New York Music Daily

Global Music With a New York Edge

Tag: pop music

A Killer Triplebill Foreshadows a Great Psychedelic Show on the LES

This Thursday, March 30 at 8 PM there’s a rare, intimate performance by second-wave Los Angeles psychedelic legends the Jigsaw Seen at Bowery Electric. They’re followed by the much louder New York Junk, whose retro sound moves forward in time another ten years to the Max’s Kansas City early punk rock scene. Cover is a ridiculously cheap, CBGB-era $8.

The Jigsaw Seen’s latest album, streaming at Spotify, is aptly titled For the Discriminating Completist. It’s a collection of B-sides and rarities. There’s an album of new material in the works, and frontman Dennis Davison has also recently immersed himself in a brand-new dark acoustic project, Witchfinder Witch, a duo with New York folk noir icon Lorraine Leckie. Speaking of which, she has an incendiary new protest single, America Weeping, just out and available as a free download at Bandcamp

The two made their debut at Pete’s Candy Store on a Saturday night in January, Davison on acoustic guitar and Leckie on piano. The highlight of that gig was Cave Canem, a witheringly lyrical anthem that casts the history of dogs – and centuries of canine abuse – as a metaphor for humans’ crimes against their own species.

A few days later at Maxwell’s, the duo were the centerpiece of what’s arguably been the best triplebill of the year. Debby Schwartz opened the show, jangling adn clanging through a series of arcane British folk turnings on her hollowbody Gretsch, bolstered by Bob Bannister’s nuanced, artfully jeweled, Richard Thompson-esque Strat work, Rose Thomas Bannister supplying lush harmonies and percussion. Through neo-Britfolk and more dreampop-oriented material, Schwartz sang with her her soaring, diamond-cutter delivery, dreaming New York City in the middle of LA and finally closing with a stunning take of the psych-folk anthem Hills of Violent Green.

By now, Witchfinder Witch had shaken off whatever early jitters they might have had: they’d come to conquer. Davison spun bittersweet, pun-infused psych pop gems weighing the pros and cons of clinical depression (do it right and you get tons of songs out of it) and a couple of darkly allusive, mystically-tinged co-writes with Leckie. She charmed and seduced the crowd with blue-flame red-light cabaret tune or two, a jaunty S&M piano number that was so deadpan that it was creepily plausible, and a mysterious, hypnotic folk noir tableau that could have been about heroin, or simply death itself. The crowd was rapt.

The Pretty Babies headlined, putting a deliriously fun coda on what had been a low-key, entrancing evening up to then. Professional subversive and rockstar impersonator Tammy Faye Starlite – who’s channeling Nico on Thursdays in April at 7:30 PM at Pangea – led the world’s funniest Blondie cover band through a stampeding take of Dreaming as well as a surprising number of deeper cuts from the band’s early days when they rocked harder. If memory serves right, Tammy took a hilariously politically-fueled detour that eventually drove Call Me off the rails. Everybody in the band has a funny, punny Blondie name. Was bassist Monica Falcone – who absolutely nailed the wry disco lines in Heart of Glass – newly christened as Chrissie Stein? It’s hard to remember who else everybody else was: Heidi Lieb and Keith Hartel as Frank Infantes separated at birth, and expert standins for Jimmy Destri on keys and Clem Burke on drums. Hearing the Pretty Things and watching the crowd on their feet and bopping along was a jab in the ribs that said, hey, the original outfit was pretty good too. 

Olga Bell’s Irreverently Funny, Relevant Lincoln Center Debut Trumps Adversity

Olga Bell is hilarious. In her American Songbook debut at Lincoln Center’s Kaplan Penthouse last night, the Russian-born art-rock/avant garde keyboardist/singer validated a brave piece of booking, in the process triumphing over all sorts of adversity. This was a tough gig from the git-go. Cheefing on what seemed like a bottomless thermos til it was gone, then finally switching to water, she battled a cold along with some unfamiliar gear that malfunctioned to the point of threatening to completely derail her show. But she persevered, cheerfully breaking the fourth wall when she wasn’t mercilessly pillorying the yuppie careerism, incessant status-grubbing and money obsessions of gentrifier-era Brooklyn, which she now calls home.

And she did it with more than just her lyrical jabs, which turned out to be a lot subtler than her musical barbs. Those drew the heartiest laughs from a sold-out audience of well-heeled twentysomethings whose mere presence in Manhattan on a Friday night was something of a surprise: turns out that not everyone in zip code 11221 is petrified of being geotagged outside it.

When she hit her pitch pedal and ran her vocals through a toddler-voice patch to make fun of a guy who’s too big for his britches, and then a little later turned the kiss-off anthem Power User into phony hip-hop, the crowd roared. She had similar fun with her electronics and all the loops she’d stashed away in her sequencer, particularly a Bernie Worrell-style low bass synth setting that she worked for every droll riff she could think of.

Her between-song patter also had edge and bite. Acknowledging that for her, this gig spelled revenge for having been rejected by the Juilliard folks a few floors below, she played elegantly nuanced, neoromantically-tinged piano when she wasn’t fiddling with her mixer, or loading a stubborn loop device, or feeding layers of melody into an arpeggiator. Such things exist: clearly, there’s a market among players who prefer chords instead. She namechecked “aspirational hipsters,” including the guy at the corner bar who’s on the take more than he’s on the make.

“Wherefore art thou, Doppio?” she posed to another would-be romantic doofus. Even the simpler, techier, disco-oriented numbers were laced with taunts and sarcasm, particularly Stomach It and Your Life Is a Lie, among other tracks from her 2016 album Tempo. Toward the end of the show, she was joined by cellist Andrea Lee for a moody Russian border-rock ballad from the 2014 album Krai, and then soul singer Sarah Lucas, who belted out one of the more pop-oriented electronic numbers. Bell encored with a vaudevillian piano tune about finding romance on the L train, which she’d written in 2006 for the Rockwood Music Hall open mic. Who knew there was once such a thing – and who knew that somebody who played there would someday headline at Lincoln Center.

This year’s American Songbook series continues to venture much further afield than the theatre music and pop hits from the 1930s and 40s that it was created for almost twenty years ago. There are two Kaplan Penthouse shows next week that deserve special mention: on Tuesday, March 28 at 8 PM, the Cactus Blossoms, who have an eerie resemblance to the Everly Brothers, bring their rapturous harmonies and disconsolate Americana ballads. And the following night, March 29, powerhouse Ghanian-born oldschool soul belter Ruby Amanfu leads her band.

A Provocative, Wickedly Catchy New Album and a Rare Live Show by Nehedar

Over the past few years, Nehedar has made a name for herself as an often brilliantly lyrical, eclectic songwriter spanning the worlds of psychedelic soul and catchy urban pop. Her songs are sparkly, and fun, and full of humor. She’s a tremendously good singer, with a clear, bright voice. By contrast, her lyrics have edge, and bite, and a persistent unease. They ask more questions than they answer, and get you thinking. And she’s a big-picture person; her definitive album so far may be 2011’s Power Plant Beach, whose sunny album cover depicts a nuke plant in the background.

Her new album Hello Abyss, streaming at her music page, is arguably the most rock-oriented thing she’s done to date. and might also be the musical high point of her career. The songs’ unifying theme is escape. It’s hard to think of a more apt title for anything released under the current political climate, isn’t it? When she’s not singing harmonies in the New York rock band Fierce Love, she tends to be a creature of the studio: she doesn’t play a lot of shows on her own. Which is why the album release show on March 15 at 9 PM at Bowery Electric is a pretty big deal. Perl Wolfe – former lead singer of Bulletproof Stockings, the Hasidic Sleater-Kinney – opens the night at 8. After Nehedar’s own set, she plays with Fierce Love, then sardonic new wavers Blanket Statementstein headline at around 11. Cover is $10?

Nehedar (real name: Emilia Cataldo) plays guitar and keys, joined on the album by Fierce Love guitarists Shaul Zuckerberg and Tim Rockmore, with Craig Levy on bass and drums. The opening track, The Story is a new wave soul tune complete with wryly warpy synths and deadpan funny electronic percussion patches that contrast with the lyrics, a rugged individualist surveying the terrain from an understatedly solitary perspective.

The second cut, Catacomb, is part eco-disaster parable, part kiss-off anthem to the powers that be, sung over a counterintuitively bouncy new wave pop tune. “Got their hooks in you, made you believe that their lies are true…get your brain back!” she insists. “The lights are bright, but it’s monochrome.”

Shedding Skin is a mashup of anthemic powerpop and trippy dub reggae with some Middle Eastern spice. How rises with echoes of gospel and oldschool soul into a big power ballad. Is it cynical to want no more than to be able to wake up into a world that doesn’t make you want to hide under your pillow, Nehedar asks us – or, is that merely being realistic?

“You’re never too young go know which way not to go,” she asserts in the surrealistically lilting Happy Birthday, with its boomy, brushed snaredrum beat and dancing bass. You’re Beautiful When You Fall Apart is a big rocker with a 60s psychedelic undercurrent, just like the following cut, Fear and Love, which is more poppy: “Let’s see the monster underneath the bed!” she challenges with irrepressible cheer. “”I’m gonna take you in the back room, show you all the monsters I keep in the rear!”

The album’s most striking and strongest track is The Grudge, a snarling psych-pop broadside: “It’s like the bottom fell out and left me in a civil war,” she laments. The final numbers here are the let’s-bury-the-hatchet ballad Tonight Tonight and Sotah, which rises from eerie folk noir to a big, roaring, angst-fueled, Santana-esque guitar anthem, with the album’s most dramatic, intense vocals. 

Agnes Obel Brings Her Creepy Waltzes to the West Village Saturday Night

Multi-keyboardist/singer Agnes Obel writes broodingly catchy songs that span from minimalist chamber pop to more ornate art-rock. She loves waltz time: most of the songs on her new album Citizen of Glass, streaming at Spotify, have a slow 3/4 pulse. David Lynch has given her his imprimatur, which makes sense, although as a point of reference, she’s closer to Basia Bulat than Julee Cruise. Obel’s got a New York gig this Saturday night, March 11 at the Poisson Rouge at 7:30 PM. Advance tix are $20.

Obel plays all the keyboards on the album other than Daniel Matz’s trautonium, an early analog synthesizer that sounds like a chorus of shortwave radios. Kristina Koropecki’s alternately swooping and dancing cello multitracks add lushness and lustre to the moodily waltzing opening number, Stretch Your Eyes: it wouldn’t be out of place as a backing track on a classic 90s RZA Wu-tang joint.

Familiar has the…ummm…familiar feel of an icy 90s stainless-steel-counter club trip-hop number, like Portishead with guy/girl vocals: it’s likely that Obel is simply multitracking those harmonies with a pitch pedal. To her credit, Obel writes instrumentals as well as vocal numbers; the first of these, Red Virgin Soil is a hypnotically circling minor-key, cello-driven waltz.

A more stately piano waltz, It’s Happening Again has a distantly troubled, hazy Marissa Nadler-esque vibe, a look over the shoulder at a haunted past. Obel also draws comparisons to Nadler over 3/4 cadences throughout Stone, which  brings to mind Philip Glass’ film work.

Trojan Horses is the album’s best and creepiest track, in the same vein as Clint Mansell’s most ominously circular film scores. “The end of time has just begun, I hear it call your name,” Obel soberly intones early in the title track, the most minimalist but arguably catchiest song here. That could also be said about Golden Green, a trance-inducing round with Bach-like echoes, Obel playing through a vibraphone patch. 

The album winds up with the melancholy, resonant piano instrumental Grasshopper and then Mary, a sad reminiscence that could be about a lesbian relationship, or maybe witchcraft, or maybe both. Once again, Obel’s signature allusiveness draws you in.

Live Music Calendar for New York City and Brooklyn for March and April 2017

Constant updates: you might want to bookmark this page and check back every so often. 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 here, something for everyone

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

On select Wednesdays and Sundays, an intimate, growing piano music salon on the Upper West Side featuring iconoclastically insightful, lyrical pianist Nancy Garniez – a cult favorite with an extraordinarily fluid, singing, legato style – exploring the delicious minutiae of works from across the centuries. Up next: Bartok, Haydn, Brahms and Chopin. Sugg don $10 (pay what you can), delicious gluten-free refreshments, beverages and lively conversation included! email for info/location. Upcoming dates: Wednesdays at 7: Mar 22,  Apr 19 , May 17,  June 21, and Sundays at 4:   Mar 26,  Apr 23,  May 21,  June 25.

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

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

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

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

Mondays at 9 PM erudite, purist torchy jazz chanteuse Svetlana & the Delancey 5 at the Back Room, 102 Norfolk St just north of Delancey St, free

Mondays at 10 noir guitar legend Jim Campilongo leads his trio at the big room at the Rockwood

Also Mondays in March 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.

