM noisy, hazily jangly, psychedelic slowcore/free jazz/avant instrumentalists Sunwatchers at Pioneer Works, free

2/10, 7:30  PM pianist and composer Nicolas Namoradze plays his own works plus Scriabin’s Black Mass and works by Bach at Zankel Hall at Carnegie Hall, $15 tix avail

2/10, 7:30 PM the St. Cecelia Chamber Ensemble play Mozart’s Oboe and Clarinet Concertos plus a Beethoven piano trio at Christ & St. Stephen’s Church, 122 W. 69th St , $10

2/10, 9:30 PM Arpalice – the new ghoul-spaghetti western band from Twin Guns’ Andrea Sicco – at Coney Island Baby, $10 

2/11, 7 PM southwestern gothic icon and Giant Sand mastermind Howe Gelb at Bowery Electric, $15

2/11, 7 PM tuneful postbop pianist Jim Ridl leads his group from behind the Rhodes at 55 Bar

 2/11-16, 9/11 PM purist swing singer Catherine Russell  leads her septet at Birdland, $30 at the bar

2/11, 10 PM energetic delta blues/Romany swing guitarist Felix Slim at LIC Bar

2/12, drinks at 5:30 PM, show at 6 the Mivos Quartet & guitarist Nadav Lev play new music by Murail, Abbasi and Klartag at the Miller Theatre, free

 2/12, 7 PM a major moment in New York music historiography: Roulette is unveiling its historic archive of nearly 4,000 concerts dating back to its first concert in 1978. Today this includes hundreds of audio and video recordings, photos, notes, programs, posters, and ephemera collected, restored, and preserved, with thousands more items to come.” Literally everyone who was anybody in the downtown scene back in the day played Roulette – and a lot still do. Free.

2/12, 7 PM eclectic, hard-hitting, lyrical composer/tenor saxophonist Stan Killian at 55 Bar

2/12, 7 PM indie classical ensemble Tenth Intervention play new music by a fantastic lineup of composers; Zosha DiCastri, Kamala Sankaram, Dorian Wallace, Bethany Younger, Gelsey Bell and others at the Americas Society, free

2/12, 7:30 PM two fearless, politically relevant ensembles: the PubliQuartet and Imani Winds play works by Poulenc, Martinů, Russell Platt, Jeff Scott, Lalo Schifrin, and Valerie Coleman at Weill Hall at Carnegie Hall $25 / $15 student

2/12,  7:30 PM new music for voice and organ by Kevin McCarter; Jinhee Han; David Picton; Eugene Marlow; Frank Retzel; Roger Blanc; Richard Brooks and Raoul Pleskow featuring Bill Gross, baritone, with Claudia Dumschat in the console at the Church of the Transfiguration, 1 E 29th St. $20

2/12, 8 PM psychedelic funky tropical sounds with El Imperio at Freddy’s 

2/12-16, 8 PM one of the avant garde world’s go-to pianists, Vicky Chow at the Stone with a variety of ensembles, $20. Choice pick: 2/14-15 playing Philip Glass etudes

 2/12, 8 PM kinetic, eclectic, funky parlor jazz violinist Mazz Swift solo at Happy Lucky No. 1 Gallery

 2/12-17, 8:30/10:30 PM the Vanguard Jazz Orchestra play a week on their home turf, $35

 2/12, 8:30 PM soaring, epic all-female mariachi/tropicalia orchestra Mariachi Flor de Toloache at the big room at the Rockwood, $10

2/13, 7 PM Jenny Luna and Adam Good of hauntingly slinky Turkish band Dolunay in a rare duo show followed by Balkan chanteuse Vlada Tomova’s Yasna Voices choir at Drom, $15 adv tix rec

2/13, 7 PM the legendary klezmer duo of Andy Statman (clarinet/mandolin) and Walter Zev Feldman (tsimbl/hammered dulcimer) for the first time in 35 years at the Center for Jewish History, 15 W 16th St, $15/$10 stud

 2/13, 7:30 PM brilliant, Lynchian, darkly lyrical latin and Satie-inspired guitarist Jack Martin’s Bob Dylan Deathwatch at Bowery Electric, $10

2/13, 8 PM blowtorch singer Hannah Fairchild’s explosive, lyrically brilliant noir punk power trio Hannah vs. the Many at Arlene’s, $10

2/13, 8 PM quirky, smartly lyrical female-fronted avant cello-rock with the Icebergs at Sidewalk

2/13, 8 PM eclectic Romany and Indian-inspired jazz accordionist Will Holshouser at Barbes

2/13, 7:30 PM Stoogoid stoner sludge with the Greasy Hearts at Coney Island Baby, $10

2/13-16, 8 PM a dance and acoustic guitar spectacular with Flamenco Vivo Carlota Santana at the Poisson Rouge, $20 adv tix avail

2/13, 9 PM sharply lyrical southwestern gothic/Americana songwriter Tom Shaner followed by rustic, acerbic front-porch folk singer Jo Williamson at LIC Bar

2/13, 10:30 PM lyrical, incisive alto saxophonist Dave Pietro leads his quintet at Smalls

2/14, 7 PM, repeating 2/16 at 8 pianist Stephen Hough returns to the NY Philharmonic for Beethoven’s Piano Concerto No. 3; plus Nielsen’s Helios Overture and Schumann’s Symphony No. 2 at Avery Fisher Hall, $31

 2/14, 7:30 PM energetic Cape Verdean acoustic guitarist/balladeer Tcheka at the Lincoln Center Atrium, free, early arrival advised

2/14, 7:30 PM the Du-Rites play slinky oldschool soul and funk grooves at Symphony Space, $20 tix avail for under 30

 2/14, 8 PM plush, balmy, oldtimey uke swing band Daria Grace & the Pre-War Ponies followed at 10 by raucous all-female Colombian bullerengue trance-chanta band La Perla Bogota 

2/14, 8:30 PM Eleonore Biezunski plays Yiddish love songs from the Ruth Rubin collection at Town & Village Social Hall, 334 E 14th St.(between 1st & 2nd Ave.), $15