Mondays in March at midnight wild noir piano jazz with the Dred Scott Trio back at their old spot, the small room at the Rockwood. 3/27 they’re at Mezzrow at 9

Tuesdays in March, 8:30 PM the George Gee Swing Orchestra play surprising new arrangements of old big band standards at Swing 46, 349 W 46th St,  $15

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

Wednesdays at 8-ish, amazing, psychedelic instrumentalists Sandcatchers – who blend cinematic, pastoral Americana and Middle Eastern themes – at Cheryl’s Restaurant, 236 Underhill Ave. (Eastern Pkwy/Lincoln Pl.) in Ft. Greene. Closest train is actually the 2/3 to Brooklyn Museum.

Wednesdays at 8 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 Art Cafe, 884 Pacific St.(at Washington Ave) in Brooklyn, $15; closest train is the 2 to Bergen St.

Wednesdays at 9 PM Feral Foster’s Roots & Ruckus takes over the Jalopy, a reliably excellent weekly mix of oldtimey acts: blues, bluegrass, country and swing.

Wednesdays in March, 11ish darkly rustic danceable Brazilian rainforest folk (and John Zorn covers) with Forro in the Dark at Nublu 151

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 at around 9:30 PM Bulgarian Romany sax legend Yuri Yunakov with his wild but haunting band at Mehanata

Saturdays at 4 PM at Bargemusic there are impromptu free classical concerts, 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 March 6 PM Steve Ulrich of Big Lazy at Barbes. The darkest and most darkly humorous noir guitarist on the planet promises to bring a whole slew of special guests from his vast address book. Expect the film themes that have made him famous as well as deviations into Monk, Piazzolla, maybe even country and blues. There’s nothing this guy can’t play or take deep into the shadows.

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

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

Sundays in March at sometime past noon at Hank’s, Nashville gothic crooner Sean Kershaw‘s legendary honkytonk brunch is back! It’s just like 1999 again!

Sundays in March, 7 PM spine-tingling darkly mystical art-rock/avant-garde/chamber pop songwriter Carol Lipnik – pretty much everybody’s choice for best singer in all of NYC – at Pangea

Sundays in March, 8 PM purist guitarist Peter Mazza – who gets the thumbs up from bop-era legend Gene Bertoncini – leads a series of trios at the Bar Next Door.

3/1, 7 PM PubliQuartet cellist Amanda Gookin plays electroacoustic piece by Leila Adu, Jessica Meyer, Allison Loggins-Hull, Morgan Krauss, Nathalie Joachim, and Amanda Feery from her new album at National Sawdust $30 adv tix rec

3/1, 8 PM a murderer’s row of first-rate singers including but not limited to Erica Smith, Tammy Faye Starlite, Lizzie Edwards of Lizzie & the Makers play a Leonard Cohen tribute, backed by an all-star band at Bowery Electric, $8

3/1, 8 PM rockabilly/honkytonk guitar maven Monica Passin a.k.a. L’il Mo followed by well-liked, fearlessly political LES soul-rock songwriter/chanteuse Dina Regine at Sidewalk

3/1-2, 8 PM the Boston Symphony Orchestra play Gunther Schuller’s Seven Studies on Themes of Paul Klee, Mozart’s Piano Concerto No. 22 in E-flat Major, K. 482 and Beethoven’s  Symphony No. 3, “Eroica” at Stern Auditorium at Carnegie Hall, $25 seats avail

3/1, 8:30  PM Rocky Mountain gothic songwriter Jackson Melnick plays the album release show for his new one with Rainy Mountain, Emma McMullin, and Joanna Sternberg at Muchmore’s 

3/1-5, 8:30 PM Mexican-American jazz fave Oscar Noriega leads a series of groups, alternating between alto sax and drums at the Stone, $20. Choice pick: the 3/3 quartet set with Mary Halvorson (guitar) Trevor Dunn (bass) Dan Weiss (drums)

3/1, 9ish Dervisi feat. guitar god Steve Antonakos play “exotic Greek gangsta blues” at Troost

3/1, 9 PM torchy, eclectic jazz/Americana singer/dobro player Abbie Gardner (ex-Red Molly) at the small room at the Rockwood

3/1, 9 PM oldschool-style high plains C&W singer Hope Debates & North 40 at Bar Chord

3/1, 9:30 PM jazz vibraphonista Yuhan Su with  Matt Holman, trumpet;  Alex LoRe, alto sax;  Petros Klampanis, bass;  Nathan Ellman-Bell, drums at Cornelia St. Cafe, $10 + $10 min

3/2, 7 PM fearless Malian psychedelic desert rock bandleader/freedom fighter Noura Mint Seymali at Littlefield, $20 adv tix avail

3/2, 7 PM oldschool soul bandleader Eliza Neals and the Narcotics plays the album release show for her new one followed eventually at 10 by wryly trippy dub reggae bandleader Effie Liu at the Bitter End

3/2, 8:30 PM riveting, dynamic, poignant klezmer singer Inna Barmash and her fantastic band sing “winkling klezmer lullabies, songs of love and love gone wrong” at the  Jalopy, $15

3/2, 7/9 PM charmingly nuanced, erudite singer/pianist and Dinah Washington reinventor  Champian Fulton plays the album release show for her new all-instrumental cd Speechless with Stephen Fulton [flugelhorn]   Dor Samoha [bass]   Fukushi Tainaka [drums] at Smoke, $12 bar seats avail. 3/7 at 8 she gets back on the mic, leading a trio at Mezzrow, $20

3/2, 7 PM Argentine songwriter Pedro Aznar, Mexican torch jazz singer Magos Herrera & pianist Edward Simon and his Trio play a Mercedes Sosa tribute at National Sawdust, $30 adv tix rec

3/2, 7:30 PM charismatic crooner Sahr Ngaujah’s Fela Acoustic Project and Sierra Leonean hip hop act Bajah and the Dry Eye Crew at the Lincoln Center Atrium, free

3/2, 8 PM dark, charismatic, mischievously witty art-rock keyboardist/chanteuse Rachelle Garniez followed at 10 by Chia’s Dance Party spinoff the Cumbia River Band playing rustic Colombian acoustic grooves at Barbes

3/2, 8 PM percussion and piano quartet Yarn/Wire play the shamanic, hypnotic, kinetic music of Japanese composer Misato Mochizuki at the Miller Theatre, $25 tix avail

3/2, 8 PM wild largescale improvisation: cornetist Taylor Ho Bynum‘s PlusTet performs music from their release “Enter the PlusTet” and premiere a new composition for creative orchestra at Roulette, $20 adv tix rec

3/2, 8 PM guitar/violin noise duo Aimee Niemann and Louis Cohen followed by concise, tuneful jazz pianist Marta Sanchez l leading her quintet with Roman Filiu on alto sax at the Owl, $10

3/2, 8/9:30 PM drummer/composer Rob Garcia  leads his quartet with Noah Preminger, tenor sax;  Gary Versace, piano;  John Hébert, bass;  playing his fearlessly political, tuneful, relevant compositions at Cornelia St. Cafe, $10 + $10 min

3/2, 9 PM long-running 90s alt-country favorites Rusty Truck at Hill Country

3/2, 10 PM ceaselessly entertaining, carnivalesque, sometimes outrageously cartoonish big band jazz: Josh Green & the Cyborg Orchestra at National Sawdust, $30 adv tix rec

3/2, 10:30 PM 10:30 PM noir-inspired alto saxophonist/composer Nick Hempton leads his group at Smalls

3/2, midnight fiery, politically aware Texas Americana band City of Decades at the small room at the Rockwood  

3/3, 7 PM intense, brilliantly lyrical, fearlessly political 1950s style original folk/blues singer Joshua Garcia at Caffe Vivaldi

3/3, 7ish killer dark retro 60s psychedelic/stoner boogie/art-rock band Medusa’s Disco at Gussy’s Bar in Queens

3/3, 7 PM a multimedia commemoration of the holocaust in Armenia by singer Anaïs Alexandra Tekerian and visual artist Kevork Mourad with writing and performance by  Tekerian and music from guitarist Anna Garano at National Sawdust, $30 adv tix rec

3/3, 7 PM “migra punk night” at the Silent Barn with a diverse lineup: bands include tuneful female-fronted Material Support, similar Pinoy punks Kadena and dark sludgy hardcore punk en Espanol band Huasipungo headlining, $10    

3/3, 7 PM Omurasu (Tomoko Omura : violin with Yuhan Su: vibraphone) followed by violinist/singer Karolina Beimcik’s Zormya quintet at Shapeshifter Lab, $15

3/3, 7 PM pianist Ena Bronstein Barton performs works by Mozart, Debussy and Chopin at Greenwich House Music School, $15/$10 stud/srs

3/3, 8 PM pianist Lucian Ban and violist Mat Maneri playing their creepy Transylvanian jazz followed at 10 by this era’s most chillingly cinematic, shadowy reverbtoned noir guitar instrumentalists, Big Lazy at Barbes

3/3, 8 PM bassist Leila Bordreuil duels with guitarist Bill Nace and then premieres “Void and Dismissal” — a collaboration with guitarist and vocalist Austin Julian (Sediment Club, Sunk Heaven). Featuring Tamio Shiraishi (alto sax) and Julia Santoli (spatialized amplifiers) at Issue Project Room, $10 sug don

3/3, 8 PM  Irina Muresanu, violin; Angela Draghicescu, piano play a Homage to Dinu Lupatti with music by Bartok, Lupati and Enescu at Weill Hall at Carnegie Hall, $25

3/3, 8:30 PM uneasy, lush chamber-rock and more avant garde sounds with the Parkington Sisters at the third stage at the Rockwood, $10

3/3, 8:30 PM a benefit for the ACLU and Brooklyn-based immigrants rights group DRUM with the Occasionalists serving as the live band for revolutionary karaoke i.e. R.E.M.’s End of the World as We Know It to Bob Marley’s Redemption Song to the Beatles’ Revolution to Public Enemy’s Fight the Power to Bowie/Queen’s Under Pressure at Union Hall, $10

3/3, 9 PM fiery garage rock band the NY Fowl Harmonic – a Gato Loco spinoff – and, Dawn Drake and at Hank’s. Hard-hitting bassist Dawn Drake & Zapote plays hot Afrobeat and latin-tinged funk grooves after

3/3, 9  PM hilarious jazz versions of Merle Haggard classics with Bryan & the Haggards – a Mostly Other People Do the Killing spinoff – at Red Hook Bait & Tackle

3/3, 10 PM fiery, psychedelically bluesy oldschool soul/southern rockers Lizzie & the Makers at the small room at the Rockwood

3/3, 10 PM New York City’s only Farsi funk group, the hauntingly psychedelic retro 60s/70s Iranian revivalists Mitra Sumara at Pete’s

3/3, 10 PM Unsteady Freddie‘s monthly surf rock extravaganza at Otto’s begins at 9 with brooding, stomping Russian prison songs reinvented as surf rock by the Vivisectors, then sax-driven garage punks the Gotham Rockets and psychobilly band the Spastiks sometime after midnight

3/3, 11 PM epic Americana/newgrass anthems with Frontier Ruckus at the Mercury, $12 adv tix rec 

3/4, 2:15 PM eclectic roots reggae/desert rock/African folk band Sierra Leone’s Refugee All Stars play a family concert at Flushing Town Hall, $13, ages 13-19 get in free w/ID; if you want to take part in an interactive workshop with the band, show up at 1 PM, that’s $7.