2/14, 10 PM deviously theatrical oldschool C&W/rockabilly parodists Susquehanna Industrial Tool & Die Co at Los Feliz, 109 Ludlow St (between Rivington and Delancey), free, free Jack Daniels too. 2/28 at 8 they’re at Otto’s, no free Jack Daniels but they will have salty snacks

2/14, 10 PM nebulous chanteuse Adrienne Lenker of Big Thief at the Music Hall of Williamsburg, $20 gen adm

2/14, 11 PM wryly psychedelic cinematic Italophile instrumentalists/parodists Tredici Bacci play the album release show for their new one at the Mercury, $12 grn adm

2/14. midnight rustic Colombian sounds with the Cumbia River Band at the small room at the Rockwood

2/15, 7 PM irrepressible bassist Moppa Elliott does triple duty: with Advancing on a Wild Pitch, then with the large improvisational ensemble Acceleration Due to Gravity and finally his Unspeakable Garbage, apparent heirs to the Mostly Other People Do the Killing satire-jazz throne at Shapeshifter Lab, $10

2/15, 7:30 PM Nuyorican legends the New Swing Sextet play oldschool salsa dura at the Lincoln Center Atrium, free, early arrival advised

2/15,  8 PM darkly trippy acid jazz/poetry soundscapers Late Sea followed at 9 by the world’s creepiest crime jazz/film noir band, Big Lazy at the big room at the Rockwood. Downstairs at 8:30 it’s wryly tuneful, purist Americana/C&W band Grain Thief for an additional $15 

2/15, 8 PM the Red Room Orchestra play Twin Peaks soundtracks at Symphony Space,$30 tix avail

2/15, 8 PM day one of the Jalopy’s annual jug band festival with banjo player Little Nora Brown, the all-female, oldtimey Queens of Everything, crazed Steel City Jug Slammers and much more delicate Crisco Dreams, $12

2/15, 8 PM dark cabaret legend Sanda Weigl and her Romany-flavored band followed at 10 by psychedelic salsa bandleader Zemog El Gallo Bueno at Barbes

2/15, 8 PM pianist Haesun Paik plays Beethoven piano concertos – the stirring First and dazzlingly powerful Third Piano Concertos, plus Samuel Adler’s Concertino at Flushing Town Hall, free w/rsvp. She’s also at Bwy Presbyterian Church, 114th/Bwy at 5 PM on 2/17  

2/15, 8 PM the NYU01 Orchestra play Barber: Essay No. 1; Shostakovich: Symphony No. 10 at the NYU Loewe Theatre, 25 W 4th St., free

 2/15, 9 PM eclectic, electric, guitarishly excellent C&W/blues band the Jug Addicts at Bar Chord

2/15, 9 PM newgrass crew the Lost Dog Street Band and punkgrass road warriors the Devil Makes Three at the Music Hall of Williamsburg, $27.50 adv tix avail

2/15, 9 PM the Horszowski Trio play works by Wuorinen, Schumann and Shostakovich’s Piano Trio No. 2  at the 92nd St. &, $25

 2/15, 10:30 PM Greg Lewis’ brilliant, fearlessly political Organ Monk Trio  at the Fat Cat

2/16, 6 PM low register reedman Josh Sinton’s Phantasos play Morphine covers followed at 8 by  poignant, eclectic, lyrical jazz bassist/composer Pedro Giraudo’s tango quartet and at 10 by Super Yamba playing their psychedelic Afrobeat jams at Barbes

2/16, 7 PM psychedelically ripping hammered dulcimer power trio House of Waters play the album release show for their new one at Joe’s Pub, $15

2/16, 7/9 PM powerful jazz belter – and Gil Scott-Heron reinventor –  Charenee Wade leads her group at Ginny’s Supper Club, $20

2/16, 7:30 PM indie classical ensemble Tigue Percussion followed by opaque indie darlings Deerhoof playing their 2007 album, Friend Opportunity at Merkin Concert Hall, $25

2/16, 8 PM charismatic, politically fearless, historically-inspired oldtime country blues duo Piedmont Bluz and bluegrass band Cole Quest & the City Pickers at the People’s Voice Cafe, sugg don, $20, “more if you choose; less if you can’t; no one turned away” 

 2/16, 8:30 PM skittish new wave guitar band Dryclean, ferociously dynamic, tuneful, female-fronted power trio Castle Black and Giftshop – the missing link between Blondie and the Distillers – at Coney Island Baby, $10 

 2/16, 8 PM day rwo of the Jalopy’s annual jug band festival with the Dirdy Birdies, Staten Island’s Wahoo Skiffle Crazies, the New Found Country Homebodies and the Brotherhood of the Jug Band Blues – who do an awesome, slyly funny evocation of the Memphis Jug Band – $12

2/16, 8 PM ambient duo Metasplice and Colombian sound sculptor Lucrecia Dalt at Issue Project Room, $15/$12 stud/srs

2/16, 9 PM ageless CB’s era funk-punk/postrockers the Bush Tetras at Elsewhere, $17

2/16, 9  PM Ensemble Parallax premieres Gabriele Vanoni’s multimedia electroacoustic chamber opera Island of Peoples, incorporating first-person, heart-wrenching stories of immigrants passing through Ellis Island at the turn of the 20th century  at the  Metropolitan Pavilion, 125 W 18th St, $10 

2/16, 10 PM allusively haunting, minimalist folk noir singer Belle-Skinner and original swing/torchsong bandleader Gracie Terzian at City Winery, note $10 standing room tix rec – they’re selling advance tix here now

2/16, 10ish intriguingly opaque parlor postrockers Green & Glass at the Owl

2/16, 10:30 PM fiery, psychedelically bluesy oldschool soul/roadhouse jamband Lizzie & the Makers at at the big room at the Rockwood

2/17, 2 PM the Calidore String Quartet play works by Beethoven, Haydn, Hannah Lash and Caroline Shaw at the Town Hall, $17

2/17, 3 PM the Sometime Boys’ riveting, powerful, theatrical frontwoman Sarah Mucho with pianist Elliott Roth at Freddy’s

2/17, 3 PM the North/South Chamber Orchestra plays works by Peter Aviss, Edna Longoria, Mikhail Johnson and Hilary Tann; violist Rita Porfiris appears as soloist, free, at Christ & St. Stephen’s Church, 122 W. 69th St

2/17, 5 PM pensive folk noir/parlor pop band Little Embers at LIC Bar

2/17, 7 PM one of the great oudists in NYC, Adam Good and band followed at 9:30 by Romany jazz/psychedelic rock guitar mastermind Stephane Wrembel at Barbes

 2/17, 8 PM Chris Ferris & Dancers premiere UNQUANTIFIABLE with composer/cello monster Loren Dempster. “Experience survival and enjoyment of crowds verses solitude,” at Roulette, $18

217, 8 PM hilarious, smartly political faux-French retro 60s psych-pop band les Sans Culottes at Our Wicked Lady, 153 Morgan Ave, just off the Morgan Ave L stop, $10

2/17, 9:30 PM a rare small club show by haunting noir soul bandleader Karine Denike at Pete’s

2/18, 8 PM Paracosm – the new duo project by saxophonist María Grand and  brilliant Indian percussionist Rajna Swaminathan at Arete Gallery, $15

2/18, 9 PM darkly torchy southwestern gothic/Europolitan songwriter/guitarist Miwa Gemini followed by Melissa Gordon of Melissa & the Mannequins – one of the best purist janglerock songwriters in NYC – at LIC Bar

2/18, 9:30 PM ex-Chicha Libre keyboard sorcerer Josh Camp’s wryly psychedelic cumbia/tropicalia/dub band Locobeach at Barbes

 2/19, 7:30 PM celilst Zlatomir Fung and pianist Tengku Irfan play works by Bloch, Berio, Brahms, Dallabacco and Katherine Balch at Merkin Concert Hall, $20 seats avail  

2/19, 8 PM haunting, magical Middle Eastern classical singer Shelley Thomas and her band followed at 9 by clever, fiery, eclectic ten-piece Balkan/hip-hop/funk brass maniacs Slavic Soul Party

2/19, 8 PMthe all-female Resistance Revival Chorus sing epic, inspiring original populist gospel tunes and anti-trumpie broadsides at City Winery, $15

 2/19, 9 PM violinist Joshua Modney and pianist Eric Wubbels perform Anthony Braxton’s Composition No. 222 at Arete Galllery, $15

 2/19-23, 8:30 PM cellist Jeffrey Zeigler plays with a series of ensembles at the Stone, $20. Choice pick: opening night wiht Zachary Watkins (guitar) Laura Ortman (violin)

2/19, 9:30 PM Jane Lecroy’s edgy, intensely lyrical electro-punk band Ohmslice at 2A

 2/19, 10:30 PM charismatic, adventurous postbop/avant garde trombonist/crooner Frank Lacy‘s Tromboniverse at Smalls

2/20, 1 PM the mighty, Middle Eastern-tinged Eyal Vilner Big Band at St. Peter’s Church, 54th/Lex 

2/20, 8 PM ish brilliant noir swing/Romany jazz/latin soul composer and guitarist Jack Martin (ex-Knoxville Girls and Dimestore Dance Band) at Troost

2/20, 9 PM the Space Merchants – the missing link between the Stooges and X – at Gold Sounds, $8

2/20, 8 PM ex-Dylan lead guitarist Larry Campbell with singer Teresa Williams with Little Feat keyboardist Bill Payne at City Winery, $25 standing room avail

2/20, 8 PM soprano Amy Owens, mezzo-soprano Alexandra Urquiola, baritone Jesse Blumberg, violist Tien-Hsin (Cindi) Wu, and pianists Michael Barrett, Steven Blier and Leann Osterkamp perform art-songs by a global cast of composers: Roberto Sierra, Clarice Assad, Bright Sheng and Daniel Sabzghabei at Merkin Concert Hall, $20 tix avail 

2/20, 8 PM Darmstadt Ensemble play Terry Riley’s In C  at the Poisson Rouge, $20 adv tix rec

2/20, 8 PM acerbic indie classical duo String Noise play “very quiet music written for two violins” by Catherine Lamb,  Jurg Frey and Lou Bunk at Arete Gallery, $20. They’re back here on 2/21 playing the album release show for their new one, $25 includes free prosecco

2/20, 8 PM haunting, purposeful viola improviser Jessica Pavone followed by New York’s most charismatic, darkly compelling lyrical songwriter/storyteller/keyboard genius Rachelle Garniez  with violist Karen Waltuch at Happy Lucky No. 1 Gallery

2/20, 9 PM edgy lefty lead guitarist Damian Quinones and his psychedelic latin soul band  at Bar Chord

2/21, 7 PM lyrically potent oldtimey songwriter Lenny Molotov – the missing link between Elvis Costello, Hoagy Carmichael and Rev. Gary Davis, maybe – at Sidewalk

2/21, 7:30 PM, repeating 2/22-23 at 2 and 8 PM the NY Philharmonic plays Stravinsky’s The Firebird plus works by Ravel at Avery Fisher Hall, $34

2/21, 7:30 PM guitarist Glenn Cryzter and His Savoy Seven play classic 1930s style swing jazz at Symphony Space, $20 tix avail for under 30

 2/21-24, 7:30/9:30 PM sizzling salsa dura band the Spanish Harlem Orchestra at the Jazz Standard, $35

2/21, 8 PM psychedelic janglerock guitar icon Chuck Prophet at Union Pool, $15

2/21, 8 PM  a composer portrait concert with colorful Chinese  pianist Wang Lu playing her own works joined by International Contemporary Ensemble and Yarn/Wire at the Miller Theatre, $20 tix avail

2/21, 8 PM multi-instrumentalist chamber pop stylist Alice Bierhorst and imagistic, compellingly lyrical acoustic songwriter Sandy Bell at the Owl, $10

2/21, 8 PM solo works by composer-performers Gary Philo, Amy Reich and James Bergin  at the DiMenna Center, $15

2/21, 8 PM high-voltage psychedelic cumbia/Afrobeat jamband MAKU Soundsystem at SOB’s, $15

2/21, 9 PM poignant, eclectic, lyrical jazz bassist/composer Pedro Giraudo’s tango orchestra at Terraza 7, $12

2/21, 8:30 PM clarinetist Adrianne Greenbaum leads her klezmer band at Town & Village Social Hall, 334 E 14th St.(between 1st & 2nd Ave.), $15