3/4, 4 PM quirkily cinematic, psychedelic, family-friendly instrumentalists Songs for Unusual Creatures, followed at 8 by this era’s greatest film noir guitarist and composer, Steve Ulrich of Big Lazy and eventually at 10 by epic, sweeping, adventurous Sinaloa-style mariachi/ranchera brass group Banda de los Muertos at Barbes

3/4, 6 PM carnatic vocal collective Sambhav sing a jazz and avant garde-influenced  program of tillanas — “the raucous, bravura traditional-closing-numbers of the South Indian music canon”- at Freddy’s  

3/4, 7:15ish dark psychedelic acoustic blues/klezmer/reggae/soca jamband Hazmat Modine at Terra Blues. They’re also here on 3/25

3/4, 7:30 PM perennially fearless jazz piano icon Vijay Iyer joins forces with an eclectic group of multilingual performer/composers – Himanshu Suri (formerly of Das Racist), guitarist Rafiq Bhatia (Son Lux) and drummer/rapper Kassa Overall for a voyage across multiple musical landscapes, articulated by the individual brilliance of the four collaborators. Pakistani vocalist/composer Arooj Aftab performs a set of her own songs with Leo Genovese, piano; Jorn Bielfeldt, drums; and Yusuke Yamamoto, synths. at Merkin Concert Hall, $25 or $20 per ticket for multiple purchases

3/4, 7:30 PM jangly all-female garage/surf band the Pizza Boys, sharply funny punk band the Church Bats, more all-female garagey surf jangle from PMS and the Mood Swings and garage rockers the Othermen, at Footlight Bar, $10   

3/4, 8:30 PM a benefit for Planned Parenthood with excellent, purist honkytonk crooner/bandleader Clifford Westfall followed by Tatters & Rags and then the Space Merchants – the missing link between the Stooges and X – at Union Hall, $10

3/4, 9/10:30 PM bassist Petros Klamanis leads his hauntingly lush, string-driven septet at Cornelia St. Cafe, $10 + $10 min

3/4, 9:30 PM smart, cosmopolitan jazz chanteuse Svetlana & the Delancey 5  – Breakfast at Tiffany’s meets Some Like It Hot – at Joe’s Pub, $16

3/4, 9:30 PM pianist Max Lifchitz plays Mussorgsky’s Pictures at an Exhibition as well as his own Piano Silhouettes inspired by Eliaabeth Condon’s artwork. Also on the program: recent works by American composers Dinos Constantinides, Robert Martin, Patricia Morehead and Douglas Ovens, at Specturm, $15

3/4, 9 PM Unsteady Freddie‘s monthly surf rock extravaganza at Otto’s begins with Brooklyn cover trio the Band of Others, Virginia rockabilly/surf band Brad & the Bombers, majestic, cinematic surf instrumentalists the TarantinosNYC  and at midnight X-rated comedy/surf rockers Thee Swank Bastards

3/4, 10 PM Ensemble Mik Nawooj – who work the same classical/hip-hop turf as Yasiin Bey, often covering classic 90s joints from the Wu-tang Clan and others – at the Apollo Music Cafe, $20 tix avail at the Apollo box ofc

3/4, 10 PM haunting Dawn of Midi pianist Amino Belyamani plays solo at the Owl

3/4, 10 PM boisterously funny oldschool 60s C&W and brooding southwestern gothic with the Jack Grace Band at Bar Chord.  They’re at Hank’s at around 9 on 3/16 for free

3/4, 10 PM Oxygen Box play Haitian-inspired roots reggae at Silvana 

3/4, 1 AM (actually wee hours of 3/5) hard-hitting tenor saxophonist Stacy Dillard leads his Brooklyn Circle trio at Smalls. They’re also here on 3/18 (technically 3/19)

3/5, 2 PM Geo Suquillo – guitarist, composer and charango player and leader of kinetic latin/Middle Eastern acoustic jamband Inti and the Moon – at Mayflower Bar in Ft. Greene. You should hear their kick-ass cover of Ya Rayyeh!

3/5, 2 PM the Zora String Quartet play Mozart – String Quartet No. 15 in D Minor, K. 42; Atar Arad – Whims for String Quartet (2015) – New York premiere; Shostakovich – String Quartet No. 9 in E-flat Major at the New School Auditorium, 66 W 12th St. off 6th Ave, $18

3/5, 2:30 PM the Apple Hill String Quartet play the world premiere of Presences by John Harbison for string quartet, cello, and bass  at St. Bartholomew’s Church, $25

3/5 2 PM the Calefax Reed Quintet play their new arrangement of Bach’s Goldberg Variations plus Tschaikovsky’s Nutcracker Suite at the Town Hall, $15

3/5 7:30 PM Ansahman – Anna Garano, Trieste-base classical and flamenco guitarist, plays “a gorgeous repertoire of Armenian songs for voice and flamenco guitar, joined by New York-based Anaïs Alexandra Tekerian of Zula playing the album release show” for their debut at Drom, $15 adv tix rec 

3/5, 7:30 PM powerpop supergroup the Split Squad at Bowery Electric, $10

3/5, 9 PM hauntingly phantasmagorical art-rock/noir cabaret pianist/singer Anana Kaye at the small room at the Rockwood

3/5, 9:30 PM edgy lefty guitarist Damian Quinones and his psychedelic latin soul band at Pete’s

3/6, 6:30 PM violinist Kristin Lee, concertmaster of the Metropolis Ensemble plays the ep release show for composer Molly Joyce’s intense, acerbic new one; Joyce will also premiere a new work for toy organ and electronics, “Form and Deform.” at 1 Rivington St., free w/rsvp, reception to follow 

3/6, 8 PM  pianist Vyacheslav Gryaznov (New York Concert Artists 2016 Winner) performs works by Beethoven, Debussy, Ravel, Prokofiev-Gryaznov and Rachmaninoff (the gorgeous Piano Sonata No. 2) at Weill Hall at Carnegie Hall, $30 seats avail

3/6, 9:30 PM the Munchies with gonzo noir jazz pianist Dred Scott, saxophonist Kenny Brooks, drummer Mark Greenburg and bassist Malcolm Gold at the Bitter End

3/7, drinks at 5:30  PM, music at 6, violinist Miranda Cuckson  plays a solo concert with music of Aaron Jay Kernis, Huang Ro, Steve Lehman and Michael Hersch at the Miller Theatre, frree

3/7, 6 PM pianist Frank Levy plays works by Scarlatti, Mozart, Chopin, Bach/Marcello and Rachmaninov at the Yamaha Piano Salon, 689 Fifth Avenue (entrance on 54th street), $6 

3/7, 7 PM epic, exhilarating original Balkan brass music with alto saxophonist/clarinetist Greg Squared’s Expanded Circle followed by ten-piece funky Balkan brass/Ellington jazz monsters Slavic Soul Party at Barbes

3/7, 7 PM the great unsung hero of darkly purposeful, noir-tinged jazz guitar, Saul Rubin‘ leads his Zebtet at the Fat Cat. He’s also here on 3/14

3/7, 7  PM purist, cleverly lyrical jazz singer Sari Kessler with her combo at 55 Bar

3/7, 7:30/9:30 PM perennially tuneful, lyrical piano improviser/composer Kris Davis leads a trio with Eric Revis – bass and Johnathan Blake – drums at the Jazz Gallery, $22

3/7-19, 8:30/10:30 PM pastoral noir jazz guitar icon Bill Frisell leads a series of quartets and trios at the Vanguard, $30

3/7-12, 8:30 PM irrepressible, transgressively funny saxophonist Jon Irabagon leads a series of groups at the Stone, $20. Choice pick: pretty much all of them. 3/8 he’s leading an organ trio with Gary Versace; 3/11 features the Sirius Quartet with Myra Melford

3/7, 8:30 PM klezmer “Songs of People Other People Don’t Like So Much” performed by fearlessly hilarious accordionist/novelist Geoff Berner and actor/singer/movement artist/director Luisa Muhr at Freddy’s. 3/9, same time they’re at the Jalopy for $15

3/7, 8:30 PM tuneful up-and-coming alto saxophonist Caroline Davis leads a trio at the Bar Next Door. 3/21-25, 11:30ish she’s at Dizzy’s Club, $5/$10 on the weekend

3/7, 9:30 PM blazing Balkan/Romany rock/Middle Eastern/flamenco jamband Ventanas at Drom,  $10 adv tix rec

3/7, 9:30 PM uneasy postpunk/new wave/dreampop band Rich Girls at Bowey Electric, $8

3/7, 10 PM explosive, theatrical, phantasmagorical indie/metal band A Deer A Horse at Shea Stadium, $8

3/7, 10:30 PM charismatic, adventurous postbop/avant garde trombonist/crooner Frank Lacy leads his group at Smalls

3/8, 1:30 PM violinist Karen Dekker leads an ensemble playing Dvorak’s Quintet in A Major plus works by vivid, cinematic rising star indie classical composer Ayumi Okada at the Nagle Ave Y, 54 Nagle Ave, Inwood, free, 1 train to Dyckman St.

3/8, 6 PM a rare chance to see two of the most riveting string  players in Indian music, violinists Trina Basu + Arun Ramamurthy of Karavika at the Rubin Museum of Art, free w/museum adm

3/8, 7 PM Quartetto Tomassini play their edgy, lush string arrangements of Piazzolla classics at Shapeshifter Lab, $10

3/8, 7 PM Parisian chanteuse Gay Marshall does her fascinatingly individualistic, lyrically revealing, devilishly hilarious and sometimes crushingly intense reinventions of Edith Piaf and Jacques Brel classics and rarities with an excellent pianist at Pangea, $20. She’s also here on 3/15 and 3/22

3/8, 8 PM intense frontwoman Hannah Fairchild’s searingly lyrical punk/art-rock/noir cabaret band Hannah vs. the Many at LIC Bar

3/8, 8 PM LES punk/surf guitar legend Simon Chardiet’s Rooftoppers – who give him a chance to show off his prowess with jazz and proto-rock and western swing – at Barbes

3/8-9. 8:30 PM summer tour fave and jamband icon: eight-string guitarist Charlie Hunter at the third stage at the Rockwood, $15

3/8, 9 PM haunting dark Americana songwriter/belter Jessi Robertson followed by charismatic, eclectic cellist/songwriter Meaghan Burke at the Way Station

3/8, 9 PM a good Afrobeat twinbill in Greenpoint: the Super Yamba Band followed by the People’s Champs at Brooklyn Bazaar, $10 adv tix avail at the Poisson Rouge box ofc. The Super Yamba Band are also at Bar Chord on 3/11 at 10 for free.

3/8, 10 PM edgy latin-inspired folk-rock with Hurray For the Riff Raff at Baby’s All Right, $15

3/9, 1 PM harpist Bridget Kibbey plays her arrangement of Debussy’s haunting prelude La Cathédrale engloutie at Trinity Church, free

3/9, 6:30 PM tectonically shifting improvisational soundscapes with Burnt Sugar the Arkestra Chamber at C’Mon Everybody, $tba. They’re also here on 3/16 and 3/23

3/9, 7 PM soaringly explosive jazz composer/torch singer Nicole Zuraitis at 55 Bar

3/9, 7:30/9:30 PM tenor pan jazz artist Victor Provost leads an excellent quintet with Robert Rodriguez on piano at the Jazz Gallery, $15

3/9, 8 PM the plush, balmy, oldtimey uke swing of Daria Grace & the Pre-War Ponies  followed at 10 by brilliant klezmer reedman Matt Darriau’s Who Is Manny Blanc, resurrecting the twistedly irresistible work of legendary/obscure LES psychedelic Jewish jazz/esoterica composer at Barbes

3/9, 8 PM intense, funky Indian brass bhangra band Red Baraat play the album release show for their new one at Bric Arts, $15 adv tix rec. They’re at the Poisson Rouge on 3/18 at 10:30 for five bucks more if you buy tix in advance

3/9, 8 PM rapt extended-technique compositions with pianist and composer Teodora Stepančić at the Old Stone House in Park Slope, $10, reception to follow

3/9, 9 PM charismatic, torchy, occasionally Lynchian jazz bassist/singer Kate Davis (of the Lady Bugs) at Pete’s

3/9. 9 PM sardonic female-fronted folk noir band the Dream Eaters – check out their hit Klonopin Girl – at Leftfield 

3/9, 9ish Barika play Malian guitar groove at Nublu 151, $10 

3/9, 9 PM upbeat Israeli jazz with the Arnan Raz Quartet followed at 10:30 by first-class, pensive quartet Beekman with pianist Yago Vasquez and bassist Pablo Menares at the Williamsburg Music Center,  367 Bedford Ave, $10 

3/9, 10 PM guitarist Alyse Lamb’s fiery, subtly witty tightly psychedelic jazz-inspired postpunk band Parlor Walls play the album release show for their new one at Sunnyvale, $10

3/9, 10 PM crooner Sean Kershaw‘s  creepy ghoulabilly band the Serpentones at Bar Chord

3/9, 10 PM wild string metal faves Stratospheerius at Shrine

3/9, 11 PM careeningly intense gutter blues bandleader Breanna Barbara and her band at the Knitting Factory, $10

3/10, 6 PM crystalline-voiced, noir-tinged third-stream jazz chanteuse Tessa Souter and her band at 55 Bar

3/10, 6:30 PM otherworldly Mongolian throat-singing folk ensemble Khusugtun at the Rubin Museum of Art, $30 adv tix rec

3/10, 7 PM hypnotic, richly tuneful Indian sounds: Rajasthani master of the Sindhi sarangi, Lakha Khan and ensemble at the CUNY Grad Center, 365 5th Ave north of 34th, $25/$20 stud

3/10, 7 PM “Poulenc and Cocteau’s cautionary tale La voix humaine receives a reflective update when soprano Laura Bohn and pianist Mila Henry’s conversation forces listeners to ask: in this age of technology, can we connect with others without losing ourselves?” at National Sawdust, $25 adv rix rec

3/10, 7:30 PM a first-class chamber ensemble –  Karen Dekker and Alex Fortes on violins, Alyona Aksyonova on piano, Rose Hashimoto on viola, and James Waldo on cello –  plays the world premiere of vivid, lyrical composer Ayumi Okada’s The Grey Wolf for piano quintet alongside works by Caroline Shaw, Doug Balliett, Anton Dvorak, J. S. Bach, Johann Goldberg, at Holy Trinity Church, 20 Cumming St., Washington Heights, $15/$10 stud 1 train to Dyckman St.