2/22, 7  PM ferociously lyrical, Macbeth-inspired art-rock/psychedelic songwriter Rose Thomas Bannister, acidically loopy psychedelic soundscapes Rosemary Krust and improvisational lo-fi minimalist one-man band Yes Selma at Sunview Luncheonette , 221 Nassau Ave in Greenpoint, G to Nassau Ave, sug don

2/22-23, 7 PM operatic countertenor Ju-eh + electronic soundscaper Hwarg perform their surreal, creepy electroacoustic Living Dying Opera at the Abrons Arts Center, $20   

2/22, 7:30 PM the MSM Orchestra play Respighi’s The Pines of Rome plus works by Liszt and Arurtuinian at Neidorff-Karpati Hall at Manhattan School of Music, 130 Claremont Ave. (just north of W. 122nd St.), free, tix req 

2/22, 7:30 PM legendary Black 47 leader and Irish punk songwriter Larry Kirwan and his allstar band play his new song cycle Ireland and America – A History in Song at the Schimmel Auditorium at Pace University, $30 tix avail

2/22, 8 PM eclectic, electric C&W/blues band the Jug Addicts followed at 10 by the world’s creepiest crime jazz/film noir band, Big Lazy at Barbes

2/22, 8 PM the Oratorio Society of NY play Berlioz: “La mort d’Ophélie”, Op. 18, No. 2 from Tristia*; Debussy: ”Sirènes” from Nocturnes; Sibelius:  Kullervo, Op. 7 at Stern Auditorium at Carnegie Hall, $20 seats avail

2/22, 9 PM, repeating 2/23 at 10 rambunctious, occasionally ghoulish rockabilly band the Royal Hounds at Skinny Dennis

2/22, 9:30 in reverse order at the Gutter: eclectic, kinetic female-fronted Afrobeat/postrock/funk jammers Kleptokrat, the twistedly cinematic, psychedelic Ben Pagano and the Space Machine, and skittish, math-y early 80s style new wave funk-punk band Impressionist, $8

2/22, 10 PM cinematic, kaleidoscopic jazz composer/singer Annie Chen  leads her quintet at Nublu $10

2/23, 3 PM the string section from the Washington Heights Chamber Orchestra play a potently relevant program: Kenji Bunch’s Supermaximum, Toru Takemitsu’s Requiem, Karen Tanaka’s Dreamscape and  Christopher Theofanidis’ A Thousand Cranes at Fort Washington Collegiate Church, 729 W 181st St, free  

2/23, 4 PM the Three Quarters Piano Trio play works by Martinu and Brahms followed at 8 by klezmer-jazz piano icon Anthony Coleman  leading a trio at Scholes St. Studio, $10 sug don

2/23, 7 PM Rohan Prabhudesai plays solo on harmonium, then joines with Hindustani singer Rahul Thandla with Dibyarka Chatterjee on tabla at the Chhandayan Center For Indian Music, $20

2/23, 8 PM Haeun Joo on piano with Matt Holman on trumpet, Danny Weller on bass, Ronen Itzik on drums at I-Beam, $15

2/23, 8 PM first-rate purist honkytonk crooner/bandleader Cliff Westfall followed by baritone Nashville gothic/honkytonk crooner Sean Kershaw and band at Hank’s, $10

2/23. 8 PM hard-charging oldschool soul/funk/rock singer Bette Smith and band at the big room at the Rockwood

2/23, 8 PM populist, sharply perceptive guitar/vocal duo Terry Kitchen & Mara Levine at the People’s Voice Cafe, sugg don, $20, “more if you choose; less if you can’t; no one turned away” Sample lyric: “We passed Shea Stadium at ten miles an hour, nothing lasts forever just like the Mets”  

2/23, 9 PM Erin Regan – who blends haunting, emotionally depleted story-songs with jaunty Americana – followed by the similarly brilliant/obscure, lyrically torrential Dan Penta at Sidewalk

2/23, 9 PM Brandi & the Alexanders play oldschool-style soul ballads at the Way Station

2/23, 9:30 PM awesomely unhinged horror surf/hotrod instrumentalists the Mad Doctors at the Gutter, $8

2/23, 10:30 PM elegant, sharply lyrical parlor pop stylist Heather Eatman followed by sunshine psych-pop songwriter Sam Kogon at Freddy’s

2/24, 3 PM violinist Suliman Tekalli leads  a trio playing works by Ives and Paolo Marchettini at Concerts on the Slope, St. John’s Episcopal Church, 139 St. John’s Place downhill from 7th Ave, Park Slope, any train to Grand Army Plz, sugg don

2/24, 3 PM the Greenwich Village Orchestra with violin soloist Ming-Feng Hsin play Dvoř︎ák: Romance; Glazunov: Concerto for Violin; Rachmaninoff: Symphony No. 3 at All Saints Church, 230 E 60th St (2/3rd Aves), $20

2/24, 7 PM lustrous pianist Simone Dinnerstein plays works by Franz Schubert, Patrick Zimmerli and Philip Glass at National Sawdust, $30 adv tix avail

2/24, 7 PM iconic singer Lucy Shelton reprises repertoire from her 1980 Naumburg debut recital (Villa-Lobos, Schwantner), plus songs written for her by Carter and Knussen, and premieres Ives song arrangements with the Westerlies brass quartet to celebrate her 75th bday. She’ll also sing works by Ravel, Rossini, and Schubert at Merkin Concert Hall, $20 tix avail

2/24, 7 PM wildfire guitarist Brandon Seabrook leads a trio with with Henry Fraser- bass and Erica Dicker -violin followed at 9:30  by Romany jazz/psychedelic rock guitar mastermind Stephane Wrembel at Barbes

 2/24, 7:30 PM erudite baritone saxophonist Claire Daly leads her quartet at Smalls

2/24, 8 PM Ned Rothenberg and an ensemble of variable instruments (Contemporaneous) play his new piece Beyond C, a concerto for improvising woodwind soloist Inspired by Terry Riley’s In C  at Roulette, $18

2/24, 8:30 PM dark Nashville soul songwriter Paul Burch at Pete’s

2/24, 9 PM anthemic janglerocker Alejandro Meola – who evokes Oasis back when they were a great powerpop band – at Union Pool, $10 

2/24, 10:30 PM serpentine, cinematic art-rock instrumentalists You Bred Raptors at Bowery Electric, $10

2/25. 7:30 PM the Mannes Orchestra play Strauss’s Metamorphosen and Bruckner’s Symphony No. 4 at the ground-floor U100 auditorium at the New School, 63 5th Ave., free

 2/25, 7:30 PM fiery alto saxophonist Lucas Pino’s eclectic, dynamic No No Nonet at Smalls

2/25, 7:30/9:30 PM perennially lyrical pianist Matthew Shipp plays the album release show for his latest trio release at Dizzy’s club, $30

2/25, 7:30 PM Paul Chihara’s “Amatsu Kaze” for soprano, clarinet, flute, violin, cello, and piano: “Amatsu Kaze” is based on seven Haiku dealing with love, death and separation. The second half of the program features pianist Nadia Shpachenko-Gottesman performing music of Lewis Spratlan, Harold Meltzer, Hannah Lash, and James Matheson, at Symphony Space, $20

2/25, 8 PM Middle Eastern-tinged art-rock singer/pianist Brittany Anjou plays the album release show for her new one Enamiĝo Reciprokataj (Esperanto for “mutual breakdown”) with her trio at the Poisson Rouge, $10 adv tix rec.

2/25, 8 PM avant garde piano titan Kathleen Supové (on Disklavier piano), Dafna Naphtali (electronics, voice, composition), Nick Didkovsky (electronics, guitar, composition) provide “improvisations and surprises” at Arete Gallery, $25

2/25, 9 PM exotic vibraphone-driven surf band the Vibro-jets followed by Melissa Gordon of Melissa & the Mannequins – one of the best purist janglerock songwriters in NYC – at LIC Bar

2/25. 10ish feral singer Carolina Oliveros’ mighty 13-piece Afro-Colombian trance/dance choir Bulla en el Barrio at Barbes

2/26, drinks at 5:30 PM, show at 6, Third Sound play music by Auroco, Castillo plus Schoenberg’s Chamber Symphony No. 1 at the Miller Theatre, free

2/26, 7:30 PM a killer original Indian music twinbill: violinist Arun Ramamurthy with his Trio +  saxophonist Pawan Benjamin’s quartet A Circle Has No Beginning at Jack, $15

 2/26, 7:30 PM cello/piano sibling duo Marilies and Nikolaus Guschlbauer play pieces by Ludwig van Beethoven, Helmut Schmidinger, and Iván Erőd, among others at the Austrian Cultural Center, 11 E 52nd St., free, res req 

2/26, 8 PM NY Polyphony sings a rare program of Alpine early music by Philippe Verdelot, Cipriano de Rore, plus works by Lassus, Clemens and Palestrina at the Church of St. Mary the Virgin, 145 W 46th St,  $30 tix avail

2/26-3/3, 8:30/10:30 PM pyrotechnic postbop trumpeter Terrell Stafford leads a quintet at the Vanguard, $35

2/26, 8:30ish stark southwestern gothic jangle and clang with And the Wiremen at Troost

2/26, 9 PM wickedly torchy noir songwriter Julia Haltigan and her killer band on her old home turf at 11th St Bar

2/26, 9:30 PM dark, carnivalesque oldtimey songwriter Feral Foster  at Pete’s

2/26, 10 PM saxophonist Anant Pradhan leads his ska/rocksteady octet at Freddy’s

2/27, 7 PM wildly virtuosic jazz improv trumpeter Peter Evans plus ensemble tba at National Sawdust $25

2/27, 7:30 PM the Mannes Orchestra play Gounod’s Petite Symphonie and Richard Strauss’ Suite in B Flat at the ground-floor U100 auditorium at the New School, 63 5th Ave., free

2/27, 7:30 PM haunting flamenco/Sicilian folk chanteuse Julia Patinella in a rare duo show plus Brian Cloud’s hotshot lapsteel player Raphael McGregor in a rare solo show at the American Can Co., $15

2/27, 8 PM haunting, slashingly cinematic noir songwriter Karla Rose – imagine Neko Case at her darkest singing Elvis Costello lyrics – at 11th St Bar

2/27, 9 PM  NO ICE at Otto’s – whaaaaat? NYC’s most potent soul rockers squeezed into that little space? Uh huh.

2/27, 9 PM Jessica Lurie (sax/flute, electronics); Katie Down (glass instruments, metal cello); Sarah Schoenbech (bassoon) & Terry Dame (amazing, original invented instruments, percussion and electronics) at Happy Lucky No. 1 Gallery

2/27, 9 PM elegantly angst-fueled, individualistic torchsong/parlor pop piano chanteuse Jeanne Marie Boes at LIC Bar

2/28, 7 PM haunting, rapturous Palestinian singer Mira Awad with Guy Mintus on piano at Joe’s Pub, $25

2/28, 7 PM indie classical string quartet Ethel play the first-ever performance of the Julia Wolfe string quartet cycle – all four of them – at the Jewish Museum, $20/$16 stud/srs

2/28, 7:30 PM a rare duo show by Sephardic dance jamband Yemen Blues at Symphony Space, $20 tix avail for under 30

2/28-3/2, 7:30/9:30 PM lyrical Cuban pianist Alfredo Rodriguez and his countryman percussion ace Pedrito Martinez duel it out at the Jazz Standard, $30

2/28-31, 7:30 PM gothic rock legend JG Thirlwell at National Sawdust is sold out

2/28, 7:30 PM Deviant Septet play Stravinsky’s sardonic, intensely relevant L’Histoire du Soldat at St. Bartholomew’s Church, $25/$10 stud/sr

2/28, 7:30 PM iconic, rapturous AACM pianist/organist Amina Claudine Myers, Nicole Mitchell and Irreversible Entanglements. and poet Camae Ayewa (a.k.a. Moor Mother) collaborate and play separate sets at Merkin Concert Hall, $25

2/28, 7:30 PM, repeating 3/1-2 at 8 pianist Jean-Yves Thibaudet and the NY Philharmonic perform Grieg’s Piano concerto No. 1 plus the Peer Gynt Suite and Dvořák’s Eighth Symphony at Avery Fisher Hall, $34