3/10. 7:30 PM the Mannes Orchestra play new works by up-and-coming composers Rona Park: Destination; Nathan Fletcher: Poems by Edna St. Vincent Millay; Brian Denu: it’s not a bottomless pit; Michael Spiroff: Ath-Sgal (Recurring Echoes); Sohwa Lee: Palindromev at Mannes’ Tishman Auditorium, University Center, 63 Fifth Ave, Room U100, free

3/10, 7:30 PM the cutting-edge Spectrum Symphony of NY with harp virtuoso Mélanie Genin and fellow soloists: guitarist Nilko Andreas Guarin and Nicholas Tolle, cimbalom perform the American premiere of ferociously interesting Hungarian composer Bálint Karosi’s Triple Concerto, plus the Concertino for Harp by Ernő Dohnányi and Czardas (Csárdás) featuring concertmaster Susan Heerema on solo violin, Rumanian Folk Dances by Béla Bartók, and more at St. Peter’s Church 54th/Lex, $25 sugg don

3/10, 7:30 PM accordionist Alex Sevastian and clarinetist Julian Milkis team up with the Voice Afire Strings for a dynamic multi-media concert with music by composers Ray Luedeke and Giya Kancheli at Symphony Space, $20 adv tix rec

3/10, 8 PMd feral, wildly improvisational, tuneful pianist Mara Rosenbloom  with singer/drummer Anais Maviel and Adam Lane on bass at !-Beam, $15

3/10, 8 PM minimalist art-rock songwriter Caitlin Pasko, “weaver of dreamy elegiac music for voice and piano,” at the Owl, $10

3/10, 8 PM intense pianist Gerald Clayton plays solo at Mezzrow, $20

3/10, 8 PM the Dale Wilson Big Band at Shapeshifter Lab, $10

3/10, 8:30 PM the Chelsea Symphony play a Michael Boyman world premiere viola concerto with soloist Sarah Haines, plus Dvořák’s Symphony No. 9, “From the New World,” at St. Paul’s Church, 315 W 22nd St., $20 sugg don. The 7:30 PM show the following night, 3/11 showcases Gizem Yucel on two tangos by Piazzolla as well

3/10, 9 PM brilliantly lyrical dark oldtimey songwriter/multi-instrumentalist Pete Lanctot and band at Cloud City, 85 N 1st St in Williamsburg

3/10, 9 PM a rare NYC appearance by Puerto Rican psychedelic salsa dura band Orquesta El Macabeo at Subrosa, $20 

3/10, 9 PM smart, politically-fueled Irish rocker Niall Connolly at at the small room at the Rockwood

3/10, 10 PM Arki play darkly classic Ethiopian funk grooves at Shrine

3/10. 10 PM oldschool 70s style stoner art-rock/doom metal power trio All Them Witches at Bowery Ballroom, $15 adv tix rec 

3/10, 10 PM hilarious one-man band Tattoo Money with his twisted hip-hop tales of NYC nightlife, sizzling bluesy guitar and psychedelic, funky keys, at the Way Station

3/10. 10 PM Yotoco, “the bastard child of Umoja Orchestra, Bioritmo, and Cumbiagra plays a melange of salsa, Afro-Cuban rumba, boleros, and cumbia” at Barbes. They’re also there at 9:30ish on 3/20

3/10, 10 PM bluegrass/newgrass with the Dark City Strings at Union Hall, $10

3/10, 11 PM hilarious, smartly political faux-French retro 60s psych-pop band les Sans Culottes at Hank’s, $8

3/11, 1 PM an important multimedia event: Remembering Fukushima: Art and Conversation at the Cathedral of St. John the Divine commemorates the sixth anniversary of the Fukushima Nuclear Disaster in Japan. Assembled by Japanese dancer/multimedia artist Eiko Otake, the four-hour program at the Cathedral of St. John the Divine brings together scholars, specialists, and artists from many disciplines; performers include spectacular art-rock singer Carol Lipnik and legendary avant crooner John Kelly, free 

3/11, 4 PM erudite, witty art-rock pianist/songwriter/composer Lee Feldman at Pete’s

3/11, 5:30 PM a mystical carnatic (South Indian classical) vocal concert by singer Vignesh Ravichandran with Bala Skandan on violin, Srinath Vishwanathan on mridangam, and Kabilan Jegannathan on kanjira at the Reflections Center, 27 E 24th St, $20/$15 kids, admission includes food too! 

3/11, 7 PM Miya Masaoka’s powerful double quartet, Eleonore Oppenheim’s performance works for double-bass and electronics, Mari Kimura’s extended violin techniques, and brilliant alto saxophonist Yosvany Terry’s Afro-Cuban Bohemian Trio at National Sawdust, $30 adv tix rec

3/11, 7:30 PM incomparable country/jazz/janglerock icon Amy Allison at Dixon Place. Brilliant new material! Devastatingly funny between-song banter!

3/11, 7:30 PM dark Nordic chamber pop songbird Agnes Obel at the Poisson Rouge, $20 adv tix avail

3/11, 7:30 PM the three finalists in this year’s New York Concert Artists piano competition: Adam Balogh, Zhenni Li  and Sebastiano Mesaglio perform Beethoven: 12 Variations on the Russian Dance from “Das Waldmadchen”; Debussy: Prélude à l’après-midi d’un faune; Ravel: Gaspard de la nuit; Prokofiev: Suite from “Sur le Borysthène” (arr. Vyacheslav Gryaznov, NY Premeire of arrangement); Rachmaninoff: Piano Sonata No. 2 in B-flat Minor with NYCA Symphony Orchestra at Merkin Concert Hall, $30 

3/11, 7:30 PM Barcelona pianist Eva Novoa plays a duo and trio set and then plays a third at 9:30 PM with microtonal violinist Sarah Bernstein’s sextet at I-Beam, $15. A real workout!

3/11, 8ish rustic, clatteringly hypnotic Moroccan trance groove ensemble Innov Gnawa at the Owl

3/11, 8 PM the Omni Ensemble play chamber works by J.S. Bach, G. F. Telemann, Milos Raickovich, and David Wechsler at the Brooklyn Conservatory of Music, $15/$10 stud/srs 

3/11, 9 PM charismatic folk noir songwriter Mac McCarty’s auspicious new band Abraham’s River followed by fiery, guitar-fueled Americana punks Spanking Charlene and then ferocious garage punk band the Lord Calverts at Sidewalk

3/11, 9 PM intense charismatic danceable metal cumbia/skaragga/latin rockers Escarioka at Mehanata,$10

3/11, 9 PM long-running, wickedly jangly, tuneful Americana rockers the Sloe Guns at Shrine

3/11, 9 PM Nelson Ojeda, piano plays works by Granados and Ginastera at Spectrum, $15

3/11, 9/10:30 PM intense violist Mat Maneri leads his quartet with Lucian Ban, piano;  John Hebert, bass;  Randy Peterson, drumsat Cornelia St. Cafe, $10 + $10 min

3/11, 9:30 PM majestic, epic, anthemic cinematic art-rock loopmusic guitarist Sarah Lipstate a.k.a. Noveller at St. Vitus, $15

3/11, 9/10:30 PM jazz cellist Akua Dixon plays the album release show for her new one at Sista’s Place, 456 Nostrand Ave at Jefferson, Bed-Stuy, C to Nostrand Ave., $20

3/11, 10 PM the savagely Link Wray-inspired Howlin Thurstons, followed by 80s style LES junkie powerpop/punk/stoner boogie band Grimm Jack at Desmond’s 

3/11, 10 PM excerpts from Peter Van Zandt Lane’s ballet about cyber hacking, followed by Neil Rolnick’s works for laptop and piano (with Kathleen Supové), and Cornelius Dufallo performing works for amplified violin. The evening ends with a massive graphic score by Mark Applebaum interpreted by the previous artists joined by his Innova labelmates, at National Sawdust, $30 adv tix rec

3/11, midnight legendary SoCal surf punks Agent Orange – of Everything Turns Grey fame – at the Knitting Factory, $20

3/12, half past noon a performance of choral pieces and collected folk songs from the works of Zoltán Kodály at Hungarian House, 213 E 82nd St, free, reception to follow, free but RSVP reqd 

3/12, 2 PM the Kalichstein-Laredo-Robinson Trio play Rachmaninoff: Trio élégiaque No.2 in D minor, Op.9 ; Shostakovich: Trio No. 2 in E minor, Op. 67; Tchaikovsky: Trio in A minor, Op. 50 at the Town Hall, $15

3/12, 4 PM catchy Americana rockers Greg Cornell & the Cornell Brothers at the small room at the Rockwood

3/12, 5 PM the Donald Sinta Quartet play a birthday tribute to Philip Glass with new works as well as Glass’s Saxophone Quartet Concerto at the Dreck Center at the Brooklyn Public Library

3/12, 6 PM noir guitar legend Jim Campilongo leads his trio at 55 Bar

3/12, 7 PM the American Festival of Microtonal Music with tantalizing new works by  Svjetlana Bukvich, Monroe Golden, Johnny Reinhard, Zach Seely, and others played by an ensemble of woodwinds, fretless guitars, double bass, and bass trombone legend Dave Taylor conducted by the theatrical Charles Coleman at Gallery MC, 549 W 52nd St.,  $15

3/12, 7:30 PM Books guitarist Nick Zammuto joins hard-hitting new music choir Roomful of Teeth in a program spanning Tuvan throat singing and yodeling to Korean Pansori and Persian classical at Merkin Cocert Hall, $25 or $20 per tix for multiple purchases

3/12, 8 PM noir-tinged crooner and expertly bluesy lead guitarist Phil Gammage‘s lRebel Factory at Otto’s

3/12, 8;30 PM fiery klezmer/Balkan/Middle Eastern jamband Klazz-Ma-Tazz at Drom, $10 adv tix rec

3/12, 8:30/10:30  PM edgy, noir-inspired bassist Michael Blanco leads his quartet at Cornelia St. Cafe, $10 + $10 min

3/12, 8:30 PM NakedEye Ensemble joins forces with avant garde piano titan Kathleen Supové to premiere two-piano and ensemble works Richard Belcastro: Inner Strife (2016)* – cl, egtr, toy pno + melodica, pno, perc; Randall Woolf: Punching the Clock (2014)* – fl, cl, sax, vc, egtr, pno, perc; Rusty Banks: Spoke(n) (2016)* – 2 pnos + amplified bicycle; Jonathan Russell: Sextet (2010, arr 2013)** – fl, cl, sax, vc, pno, perc; Lois Vierk: Spin 2 (1995) – 2 pnos; Molly Joyce: Rave (2016) – pno + fixed mediaat the DiMenna Center $20

3/13, 6 PM the improvisationally-inclined Osso String Quartet at the Fat Cat

3/13, 7 PM tuneful pastoral jazz guitarist Cameron Mizell leads his trio at the small room at the Rockwood

3/13, 7 PM quirkily charismatic, powerful-voiced, kinetic avant-pop siren Grace McLean at the big room at the Rockwood, $10

3/13, 7 PM perennially young, theatrical, fun composer David Del Tredici’s 80th Bday concert with special guests include Courtenay Budd, Joseph Dalton, Felix Del Tredici, Robert Frankenberry, David Leisner, John Kelly, Eric Moe, Marc Peloquin, Mark Peskanov and the Voxare Quartet at Joe’s Pub, $25

3/13, 7 PM tuneful postbop pianist Jim Ridl leads his group from behind the Rhodes at 55 Bar

3/14, 6 PM pianist David Shimoni plays nocturnes by Chopin, Faure and Lowell Liebermann, plus a screening of the documentary film Rosalyn Engelman: The Color of Memory, the artist in conversation with BPAC director Ted Altschuler, at the Recital Hall at Baruch College, E. 25th St between 3rd and Lexington Ave. $15, stud free

3/14, 7 PM brand-new, exciting Turkish band Seyvah with Jenny Luna, voice; Kane Mathis, oud; Marandi Hostetter, violin; Greg Squared, clarinet; Shane Shanahan and Philip Mayer, percussion. followed by clever, fiery, eclectic ten-piece Balkan/hip-hop/funk brass maniacs Slavic Soul Party at Barbes

3/14, 7 PM intense, edgily tuneful Texas tenor saxophonist Stan Killian leads his postbop quartet; at 10 PM acerbic alto saxophonist David Binney leads his quartet  at 55 Bar

3/14, 8 PM bassist Lisa Dowling’s enigmatic, theatrical, Kate Bush-influenced solo loopmusic project Kills to Kisses at the Mercury, $10

3/14, 8 PM edgy third-stream improvisation with Jan Sturiale: guitar; Miha Koren: bass Klemens Marktl: drums at Shapeshifter Lab, free

3/14, 9:30 PM the Bronx Conexion play their mighty salsa big band jazz at the Nuyorican Poets Cafe

3/14, 11 PM fiery, tuneful soul-punk rockers No Ice (a spinoff of the late, great Brooklyn What) at Shea Stadium, $12

3/15, 6 PM hypnotic Middle Eastern/Indian sounds: Orakel: Roshni Samlal (tabla) + Kane Mathis (kora, oud) at the Rubin Museum of Art, free w/museum adm

3/15, 6 PM intricate, intense, diverse jazz/soundtrack/Americana violinist/composer Skye Steele at the small room at the Rockwood

3/15, 7 PM indie classical through Fender amps: Steve Mackey, the Dither Guitar Quartet and Joel Harrison’s Resophonic Guitar Orchestra at National Sawdust, $30 adv tix rec

3/15, 8 PM the album release show for the new one by formidable, reliably tuneful guitarist Tom Csatari‘s Uncivilized Americana jazz project at Barbes. “Each song on the EP was recorded live at a now-closed New York venue.”