2/28, 7:30 PM pianist Per Tengstrand, Katie Liu (viola), Leland Ko (cello) Emiri Morita (violin), and Hana Mundiya (violin) play Beethoven’s Piano Concerto No. 4 and Sonata No. 9 for Piano and Violin in A Major, Op. 47, “Kreutzer” at Scandinavia House, $25

2/28, 8 PM plaintive Yorkshire/Appalachian singer Jan Bell – whose gloomy chronicles of Brooklyn gentrification are spot-on – with her all-female band the Maybelles followed at 10 by drummer Arthur Vint & Associates reinventing classic Morricone spaghetti western soundtracks at Barbes

2/28, 8 PM cellist Inbal Segev playas music for solo cello by five topnotch women composers -Anna Clyne, Missy Mazzoli, Reena Esmail, Kaija Saariaho, and Gity Razaz- at Roulette, $18 adv tix req

2/28, 8:30 PM ferociously dynamic, tuneful, female-fronted power trio Castle Black at the Gutter, $8

2/28, 8:30 PM a raucous klezmer dance party with music by Ken Maltz, Lauren Brody, Aaron Alexander at Town & Village Social Hall, 334 E 14th St.(between 1st & 2nd Ave.), $15

2/28, 8:30 PM drummer Jeff Davis’ dynamic Quartet with Jason Rigby – tenor sax and Jonathan Goldberger-  guitar at I-Beam, $15

3/1 Ty Segall at Warsaw is sold out – but in that space unless he really turns down you’re not going to hear anything anyway…

3/1, 7 PM sax quartet Nois make their New York debut with three world premieres by New York based composers Nathan Hudson, Howie Kenty and Ed Rosenberg III, plus Gemma Peacocke’s ‘Dwalm’, ‘Thirteen Changes’ from Pauline Oliveros and Georg Friedrich Haas’ ‘Saxophonquartett’ at Arete Gallery, $15

3/1, 7:30/9:30 PM epically brilliant, Shostakovich-inspired jazz pianist/composer Fabian Almazan leads his ensemble at the Jazz Gallery, $25

3/1-2 at 8 pianist Jean-Yves Thibaudet and the NY Philharmonic  perform Grieg’s Piano concerto No. 1 plus the Peer Gynt Suite and Dvořák’s Eighth Symphony at Avery Fisher Hall, $34

3/1, 8 PM hypnotically invigorating, shamanistic Korean percussion ensemble Noreum Machi at Flushing Town Hall, $16/$10 srs/under 18 free w/ID

3/1-2, 8 PM improvisations from a vast cast from the John Zorn circle with the man himself (sax) Michael Nicolas (cello) Ikue Mori (electronics) Mary Halvorson (guitar) Cyro Baptista )percussion) Brian Marsella (keyboards) Sylvie Courvoisier (piano) Ned Rothenberg (sax) Ches Smith (drums) Tomas Fujiwara (drums) Jim Staley (trombone) Jon Irabagon (sax) Chris Tordini (bass) Brandon Lopez (bass) Miles Okazaki (guitar) and special guests at Happy Lucky No. 1 Gallery, $20

3/1, 9 PM oldschool soul ballads with singer Camille Atkisson’s Empire Beats at Hill Country

3/2, 4 PM cinematic, psychedelic quirk-pop keyboardist Michael Hearst presents “Curious, Unusual and Extraordinary” songs from his many bands followed at 8 by haunting, charismatic oldtimey-style banjo player and corrosively political songwriter Curtis Eller’s American Circus at Barbes

3/2, 6 PM hauntingly torchy songwriter Daphne Lee Martin at the small room at the Rockwood. Next door at the big room jaunty female-fronted original retro rocksteady band the Big Takeover plays at 9 for $10

3/2, 6 PM atmospheric, cinematic drummer/composer Tim Kuhl and his group at Pete’s

3/2, 6 PM purist swing singer Catherine Russell and her amazing band at Bethany Baptist Church – 275 W Market St, Newark, free

3/2, 7 PM crystalline-voiced, noir-tinged third-stream jazz chanteuse Tessa Souter at Joe’s Pub, $18

3/2, 7:30 PM firebrand Malian rock chanteuse/bandleader Awa Sangho at the Lincoln Center Atrium, free, early arrival advised

3/2, 7:30 PM  Innov Gnawa play a traditional Moroccan Lila trance/healing ceremony – a real rarity in this country on a public stage – at National Sawdust, $25 adv tix req

3/2 8 PM experimental sacred music duo ARIADNE followed by a very rare US performane by French musique concrète pioneer and IRCAM vet Christine Groult at Issue Project Room, $15/$12 studrs

3/2, 8 PM, repeating 3/3 at 3 PM the NJ Symphony Orchestra with pianist Jeffrey Kahane play Beethoven’s Piano Concerto No. 4 plus Shostakovich’s Symphony No. 1 at NJPAC in Newark, $20 tix avail

3/2, 8 PM darkly colorful, perennially interesting bassist Linda May Han Oh leads her Quintet at the Miller Theatre, $20 tix avail

3/2, 9 PM terse, acerbic trumpet improviser Steph Richards at the Owl

3/2, 9 PM edgy, uneasy female-fronted retro new wavers the New Tarot at the Knitting Factory, $10

3/3, 6 PM tuba duo Avant Garde Working Class with Joe Daley and Jesse Dulman followed at 7 by Karen Ng and Henry Fraser doing a clarinet/bass duo at Downtown Music Galley

3/3, 6 PM guitarslingers Jason Loughlin and John Shannon play Chet Atkins classics and obscurities at Pete’s

3/3, 7:30 PM lyrical jazz piano icon Fred Hersch solo at Mezzrow, $20, you might want to get there early

3/3, 9 PM intense, charismatic oldschool soul belter Sami Stevens at the big room at the Rockwood

3/3 , 11 PM ferociously tuneful ska-punks Uncle Djuzeppe folllowed by haunting Balkan psychedelic rockers Alec K Redfearn & the Eyesores at Muchmore’s, $tba 