3/15, 8 PM bouzouki player Avram Pengas leads an amazing band with Rachid Halihal on oud and George Stathos on clarinet playing bellydance classics, plus dancers Layla Isis and Mariyah at Drom, $15 adv tix rec

3/15, 8 PM Perl – former lead singer of Bulletproof Stockings, the Hasidic Sleater-Kinney – followed by fiery, brilliantly lyrical soul/rock songwriter Nehedar singing the album release show for her latest one, then she does double duty on vocals in powerpop bnd Fierce Love, then sardonic new wavers Blanket Statementstein at Bowery Electric

3/15, 9 PM pensive, smart multi-instrumentalist Kristen Tivey – of the edgy female-fronted Talking Heads-ish Eliza & the Organix – fronts her own folk/jazz band at Pete’s

3/15, 9:30 PM singer Renee LoBue’s popular, catchy, anthemic early zeros powerpop/southwesten gothic band Elk City at the Mercury, $10

3/16, 1 PM Useful Chamber Orchestra play their arrangement of Debussy’s haunting prelude La Cathédrale engloutie at Trinity Church, free

3/16, 6:30 PM  up-and-coming guitarist/songwriter Alicyn Yaffee -the rare artist who successfully bridges the gap between lyrically-fueled chamber pop and jazz – at the Bar Next Door, free

3/16, 7:30 PM ancient, otherworldly trance beats: the first-ever US performance by the master musicians of the Festival Gnaoua et des Musiques du Monde in Essaouira, Morocco with Maalem Hamid El Kasri + Maalem Abdeslam Alikkane with special guest Maalem Hassan Ben Jaafer, leader of wildly popular NYC ensemble Innov Gnawa at the Lincoln Center Atrium, free, early arrival advised. The following night, 3/17 at  7 PM they’re at the New School Theresa Lang Center, Arnhold Hall, 55 W 13th St, free; 3/18 at 7 they’re at Pioneer Works in Red Hook, collaborating with jazz artists Marcus Strickland, Marc Cary, and Jamaaladeen Tacuma, $30 adv tix rec

3/16, 7:30 PM elegantly melodic, darkly counterintuitive pianist Sylvie Courvoisier plays duos with guitarist Mary Halvorson and then violinist Mark Feldman at Greenwich House Music School, $20/$18 stud

3/16, 7:30 PM sweeping, swinging vibraphone jazz with Behn Gillece and his quartet followed at 10:30 PM by former Dizzy Gillespie guitarist Ed Cherry leading his quartet at Smalls

3/16, 8 PM eclectic, lyrical jazz bassist/composer Pedro Giraudo leads his Tango Quartet at Barbes

3/16, 8 PM guitarist Matt Munisteri and accordionist Will Holshouser’s shadowy Belgian barroom band Musette Explosion at the Owl, $10

3/16, 8 PM the lavish, kinetic Liberte Big Band led by pianist Liberté-Anne Lymberiou at the Wiliamsburg Music Center, 367 Bedford Ave 

3/16, 8 PM a rare and fascinating night of new music from Kyrzygstan played by Aza Sydykov and Joel A. Martin, piano; Nikoleta Rallis, soprano; Perizat Kopobaeva, komuz; Jonathan Levin, piano; Nurmira Greenberg, cello; Kairy Koshoeva, piano; Elvira Abdilova, komuz; composers on the bill include Atai Ogonbaev, Niyazaaly, Kalyi Moldobasanov, Tashtan Ermatov, Michael Burshtin, Jyldyz Maldybaeva, Muratbek Begaliev, George Gershwin, Jonathan Levin and Eric Thomson at Merkin Concert Hall $25

3/16, 8 PM Chicago postrock icons Tortoise at the Hall at MP, $25 adv tix available at the Poisson Rouge box ofc

3/16, 8:30 PM the Big Galute play their irreverent original klezmer tunes at the Jalopy, $15

3/16, 10 PM fiery oldtimey string band he Four O’Clock Flowers at Sunny’s

3/17, 7 PM Niva’s magical singer Corinna Skema Snyder with Vedran Boškovski and percussionist Jerry Kisslinger, of Zlatne Uste fame, play Balkan songs at an intimate Park Slope house concert, email for info  

3/17, 7 PM new art-songs from Ted Hearne performed by NYC indie classical talent: “Peabody Southwell and Allison Semmes give rare recital performances. Solo instrumentalists Mariel Roberts, Taylor Levine and Philip White join the Nouveau Classical Project and San Francisco duo the Living Earth Show as the evening’s ensemble. R WE WHO R WE, the vocal/electronics duo of Ted Hearne and Philip White, perform selections of their upcoming sophomore release,” at National Sawdust, $30 adv tix rec

3/17, 7 PM acoustic jazz: guitarists Mark Mollica and Nate Radley with John Ellis on saxophone and Ike Sturm on bass at Bloomingdale School of Music, 323 W 108th St(off Broadway), free

3/17, 7:30/9:30 PM Swedish psychedelic/soundtrack band Dungen play their live score to the classic 20s silent film The Adventures of Prince Ahmed at Bric Arts, $15 adv tix rec

3/17, 8 PM boisterously funny oldschool 60s C&W and brooding southwestern gothic with the Jack Grace Band followed by awesomely slinky, psychedelic Israeli Ethiopiques groove instrumentalists Anbessa Orchestra f.k.a. Lions at Barbes

3/17, 8 PM fearlessly haunting, dynamic, charismatic Romany/Balkan chaunteuse Eva Salina with pyrotechnic accordionist Peter Stan  at the Owl, $10

3/17, 8 PM pianist Kara Huber plays David Rakowski Selected Etudes; Joan Tower – No Longer Very Clear; Wild -Seven Virtuoso Etudes for Piano on Gershwin Songs; Rachmaninoff  13 Preludes, Op. 32 at Weill Hall at Carnegie Hall, $25

3/17, 8:30 PM artful, slyly amusing jazz with the Daniel Bennett Group at the third stage at the Rockwood, $10

3/17-18, 8:30 PM badass oldschool-style blues belter Shemekia Copeland and her similarly purist band at Iridium, $30

3/17, 9 PM Canadian Celtic fiddle star Natalie MacMaster with her Ontario colleague Donnell Leahy at Webster Hall, $20

3/17, 10 PM Pussy Riot at National Sawdust. Tix not avail yet – and might not be affordable – watch this space

3/17, 11 PM guitarist Demir Demirkan‘s Anatolian Knights throw a wild live Turkish psychedelic rock party at Drom, $25 adv tix rec

3/17, 11 PM darkly eclectic, enigmatic songwriter Lorraine Leckie  – equally adept at Slavic and Americana noir – at Sidewalk

3/18, 3 PM oldtime swing icons Vince Giordano and his Nighthawks play their live score to Buster Keaton’s The Cameraman at the Town Hall, $25 tix avail

3/18, 6 PM this era’s greatest film noir guitarist and composer, Steve Ulrich of Big Lazy followed at 8 by sultry retro Franco-American torch jazz/chamber pop/ukulele swing band les Chauds Lapins and then at 10 by Cumbiagra – whose take on psychedelic cumbias is more rustic and purist than most bands who play that stuff – at Barbes

3/18, 7 PM “magical string ensemble Alba Consort – with oud, veille, lute and percussion – performs early music from the Mediterranean on period instruments and weaves iconic themes  of Antonin Dvorak’s Symphony no. 9 “From the New World” into ancient melodies at the National Opera Center, 333 7th Ave, $30/$15 stud

3/18. 7 PM lush, intense, artfully orchestrated psychedelic rockers Aunt Ange followed by catchy goth-tinged 80s punk/powerpop band the Limbo Dolls at Bowery Electric, $8 

3/18. 7 PM the Orpheus Chamber Orchestra with cello soloist Alisa Weilerstein play  Mendelssohn’s Nocturno for Winds; Schumann’s  Cello Concerto; Webern’s Five Pieces for Orchestra, Op. 10 and Schubert’s Symphony No. 6 at Stern Auditorium at Carnegie Hall, $25 seats avail

3/18, 7:30 PM intense, breathtaking Galician bagpiper/ multi-instrumentalist Carlos Núñez at Merkin Concert Hall, $25 tix avail

3/18, 7:30 PM the Traumerei Piano Trio play works by Beethoven, Piazzolla, Smetana and Zannoni at the DiMenna Center, $15$10 stud/srs

3/18. 8 PM elegant, atmospheric art-rock violinist/songwriter Concetta Abbate at the People’s Voice Cafe, $18, “no one turned away”

3/18, 8 PM guitarist Guy Picciotto, Dirty Three drummer Jim White and master lute player George Xylouris play live soundtracks to Jem Cohen films; subjects include a sudden Manhattan rainstorm, a sleeping infant, and an Istanbul city portrait, at Issue Project Room, $15/$12 stud/srs

3/18, 8 PM ex-Dylan lead guitarist Larry Campbell with singer Teresa Williams and guest pianist Bill Payne of Little Feat at City Winery $22 standing room avail

3/18, 9 PM searing, theatrical Romany/Balkan punk rockers Bad Buka at Mehanata

3/18, 9ish dark oldschool soul/garage band Mighty Fine at Red Hook Bait & Tackle 

3/18, 10 PM rising star tenor saxophonist Camille Thurman and her and her band at the Fat Cat

3/19, 2 PM Chilean folk-rock songwriter Nano Stern opens for iconic Peruvian singer Susana Baca at Lefrak Concert Hall at Queens College, 65-30 Kissena Boulevard, Flushing, $30 seats avail, from the Flushing Main St. 7 train stop, take the Q25, Q25-34, Q34 or Q17 bus along Kissena Blvd to the campus. 