3/3, 9:30 PM bouncy, incisive Romany jazz group Gaucho at Joe’s Pub, $20

3/3, 10 PM chanteuse/uke player Dahlia Dumont’s Blue Dahlia play edgy, smartly lyrically-fueled, jazz-infused tunes in English and French with classic chanson and Caribbean influences at Barbes. The following night, 3/4, 6 PM they’re at the small room at the Rockwood

3/4, 8 PM popular newgrass road warriors Chathan County Line at City Winery, $20 

3/5, 7 PM Venezuelan group El Tuyero Ilustrado – cuatro player Edward Ramírez and singer and percussionist, Rafa Pino – play their new take on traditional  joropo tuyero sounds at the Americas Society, $20

3/5, 8 PM brilliant acoustic guitarist and sardonic alt-country songwriting pioneer Robbie Fulks – of Fuck This Town infamy -at City Vineyard, $15

3/5, 7 PM rising star trumpeter Adam O’Farrill “with his new nine-piece ensemble Bird Blown Out of Latitude, performing new music born from the disorientation of personal displacement.” trumpeter Aaron Burnett and the Big Machine follow with special guest, the pyrotechnic Peter Evans at National Sawdust, $25 adv tix rec

3/5, 8 PM masterful improvisational camaraderie with Shipp/Lowe/Cleaver/Ray – Matthew Shipp, Allen Lowe, Gerald Cleaver, Kevin Ray – at  at Roulette, $18 adv tix rec

 3/5-9, 8:30 PM postbop/improv jazz drum maven Ches Smith leads a series of ensembles at the Stone at the New School, $20. Many killer lineups: the best could be 3/8 with Kris Davis (piano), Marc Ribot (guitar), Leon Boykins, Devin Hoff (bass)

3/5-9, 8:30/11 PM iconic fire-and-ice jazz singer Karrin Allyson and band at Birdland, $30 at the bar

3/6, 1 PM pianist Changyong Shin plays a program TBA at the Greene Space, free, rsvp req 

3/6, 7:30 PM avant-rock band Boio, the genre-obliterating Warp Trio, and Forward Music Project – Amanda Gookin’s multimedia project of solo cello works developed to empower women and girls –  followed by Contemporaneous playing works by violet Barnum and Henry Threadgill – a homage to Butch Morris – at Roulette, $18 adv tix rec 

3/6, 7:30 PM iconic art-rockers the Bang on a Can All-Stars play world premieres of indie classical/art-rock dance music by Nicole Lizée, Josué Collado Fregoso, Henry Threadgill, and Trevor Weston, plus “three classics from Bang on a Can history by Annie Gosfield, Arnold Dreyblatt and Glenn Branca, with a rare performance of Branca’s massive “three dimensional” Movement Within, written specifically for the Bang on a Can All-Stars, in his unique tuning system and on his own original instruments” at Merkin Concert Hall, $25

3/6, 8 PM a night of first-class female improvisers: cinematic multi-instrumentalist/violinist Laura Ortman, multi-keyboardist Liz Kosack, haunting jazz pedal steel virtuoso Susan Alcorn and cellist Okkyung Lee at Union Pool, $12sx

 3/6, 9 PM heavy riff/stoner boogie band Frankie & the Witch Fingers followed by Aussie heavy psych band the Psychedelic Porn Crumpets at the Knitting Factory, $12 

3/6, 9 PM sharply lyrical janglerock/Americana/soul songwriter Matt Keating and guitarist Steve Mayone’s catchy project the Bastards of Fine Arts at 11th St. Bar

3/6, 10 PM powerhouse New Orleans soul/blues shouter Rev. Sekou at Drom, $10 adv tix rec

3/7, 7:30 PM a killer twinbill with two of the best, most unselfconsciously poignant solo string composer-performers out there: violinist/percussionist Christopher Tignor and Julia Kent playing the album release show for her new one at National Sawdust, $22 adv tix rec

 3/7, 7:30 PM cellist Geirþrúður Anna Guðmundsdóttir with pianist Tomomi Sato play works by Boccherini, Beethoven, and Rachmaninoff at Scandinavia House, $20

3/7, 7:30 PM Bella’s Bartok – akin to a more mellow Gogol Bordello – at Symphony Space, $20 for 30 and under

3/7, 7:30 PM intense, microtonal string ensemble the Sirius Quartet play works by composers: Brian Field, Ian Erickson, Jennifer Castellano, Marga Richter, Mari Tamaki, and Sam Post along with their own stuff at the DiMenna Center, $25

3/7, 7:30 PM the Tesla Quartet play works by Beethoven and Respighi at the Lincoln Center Atrium, free, early arrival advised

3/7-9, 7:30 PM Dušan Týnek Dance Theatre’s  Le Jardin Qui Rit – a surrealistic dance homage to Hieronymus Bosch’s Garden of Earthly Delights with live score by Aleksandra Vrebalov at the Baruch College auditorium, $30/$15 stud/srs

3/7, 8 PM ferocious, female-fronted Afrobeat band Underground System  followed by wild Palestinian hip-hop/dancehall reggae/habibi pop band 47soul at Bric Arts, $15 adv tix rec

3/7-8, 8 PM, repeating 3/10 at 4 PM Jiva Dance Company’s elegantly apocalyptic performance The Four Horsement with music by Rajkumar Bharathi and lyrics by Shiv Subramanian at Dixon Place, $28

3/7, 8 PM the US debut of edgy, dynamic, uneasily ethereal improvisational extended-technique pianist Irene Aranda in the Black Box Theatre at 244 Rehearsal Studios,  244 W 54th St., $20

3/7, 8 PM intrepid bassist Shayna Dulberger leads a quartet with singer Fay Victor, guitarist Ava Mendoza, and drummer Juan Pablo Carletti at Roulette, $18 av tix rec

3/7, 8 PM psychedelic soul-rockers Madam West  at the small room at the Rockwood

3/7, 8 PM a composer portrait of John Zorn by an allstar cast: the Jack Quartet, pianist Steven Gosling and many more at the Miller Theatre, $25 tix avail

add 3/7, 8:30 PM klezmer violinist Jake Shulman-Ment’s accurately named “MIDWOOD” w/Yoshie Fruchter, Richie Barshay, Eleonore Weill, and special guest, Francesca Ter Bergat Town & Village Social Hall, 334 E 14th St.(between 1st & 2nd Ave.), $15

3/7, 9 PM Certain General guitarslinger Phil Gammage plays his dark Americana and blues at 11th St Bar

3/7, 10 PM explosive, creepy, colorful psychedelic rembetiko metal band Greek Judas at Hank’s, $10

3/8-9, 8 PM the reliably entertaining, adventurous Chelsea Symphony play wartime works including Fascist Baby, a world premiere by TCS composer Tim Kiah; Ravel’s Tombeau de Couperin, French composer Fernande Breilh-Decruck’s 1944 suite Cinq poèmes chrétiens, the Haydn Trumpet Concerto Friday night and on Saturday, the Haydn Cello Concerto at St. Paul’s Church, 315 W 22nd St., $20 sugg don

3/9, 7:30 PM brilliant tabla player/composer and Brooklyn Raga Massive anchor Sameer Gupta does double duty, first in a trio set with sarangi player Rohan Misra and then with sitarist Rishab Sharma at the Chhandayan Center For Indian Music, $20

3/9, 8 PM one of the year’s best twinbills:brilliant, soaring south Indian chanteuse Falu and her orchestra and hypnotic, pulsing, sousaphone-driven Guadalupian/New Orleans band Delgres a at Flushing Town Hall, $16

3/9, 9 PM atmospheric, hypnotic guitar soundscaper Scott Helland solo at Pete’s 

3/10, 3 PM the Neave Trio play a program of works by women composers: Rebecca Clarke’s Piano Trio; Amy Beach’s Piano Trio in A minor, Op. 150; Cécile Chaminade’s Piano Trio No. 1, Op. 11; and Jennifer Higdon’s Piano Trio at  Madison Presbyterian Church (921 Madison Ave), $25

3/10, 4 PM the Sometime Boys’ riveting, powerful, theatrical frontwoman Sarah Mucho with pianist Elliott Roth at Freddy’s

3/12-16, 8:30/11 PM purist saxophonist Vincent Herring’s History of Jazz – an epic suite spanning classics from the early swing era to the present day – at Birdland, $30 at the bar

3/13, 9 PM late 80s powerpop heroes Teenage Fanclub at Bowery Ballroom, $25 gen adm

3/14, 7:30 PM fiery Portuguese twelve-string guitar sorceress Marta Pereira da Costa at the Lincoln Center Atrium, free, early arrival advised

3/15, 7 PM indie classical ensemble Longleash and mezzo-soprano Lucy Dhegrae play Shawn Jaeger’s Places We Know – a collection for digital piano trio inspired by the soundscapes of urban and rural streams, rivers, and harbors including field recordings from Muscota Marsh (Inwood) Red Hook Channel (Brooklyn), Beargrass Creek (Louisville, KY), Coleman Run (Nerinx, KY), and Chenoweth Run (Louisville, KY), at Arete Gallery, $15

3/15, 7:30 PM Venezuelan percussionists Roberto and Luisito Quintero’s oldschool Salsa Project at the Lincoln Center Atrium, free, early arrival advised

3/16, 9 PM hypnotically explosive live bhangra dance band Red Baraat at Bowery Ballroom, $25

3/21. 8 PM a string-driven thing at Drom:  apocalyptic string quartet Sevensuns, eclectic, funky parlor jazz violinist Mazz Swift’s MazzMuse, Joe Deninzon’s wickedly fun string metal band Stratospheerius and strings-and-percussion crew 2Birds Band, $15 adv tix rec 

3/21, 9 PM the kings of macabre British noir doom music, All Them Witches at Bowery Ballroom, $20

3/22, 8:30 PM majestic, darkly cinematic surf band the TarantinosNYC. at Freddy’s

3/23, 3 PM the Washington Heights Chamber Orchestra play works by Korngold, Britten, Anna Clyne and Michael Torke at Fort Washington Collegiate Church, 729 W 181st St, free   

 3/23, 9 PM psychedelic Pakistani crooner Ali Sethi and His Lahore Band at National Sawdust, $25 adv tix rec

3/24, 5 PM the Manhattan Chamber Players perform works by Mozart, Schumann, and Bruch at the Lounge at Hudson View Gardens, 128 Pinehurst Ave @ W 183rd St, A train or #1 train (to 181st St) or the M4 bus (to 183rd St), $15/$12 stud/srs

3/25, 7:30 PM majestic, slinky cumbia orchestra the Gregorio Uribe Big Band at St. Peter’s Church, 54th/Lex, $20

3/26, 7:30 PM the Canadian Guitar Quartet reinvent works  by Beethoven, Saint-Saens, Pouilenc, Ravel and Brahns at the Baruch College auditorium, free, rsvp req 

3/28, 7:30 PM Iraqi maqam music icon Hamid Al-Saadi with trumpeter Amir ElSaffar’s hypnotic, incisive classical Iraqi music ensemble Safaafir at the Lincoln Center Atrium, free, early arrival advised

4/4, 7:30 PM, repeating 4/5 at 8 PM and 4/6 at 2 and 8 PM the NY Philharmonic play works by Beethoven, Bernstein, Stucky ,Wagner and very young composers at Avery Fisher Hall, $5 tix available to NYPD, NYFD, EMT, and NYC city service professionals. 

4/7, 5 PM the Kandinsky Trio perform a lyrical early Beethoven piano trio and then will be joined by clarinetist Jose Garcia Taborda and narrator Patricia Raun for Messiaen’s Quartet for the End of Time at the Lounge at Hudson View Gardens, 128 Pinehurst Ave @ W 183rd St, A train or #1 train (to 181st St) or the M4 bus (to 183rd St), $15/$12 stud/srs

5/26, 5 PM pianist Andrea Lam performs Bach, Schumann and Stravinsky at the Lounge at Hudson View Gardens, 128 Pinehurst Ave @ W 183rd St, A train or #1 train (to 181st St) or the M4 bus (to 183rd St), $15/$12 stud/srs

6/16, 5 PM cellist Angela Lee, with pianist Evelyne Luest play works by Beethoven, Prokofiev and Janáček at the Lounge at Hudson View Gardens, 128 Pinehurst Ave @ W 183rd St, A train or #1 train (to 181st St) or the M4 bus (to 183rd St), $15/$12 stud/srs