3/19, 3 PM Eriko Sato, violin; Drew Vella, viola; Ben Larsen, cello; Yoon Lee, piano play works by Beethoven, Richard Strauss and Ke-Chia Chen at Concerts on the Slope, St. John’s Episcopal Church 139 St. John’s Place downhill from 7th Ave

3/19, 3 PM Blythe Gruda sings her enigmatic art-rock and parlor pop at Pete’s

3/19, 3:15 PM organist Karen Electra Christianson – one of the most electrifying church organists in the country – plays a program TBA at St. Patrick’s Cathedral

3/19, 4 PM the perennially witty Broken Reed Saxophone Quartet with pianist Roberta Piket at Sounds on Sackett at St. Agnes Church 433 Sackett St off of Hoyt St, Cobble Hill, any train to Atlantic Ave, $20, reception to follow

3/19, 5 PM latin jazz piano titan Arturo O’Farrill’s “Boss Level Sextet” at St. Peter’s Church, 54th/Lex, free

3/19, 6 PM smart, darkly pensive third-stream jazz pianist Noa Fort leads her quartet at the small room at the Rockwood

3/19, 7 PM brilliant, irrepressible classical/latin/art-rock/Middle Eastern violist/composer Leanne Darling at Scholes St. Studios

3/19, 7 PM expertly jazzy guitarist and alt-country pioneer Robbie Fulks and jazz violinist Jenny Scheinman followed at 9:30 by Romany jazz/psychedelic rock guitar mastermind Stephane Wrembel at Barbes

3/19, 7:30 PM a benefit for immigrant rights with Ramon Ponce, Jr. of the mighty Mariachi Real de Mexico, and supersonic klezmer clarinetist Michael Winograd with his band the Honorable Mentshn at Brooklyn Conservatory of Music, $15

3/19, 8:30 PM My Brightest Diamond’s Shara Nova and others backed by adventurous young orchestra the Knights  play Sarah Kirkland Snider‘s song suite  Unremembered, a chilling reminiscence of childhood traumas at the Poisson Rouge, $15 adv tix rec

3/19, 10 PM first-class roots reggae band Jah N I at Shrine 

3/20, 6 PM moderator Meera Dugal of Lincoln Center, creator of the first-ever Gnaoua World Tour teams up with Innov Gnawa’s Samir Langus, panelists Hisham Aidi and Tom Pryor, plus jazz piano titan Marc Cary to discuss the history and recent resurgence of rapturous, kinetically hypnotic Moroccan gnawa music, plus a performance by Innov Gnawa, at  the New School Jazz Performance Space, Arnhold Hall, 55 W 13th St., free

3/20, 8/10 PM  ageless, perennially hard-hitting jazz piano sage and ex-Coltrane bandmate McCoy Tyner at the Blue Note, $30 standing room avail

3/20, 8 PM the Tomeka Reid Quartet featuring Jason Roebke, Tomas Fujiwara, and Mary Halvorson play edgy cello jazz at Roulette, $20 adv tix rec

3/20, 8 PM the Bob Bennett Big Band with Erica Seguine on piano at Sir D’s Lounge, 837 Union St, south of 7th Ave, Park Slope, R to Union St.

3/20, 8:30 PM the NY New Music Ensemble play David Felder: partial[dist]res[s]toration (2001) for sextet and electronics; Rand Steiger: Light on Water (2013) for flute, piano and electronics; Jacob Druckman: Come Round (1991) for sextet; Anthony Cheung  Roundabouts (2007) for piano at the Tenri Cultural Institute, 43A W 13th S, $20/$10 stud/srs

3/20, 10 PM the Amazonas Strings  play elegant, enveloping latin pastoral jazz at at the third stage at the Rockwood, $10

3/21, 7:30 PM drummer LaFrae Sci & Quintet Groove Diplomacy will play pieces highlighting achievements by great women of blues and jazz including Bessie Smith, Abbey Lincoln, Nina Simone, Ella Fitzgerald, and Mary Lou Williams. with Tamar-Kali on vocals at the Naitonal Jazz Museum in Harlem

3/21, 7 PM the F-Tones  Marcin Wisniewski, guitar, and Dwayne Beach, 5-string violin, – play their individualistic take on Romany jazz at Shrine

3/21, 7:30 PM pianist Dasol Kim plays Beethoven    Sonata No. 8 in C minor, Op. 13 Pathétique; Barber –  Sonata, Op. 26; Chopin    24 Preludes, Op. 28 at Merkin Concert Hall, $10 tix avail

3/21, 8/10:30 PM inspired, cutting-edge trombonist/composer Ryan Keberle & Catharsis with Camila Meza on guitar and vocals at Cornelia St. Cafe, $10 + $10 min

3/21-25,8/10:30 PM popular trumpeter Roy Hargrove leads his quintet at the Blue Note, $20 standing room avail

3/21, 10 PM cleverly acerbic, charismatic avant garde singer/pianist/sound artist Bora Yoon joins forces with thereminist Armen Ra at National Sawdust, $30 adv tix rec

3/21, 10 PM catchy, harmony-driven, historically-inspired original newgrass string band Cricket Tell the Weather at the third stage at the Rockwood, $10

3/21, 10:30 PM fiery alto saxophonist Lucas Pino’s twin-guitar No No Nonet at Smalls

3/22, 5 PM jazz piano legend and African music specialist Randy Weston leads a demo and introduction to kinetically hypnotic Moroccan gnawa music  at Medgar-Evers College, 1650 Bedford Avenue, Bed-Stuy, free, 2/5 to President St.

3/22, 7:30 PM intrepid indie classical ensemble International Street Cannibals with pianist Conor Hanick and soprano Ariadne Greif perform Schoenberg’s pivotal String Quartet No. 2, Op. 10, plus works by Berg, Korngold, Schnittke, Webern, Zemlimsky, and Arvo Pärt at St. Marks Church, 2nd Ave/10th St., $20/$12 stud

3/22, 8 PM fiery, psychedelically bluesy oldschool soul/southern rockers Lizzie & the Makers at LIC Bar

3/22, 8 PM Palehound – who blend eerie, lyrical new wave with hypnotic motorik vintage Wire-style postpunk – at Sunnyvale, $12

3/22, 8 PM bassist/composer Arnold Dreyblatt teams up for a dark duo performance with Brooklyn sound artist MV Carbon at the Kitchen, $15

3/22, 9ish baritone sax goddess Moist Paula and film composer Dorothea Tachler air out their new collaboration the GPS at Troost

3/22, 9 PM calm but fiery newschool Britfolk songwriter Roxanne de Bastion at Caffe Vivaldi . 3/31 she’s at the American Folk Art Museum at around 6 

3/22, 9 PM playful, sardonic French spoofers Nouvelle Vague – who’ve been making lounge music out of punk and new wave classics for decades – at Webster Hall, $30

3/23, 6 PM eclectic jazz/blues resonator guitarist Elizabeth Wise at Shrine. 3/24 she’s at Caffe Vivaldi at 7

3/23, 7:30 PM John Gattis, horn; Andy Kozar, trumpet; William Lang, trombone and David Broome, piano  play works by Guy Barash, Frances White, David Fetherolf, Gilbert Galindo, Gaetano Lorandi and Oren Boneh at Broom Tree Theatre, 23-35 Broadway, Astoria, N/Q to Broadway, free

3/23-24, 7:30 PM, repeating 3/25 at 8 and 3/26 at 3 PM Amy Beth Kirsten’s Quixote- a vividly original reimagining of the Cervantes classic, performed by the HOWL ensemble withLindsay Kesselman (soprano), Hai-Ting Chinn (mezzo-soprano), Kirsten Sollek (contralto), Mark DeChiazza and four singing players from Sandbox Percussion: Ian Rosenbaum, Victor Caccese, Terry Sweeney and Jonathan Allen at the Kasser Theatre, 1 Normal Ave, Montclair NJ, $20; catch the shuttle buss leaving from 41st behind Port Authority 

3/23. 8 PM a one-time-only event: “hilarious, kick-ass klezmer punks Golem will put on a “fake wedding” according to an old Catskills tradition, complete with mock bride, groom, ceremony, and of course a truly rocking party mixing original Golem songs, traditional Jewish repertoire and lots of amazing rock covers, from James Brown to Van Halen“ at Drom, $20 adv tix rec

3/23, 8 PM fiery, charismatic soul siren Meah Pace and her oldschool band at Salzy Bar, 506 5th Ave at 13th St, Park Slope, F to 7th Ave

3/23, 8/9:30 PM the cutting-edge, atmospheric, cinematic Alan Ferber Nonet at Cornelia St. Cafe, $10 + $10 min

3/23. 10 PM popular Americana highway rockers Mandolin Orange at the Music Hall of Williamsburg, $20 adv tix rec

3/23, 10 PM wickedly catchy Americana/paisley underground rockers Girls on Grass  followed at 11 by Dares at Halyard’s Bar, 406 3rd Ave (at 6th St), Gowanus, F/R to 4th Ave. 

3/23, 10 PM well-loved Boston alt-country vets Session Americana at Barbes

3/24, 7 PM Jog Blues with Andy Biskin, Joel Bluestone, Rob Garicia, Ikhlaq Hussain, Siddartha Mukerjee, Jonathan Rose and Jeffrey Zeigler mash up Indian, jazz and indie classical sounds at National Sawdust, $30 adv tix rec

3/24, 7:30 PM charismatic ex-Spanglish Fly frontwoman Erica Ramos’ exciting latin soul band Fulaso at the Lincoln Center Atrium, free

3/24, 7:30 PM wild, explosive, lush original and classic Indian cinematic themes with Falu’s Bollywood Orchestra at the Lynch Theater at John Jay College 524 W 59th St (between Tenth and Eleventh avenues) free, early arrival advised

3/24, 7:30 PM an all-ages ska/punk triplebill in reverse order: Voodoo Glow Skulls, Hub City Stompers, Midnight Foolishness at the Knitting Factory, $13 adv tix rec

3/24, 8 PM superb, nuanced jazz violinist Charlie Burnham and eclectic, tuneful accordionist/songwriter Ali Dineen  at the Owl, $10

3/24, 8 PM rustic Brazilian jungle sounds with Regional de NY followed at 10 by similar oldschool danceable Colombian tunes with Chia’s Dance Party  at Barbes

3/24, 8 PM Spain meets Honduras at Flushing Town Hall: Basilio Georges and his group Flamenco Latino, plus Lucy Blanco and the Afri-Garifuna Jazz Ensemble, $16/$10 stud, ages 13-19 free w/ID

3/24, 8:30 PM Beatlesque psych popsters the Babe Rainbow followed by jangly, catchy retro 60s Laurel Canyon psychedelic band the Allah-Las at Webster Hall, $20 

3/24, 8:30 PM Brandi & the Alexanders play their torchy oldschool soul and groove music at Bowery Electric, $8

3/24-25, 9 PM well-loved 90s Colorado newgrass/funk jamband Poi Dog Pondering at City Winery, $25 standing room avail

3/24, 9:30 PM catchy, enigmatic female-fronted dreampop band Loosie at Pine Box Rock Shop

3/24, 10 PM wickedly catchy powerpop/janglerock band Ruth Carp & the Fish Heads at Alphaville, $10

3/24, 10 PM Cumbiagra – whose take on psychedelic cumbias is more rustic and purist than most bands who play that stuff– at Guadalupe Inn, $10

3/24, 10:30 PM Sweet Tits – the “punk lesbian Spinal Tap” – at Freddy’s

3/25, 6 PM this era’s greatest film noir guitarist and composer, Steve Ulrich of Big Lazy  followed at 8 byart-rocker Pierre de Gaillande’s Bad Reputation playing witty chamber pop English translations of Georges Brassens classics followed at 10 by psychedelic latin bandleader Zemog El Galle Bueno at Barbes

3/25, 7:30  PM rapt improvisation: trumpet icon Wadada Leo Smith and pianist Angelica Sanchez with her Trio with Michael Formanek on bass at Greenwich House Music School, $25/$20 stud

3/25, 8 PM a benefit to  support Community Voices Heard and the Arab American Association of NY: the rapturous Rafiq Bhatia / Chris Pattishall guitar/piano duo, hypnotically danceable Moroccan trance ensemble Innov Gnawa and Armo ( lead singer, trumpeter and members of the rhythm section of second-wave Afrobeat icons Antibalas) at Littlefield, $12

3/25, 8 PM catchy, anthemic, charismatic folk noir band Thee Shambels – sort of the missing link between Nick Cave and the Pogues – followed by cinematic soundtrack instrumentalists/surf rockers the Tarantinos NYC and then oldschool psychedelic soul/groove band Empire Beats at the Way Station

3/25, 8 PM wickedly catchy psychedelic/garage band the Molochs followed by fuzzy drony jamband the Cosmonauts at Union Pool, $10. 3/27 at 10 careeningly intense gutter blues bandleader Breanna Barbara opens for that same twinblll at Berlin, same time, same price

3/25, 8 PM gritty, Albert King-influenced Chicago blues guitarist Lurrie Bell – son of legendary blues harpist Carey Bell – with his band at Roulette, $25 

3/25,  8 PM excellent, intense jazz cellist Hank Roberts with Sarah Bernstein – violin, Shoko Nagai – piano,  Satoshi Takeishi – percussion at the Owl, $10

3/25, 8 PM standout British early music chamber ensemble the Orlando Consort perform the haunting Renaissance music of Loyset Compère at the auditorium at 150 W 83rd St., $30 tix avail at the Miller Theatre box ofc at 116th/Bwy, M-F noon-6

3/25, 8 PM drummer Adam Rudolph’s strikingly tuneful, rumblingly improvisational Go Organic Orchestra at the Brooklyn Conseratory of Music, $20/$10 stud/srs

3/25, 8:30 PM tunefully psychedelic composer/avant-harpist Zeena Parkins plays two sets, the first with guitar goddess Mary Halvorson at I-Beam, $15

3/25, 9 PM hauntingly atmospheric art-rock siren Marissa Nadler – who’s sort of become a one-woman Pink Floyd – followed by slowcore/dreampop/doom band Pallbearer at the Music Hall of Williamsburg, $20 adv tix rec

3/25, 9 PM elegantly eclectic Americana/swing/newgrass songwriter Shannon Pelcher at Pete’s

3/25, 9 PM funky jamband the Pimps of Joytime at Bowery Ballroom, $20. It’s a long way from the old Lucky Cat

3/25, 9:30 PM socially aware, oldtimey-flavored Americana band 2/3 Goat at Hill Country, free.

3/26, 2  PM the Orion String Quartet play Haydn’s Seven Last Words of Christ at the New School Auditorium, 66 W 12th St. off 6th Ave, $18 

3/26, 3 PM an all-star band: Adrianne Greenbaum (flute), Michael Alpert (violin and badkhones), Jake Shulman-Ment (violin), Brian Glassman (bass), Walter Zev Mamlock (poyk/percussion) and Pete Rushefsky (tsimbl) play extremely rare, rustic klezmer tunes from Dubiecko, Poland at the Eldridge Street Synagogue, Eldridge St. just north of Canal, $25/$15 stud/srs

3/26, 4 PM the Calidore Quartet play works by Beethoven, Ligeti, and Dvorak at the Dreck Center at the Brooklyn Public Library, free

3/26, 7:30  PM cinematic pianist Tempei Nakamura plays the album release for his new one Vortex at Drom, $15 adv tix rec

3/26, 8 PM for elegant, atmospheric art-rock violinist/songwriter Concetta Abbate and Bridget Hill’s joint bday, “come see the PARK Quartet (Nicholas Alexander Wilson and Concetta Abbate – violins, Lenna Pierce- cello) live score the 1959 Mexican Sci Fi Classic “Ship of Monsters” (Spanish with English subtitles) at the Park Church Coop in Greenpoint, $10 sugg don – bring food and we’ll all share”

3/26, 8 PM Nashville gothic/folk noir band Karen & the Sorrows at Bowery Electric, $8

3/26, 10 PM Wedeya play roots reggae at Shrine 

3/27, 7:30 PM  indie classical vocal ensemble Ekmeles sing works by Schütz and Haydn ; the Attacca Quartet play the New York premiere of Wolfgang Rihm’s 7 Passion Texts and David Lang’s Little Match Girl at Music Mondays, Advent Church, 93rd/Broadway, 1/2/3 to 96th St., free

3/27,  7:30 PM Parisian/Senegalese hip-hop jazz with Steve Leyman & Selebeyone at Merkin Concert Hall, $25 or $20 per ticket for multiple purchases

3/27, 8 PM an eight-piece expanded version of hypnotically psychedelic, microtonally guitar-fueled East African psychedelic band 75 Dollar Bill with strings and sax at Roulette, $20 adv tix rec

3/27, 8 PM cinematic, plaintively sardonic composer/violinist Christopher Tignor at the Silent Barn, $8

3/27, guessing 8ish, popular 80s powerpop band Teenage Fanclub at Warsaw, $25

3/27. 8 PM the Canadian Guitar Quartet play works by Beethoven, Saint-Saens, Brahms, Côté-Giguère, and others at the Recital Hall at Baruch College, E. 25th Street between 3rd and Lexington Ave, free

3/28, drinks at 5:30  PM, music at 6,British early music chamber ensemble the Orlando Consort perform early music by Machaut, Defay, Geurrero, Isaac and others at the Miller Theatre, free

3/28, 6 PM Jiuilliard Provost Ara Guzelimian interviews John Adams, surrounded by performances of Adams’s own compositions and works by Ellington, Beethoven, and Ives at Paul Hall at Juilliard, 2 free tix avail. per person 

3/28, 6 PM pianist Jose Ramon Mendez plays works by Bach, Schubert and Rachmaninoff at the Yamaha Piano Salon, 689 Fifth Ave (entrance on 54th st)), 3rd floor , $6

3/28, 7 PM smart purist oldtime blues/Americana resonator guitarist Zeke Healy & intense, eclectic violist Karen Waltuch making wild psychedelia out of classic Americana folk themes followed by ten-piece funky Balkan brass/Ellington jazz monsters Slavic Soul Party at Barbes

3/28, 7 PM Taiko drummer Kaoru Watanabe with the Brooklyn Raga Massive at Shapeshifter Lab, $20

3/28, 8 PM noir jazz legends the Jazz Passengers celebrate the release of their newest album, Still Life with Trouble at Roulette, $20 adv tix rec

3/28, 8/10:30 PM Marianne Solivan “sings with authority and grace” – true – joined by pianist George Colligan and bassist Matthew Parrish at Mezzrow, $20

3/28, 8:30 PM irrepressible slide trumpeter Steven Bernstein leads a series of groups at the Stone, $20. Choice picks: opening night with the Diaspora Special Edition: Arturo O’Farrill (piano) Peter Apfelbaum (sax) Brad Jones (bass) Billy Martin (drums) ; and 3/29 with legendary noir jazz outfit Sexmob

3/28, 9 PM Norwegian artist Helge Sten’s creepy ambient Deathprod project in a rare New York appearance at Issue Project Room, $15/$12 stud/srs

3/28, 10 PM brilliant drummer/percussionist Willie Martinez & La Familia Sextet play classic salsa grooves at the Nuyorican Poets Cafe

3/29, 7 PM uneasily fiery, intense jazz guitarist Sean Cronin‘s new ensemble Very Good at Barbes

3/29, 7:30 PM the Wellesley College Choir sing works by Brahms, Ronald Perera, Joan Szymko and Ysaye Barnwell at Merkin Concert Hall, $15

3/29, 8 PM haunting, intuitive cellist Inbal Segev opens for the String Orchestra of Brooklyn and Mivos Quartet performing works by Anna Clyne at Roulette, $20 adv tix rec

3/29, 8 PM deep-space solo guitar epics with David Grubbs at the Old Stone House in Brooklyn, $10, reception to follow

3/29, 8 PM enigmatic, synthy, propulsive new wave act Decorum followed by snide 80s-style goth-punks Pop. 1280 at Brooklyn Bazaar, $10 

3/29, 9 PM a fun 90s roots-rock guitar twinbill: the Bottle Rockets and Chuck Prophet & the Mission Express at Bowery Ballroom, $20

3/30, 1 PM lyrical jazz pianist Chris Pattishall and his group at Trinity Church, free

3/30-4/1, 7:30/9:30 PM haunting, intense flamenco jazz pianist Chano Dominguez leads his flamenco jazz/dance quintet at the Jazz Standard, $30

3/30, 7:30 PM Argentine pianist Emilio Teubal lead his strio at Club Bonafide, $15

3/30, 7:30 PM the Jasper String Quartet play Beethoven: String Quartet in A major, Op. 18, No. 5; Missy Mazzoli: Death Valley Junctionl Dvořák: String Quartet No. 12 in F major (“American”) at the Lincoln Center Atrium, free, early arrival advised

3/30, 7:30 PM Cookers trumpeter David Weiss & Point of Departure at Nublu. 3/31 at 11 they’re at the Fat Cat 

3/30, 8 PM legendary LA psychedelic rockers the Jigsaw Seen‘ followed by real oldschool Max’s style glampunks the New York Junk at Bowery Electric, $8

3/30, 8 PM lyrical jazz pianist Guy Mintus with flamenco guitarist Andreas Arnold at Caffe Vivaldi

3/30, 9 PM lead guitarist to the stars of the NYC underground, Homeboy Steve Antonakos plays a rare solo show featuring songs off his new powerpop album Bodega rock at Espresso 77, 35-57 77th Street, Jackson Hts

3/30, 8 PM the W4 New Music Collective premiere a collaboration between composers Matt Frey, Tim Hansen and Molly Herron exploring aspects of solitude at Roulette, $20 adv tix rec

3/30, 8 PM trumpeter John McNeil’s Hush Point –  a New York update on 50s West Coast cool jazz – play the album release show for their third disc at Brooklyn Conservatory of Music, $15

3/30, 9 PM enigmatic chamber jazz songwriter Becca Stevens sings the album release show for her new one at Bric Arts, $15 adv tix rec

3/30, 9 PM  the hilarious, politically astute Paranoid Larry & His Imaginary Band at Freddy’s

3/30, 9:30 PM Boss Hogg – Christina and Jon pulling their legendary 90s project back together – at the Mercury, $15

3/30, 10 PM Brooklyn’s funnest new band, psychedelic organ-driven Middle Eastern-tinged surf rock trio Hearing Things  at Barbes

3/30, 10 PM Diamond Hotel – noir frontwoman Raquel Vidal’s fiery paisley underground psychedelic/noir Americana band – at Desmond’s of all places 

3/30, 10:30 PM Goblin-esque monster-cartoon soundtrack band Xombie at the downstairs space at Webster Hall, $12

3/31, 5:30 PM darkly edgy, politically-fueled Irish tunesmith Niall Connolly  followed by calm but fiery newschool Britfolk songwriter Roxanne de Bastion at the American Folk Art Museum

3/31, 7 PM haunting Puerto Rican bolero revivalists – and Sylvia Rexach reinventors – Miramar at the CUNY Grad Center, 365 5th Ave north of 34th, $25/$20 stud

3/31, 7:30 PM the St. Louis Symphony Orchestra play John Adams’ The Gospel According to the Other Mary at Stern Auditorium at Carnegie Hall, $25 tix aail

3/31, 8 PM Aussie soul-psych rock band Stonefield followed eventually by psychedelic stars King Gizzard & the Lizard Wizard – who are going in an amazing microtonal rock direction – at Webster Hall, $22 

3/31, 8 PM eclectic, electric C&W/blues band the Jug Addicts followed at 10 by trippy North African dance grooves with Innov Gnawa at Barbes

3/31, 8 PM eclectically tuneful swing/noir/pastoral jazz combo the Jazz Thieves at the Way Station

3/31, 8 PM the Argus String Quartet air out a mix of new and old works at Roulette, $20 adv tix rec

3/31, 10 PM slinky original rocksteady with Osekre & the Lucky Bastards at Shrine

3/31, 11 PM psychedelic latin soul with Chicano Batman at Bowery Ballroom, $16 adv tix rec

3/31, 10 PM Red Gretchen – best known for their anguished Replacements/Nirvana anthems, although they’re even better at slowly undulating, doomy psychedelic/art-rock grooves – at Sidewalk.

4/1, 4 PM the Dessoff Choir sings motets by Bach, Buxtehude and Samuel Barber’s Dover Beach at Union Theological Seminary, 3041 Broadway, 1 train to 116th St, $25/$15 stud/srs

4/1, 7 PM a free screening of the jazz documentary film Night Bird Song: The Incandescent Life of Thomas Chapin at Flushing Town Hall

4/1, 8 PM NYC’s goddess of garage guitar, Palmyra Delran opens for Radio Birdman mastermind Deniz Tek and Keith Streng of the Fleshtones’ reputedly sizzling new two-guitar band at Bowery Electric

4/2, 7 PM Skinny Lister – the Pogues of oldtime British folk music – at the Mercury, $15

4/3, 7:30 PM the Eroica Trio play works by Paul Schoenfield, Bruce Wolosoff, and Kevin Putsat Symphony Space, $20 adv tix rec

4/5, 6:30 PM magical, mystical Pakistani Sufi chanteuse Sanam Marvi and her band at the Asia Society, 725 Park Ave, $12/$10 stud/srs

4/5, 10 PM fiery, charismatic soul siren Meah Pace and her oldschool band at the McKittrick Hotel

4/6, 7 PM composer-vocalist Lisa Bielawa takes a turn as soloist, backed by the American Contemporary Music Ensemble (ACME) singing works including A Collective Cleansing (2000) for solo voice and digital audio, Graffiti Dell’amante (2010) for string quartet and soprano, Genesis Again (1998) for soprano and violin, and two arias from her episodic opera Vireo: “The Bat” and “The Dragon and the Girl, at National Sawdust, $30 adv tix avail

4/6, 7:30 PM trippy, otherworldly, ancient North African dance percussion ensemble  Innov Gnawa  open for Malian guitar shredder Vieux Farka Toure at Bric Arts, $15 adv tix rec

4/7, 5:30 PM fiery Americana stringband duo the Berger Sisters at the American Folk Art Museum

4/7, 7 PM intense, legendary, noirish punk jazz sax/drum duo Iconoclast – Julie Joslyn and Leo Ciesa – play their joint 30th anniversary show and album release show for their new one at stage 2 at Michiko Studios, 149 W 46 St

4/7, 8 PM percussionist Annette A. Aguilar & StringBeans play Puerto Rican jazz; and Masayo Ishigure and her group the Miyabi Koto Shamisen Ensemble add innovative jazz and western classical influences to traditional Japanese music at Flushing Town Hall,  $16/$10 stud, 13-19 free w/ID

4/7, 10 PM well-liked 90s alt-country vets Son Volt at Bowery Ballroom, $23 adv tix rec

4/8, 7:30 PM Linda Chatterton (flute), Rachel Brandwein (harp) and Aristo Sham (piano) perform works by contemporary Hong Kong composers with world premieres by Galison Lau and Ka-wai So, US premieres by Wendy Wan-Ki Lee, Cynthia Chi-Wing Wong and Chi-hin Leung, with additional works by Donald Yu and Austin Ho-Kwen Yip at the DiMenna Center

4/8, 7:30 PM smartly eclectic singer and vivid original jazz songwriter Allegra Levy celebrates the release of her new album Cities Between Us with her album bandmates, saxophonist Stephen Riley, cornetist Kirk Knuffke, pianist Carmen Staaf, drummer Jeff Davis, and bassist Jay Anderson at Club Bonafide

4/8, 8 PM Vishwa Mohan Bhatt with Subhen Chaterjee play Indian music for slide guitar (mohan veena) & tabla at Roulette, $30

4/8, 8:30 PM Ensemble Signal plays a “composer portrait” of the darkly enigmatic, uneasily Schoenbergian Johannes Maria Staud at the Miller Theatre, $30/$20 stud

4/8, 10 PM Dervisi feat. guitar god Steve Antonakos play “exotic Greek gangsta blues”at Pan-Icarian Brotherhood Hall, 8722 52nd Ave., Flushing, M/R train to Grand Ave – Newtown. 4/12 at 9 they’re at Troost and 4/20 at 9 at Espresso 77, 35-57 77th Street, Jackson Hts.

4/8, 10ish keyboardist Manu Koch’s trippy, socially conscious Mediterranean/Near Eastern jazz/groove/funk band Filtron M play the album release show for their new one at Nublu 151 

4/11, drinks at 5:30, music at 6 PM So Percussion’s Jason Treuting + JACK Quartet at the Miller Theatre, free

4/12, 8 PM wry 70s style kraurtock disco band Automaatio followed by Lusterlit’s ominous, noirish literary chamber pop at the Well, 272 Meserole St, Bushwick, $8 

4/19, 5 PM indie classical chamber luminaries Talea Ensemble with soprano Juliet Fraser perform John Zorn’s Alll Hallows Eve plus wotks by Olga Neuwirth, Beat Furrer and Steve Reich at the Austrian Cultural Forum 11 E 52nd St.,  free 

4/20, 8 PM the lavish, kinetic Liberte Big Band led by pianist Liberté-Anne Lymberiou Liberté-Anne Lymberiou at the Wil;liamsburg Music Center, 367 Bedford Ave 

4/21, 8 PM flutist Sylvain Leroux and Source play Malian folk music; brilliant, charismatic oudist Rachid Halihal and Fez play Moroccan and Middle Eastern classics at Flushing Town Hall,  $16/$10 stud, 13-19 free w/ID

4/24, 7:30 PM pianist Taka Kigawa and the String Orchestra of New York City split the bill on a concert of new music by Lisa Bielawa, Zosha Di Castri and Richard Carrick at Symphony Space, $20 adv tix rec

4/25, 8 PM for night one of the MATA Festival, in their North American debut Danish indie classical luminaries SCENATET play new works by Eric Wubbels (USA), Yu Oda (Japan): Daniel Tacke (USA): Martin Grütter (Germany): Messer Engel Atem Kling; Christian Winther Christensen (Denmark): Kaj Duncan David (Denmark): Murat Çolak (Turkey)  at the Kitchen, $20

4/28, 8PM Chartwell Dutiro plays Zimbabwean mbira music with his band at Roulette, $25

4/29, 8 PM hauntingly enveloping, kinetic Iranian art-rock/trance ensemble Niyaz at Roulette, $30

4/29, 8 PM pianist Pablo Mayor’s Folklore Urbano Orchestra and Pajarillo Pinta’o dance company team up for a theatrical concert exploring global culture, immigration, tradition, and love at Flushing Town Hall,  $16/$10 stud, 13-19 free w/ID

4/30, 8 PM hypnotic, swirling, ancient and brand-new Punjabi grooves with Riyaaz Qawwali at Roulette, $30

5/1, 7 PM Finnish murder ballad singer Pekko Käppi leads his haunting, austere folk trio at the CUNY Grad Center, 365 5th Ave north of 34th, $25/$20 stud

5/15, 5:30 PM drinks at 5:30, music at 6 PM Michael Riesman and Ensemble Signal celebrate the music of Philip Glass at the Miller Theatre, free

5/19, 5:30 PM drinks at 5:30, music at 6 PM New York Polyphony “illuminate Bach and Luther’s German roots” at the Miller Theatre, free

5/20, 3 PM the Washington Heights Chamber Orchestra play a world premiere by Music Director Chris Whittaker and close with Mendelssohn’s exuberant “Italian” Symphony, at Fort Washington Collegiate Church, 729 W. 181st St.,free, reception to follow  

5/24, 7:30 PM eclectic mostly-female klezmer/cumbia/tango jamband Isle of Klezbos’ all-gal sextet ensemble (including mesmerizing vocalist Melissa Fogarty), plus clips from bandleader Eve Sicular’s cinema history project, The Celluloid Closet of Yiddish Film at the Center for Jewish History, 15 W 16th St. $25 adv tix req

6/6, drinks at 5:30, music at 6 PM indie classical globetrotters International Contemporary Ensemble play animal behavior-inspired works at the Miller Theatre, free

6/13, drinks at 5:30, music at 6 PM the Mivos Quartet play a program TBA at the Miller Theatre, free

6/13, 8:30 PM popular newschool blue-eyed soul/Motown/swing band Lake Street Dive at Prospect Park Bandshell

Carsie Blanton Charms and Provokes at the Mercury

Tuesday night at the Mercury, New Orleans bandleader Carsie Blanton was at the top of her hilarious game. She makes good albums, but nothing compares to seeing her onstage. The woman is devastatingly funny, and politically spot-on, and charismatic to the extreme. Decked out in a sassy vintage red dress, fronting her skintight four-piece group, the inventor of the sexy board game Bango kept the audience in stitches when she wasn’t taking requests or running through a mix of torchy soul, swing and retro rock from her latest album So Ferocious.

One of the funniest moments of the night was when she explained the backstory for the bouncy kiss-off anthem Fat and Happy. As you would expect, she’s an Ella Fitzgerald fan, but she winced at how cheesy some of the choir arrangements on Fitzgerald’s albums from the 40s were. “So I thought, what if I took a song and ended it with the band going, ‘Oooohhh, FUUUUUUCK,” Blanton grinned. The band – keyboardist Pat Firth, bassist Joe Plowman and drummer Nicholas Falk – did exactly that, slowly and in perfect three-part harmony. The crowd roared.

“My friends said take the high road, turn the other cheek,” Blanton elaborated with a grin, “But I’m a revenge-taking kind of person.” So the tale of a selfish dude hell-bent on piggybacking on Blanton’s success resonated even more: “Will you still be whining like a suckling pig, or will you be trying to get on the gig?” she sneered.

She’d opened with a simmering blue-flame soul song that Amy Winehouse would have traded her stash to have had the chance to sing. “You don’t scare me,” was the refrain: no joke. Blanton followed that with Scoundrel, a bouncy early 60s-style John Waters soul-pop number and then the hazy, summer-evening soul of Hot Night. She explained that she’d written most of that one in Madrid on vacation, sulking in her unairconditioned B&B, serenaded by street noise until she realized how lucky she was to be there at all.

Throughout the set, Blanton worked the dynamics up and down, more than a tinge of smoke in her voice, through the gentle 6/8 torch-soul ballad Loving Is Easy to a wryly propulsive number from her Idiot Heart album, a typical surreal/crazy/creepy New Orleans moment when a guy tried to pick her up with the line, “Why not, we’re all gonna die one day.”

The first of the audience requests, Chicken grew out an idea that had stuck in her head, she said, which she’d dismissed as silly until she wrote the song…and it turned out to be one of her biggest crowd-pleasers. She followed Money in the Bank – a slinky mashup of sly, low-key Lou Reed and oldschool soul – with another novelty song, Moustache, a newschool Motown number. Blanton revealed that she actually has no issues with facial hair on dudes – it’s just that this one particular fuzzy upper lip turned out to be a big mistake.

Twister, a brand-new number, brought back the sultry/icy vibe of the night’s opening song. inspired by the recent tornado that hit her hometown, contemplating how a new romance could be altered by that sort of calamity. To Be Known made a poignant change of pace, part vintage BeeGees angst, part Jimmy Webb art-song. She kept pretty low-key with The Animal I Am, inspired by a badass canine friend who chews her underwear and, like her owner, is a general hellraiser. Then the group picked up the pace a little with Backbone, a snide dis at a sappy guy who’s probably too lazy to show a little gumption.

Blanton warned the crowd that she’d save the best for last, and she sort of did. It was a brand-new song where everybody in the band changed instruments. Pandemonium ensued as she railed about how everything went completely haywire at an election-night party, and how history reminds that back in the early 30s, lists of forbidden nations and ethnicities were being compiled just like they are now. The crowd begged for another encore but didn’t get one. Blanton’s tour continues at the Lancaster Roots & Blues Festival at the Ware Center, 42 N Prince St. in Lancaster, PA tonight, Feb 25 at 7:45 PM.

A Rare Music Impresario with Actual Talent

Lara Ewen may be best known as the irrepressible impresario behind the Free Music Fridays series at the American Folk Art Museum, which with the ongoing disappearance of the downtown acoustic scene has arguably become Manhattan’s best listening room for folk and Americana sounds. But Ewen is also one of New York’s most magnetic singers, and a strong songwriter as well. Over the years, her music has gotten darker and gone deeper into gothic Americana, often in a Tom Waits vein. Her hardscrabble Queens roots may have something to do with that.

She’s playing the Scratcher Bar on 5th Street just east of Bowery on Feb 26 at around 7, when you might find fellow songsmith Kelley Swindall tending bar. It’s an intimate space, and a convenient time on a work night so getting there a little early wouldn’t be a bad idea: artists who book venues tend to be popular for reasons other than their art.

Ewen is the rare one who isn’t. Her definitive album is The Wishing Stone Songs, from 2013. But there’s other solid material in her catalog. A listen back to her 2007 cd Ghosts and Gasoline – which happily has made it to Spotify – reaffirms that. Her band on the record is excellent: much as there’s a late 90s influence, there’s no cheesy drum machine, no cliched trip-hop beat. Guitarist Howard Rappaport jangles and clangs, judiciously over the tight, low-key rhythm section of bassist Donald Facompre and drummer Jordan Lash.

Ewen sings in character, with unexpected nuance for someone who doesn’t come from a jazz background. One minute she’ll be serenading you with that crystal-clear, maple-sugar soprano, another she’ll be gritty, then maybe throwing some twang at you, depending on context.

The album’s opening track, Josephine, has a brisk, methodically vamping, hypnotic quality, an allusive portrait of bitterness. The Airport Song is one of those blue-collar character studies that Ewen writes so vividly, part country, part spacious big-sky tableau, Rappaport’s pedal steel soaring overhead. Likewise, the propulsive Untethered is a surreeal portrait of outer-borough disconnection and anomie, bringing to mind a first-rate early-zeros Brooklyn songwriter. Barbara Brousal.

Turning Blue sways along gently, a quietly savage portrait of a a woman settling for less than she should. The album’s most devastating track is Our Song, just Ewen and her acoustic guitar, a gorgeously bittersweet and unexpectedly generous post-breakup reflection.

The oldest track on the album, Clear, will resonate for anyone who wouldn’t trade this city for any other temptation. 20 Years Ago, an aging beauty’s lament, foreshadows where Ewen would go on her next album. Then Ewen picks up the pace with the brooding highway narrative Manahttan Kansas

Facompre walks jazz scales under Ewen’s Rickie Lee Jones-ish delivery in Misery Wholesale. The album winds up with Blessed, a hopeful love song to a down-and-out character, and A Way to You, which is a dead ringer for a well-known Dylan hit. While Ewen typically plays her most recent material onstage, she might bust out one or two of these if you’re lucky. 

Poignant, Powerful Portuguese Fadista Gisela João Makes Her US Debut Downtown This Weekend

Fado is all about heartbreak. Like tango and the blues, it was dismissed for its ghetto origins long before it became more or less the national music of Portugal  Over the years, it’s gone transnational: you may not hear it on big stages in Paris or Berlin, but you will hear it wafting from maids’ quarters late at night in ritzy parts of town.

Charismatic singer Gisela João is just about the biggest thing in fado these days, making a lot of waves in the wake of the release of her latest album Nua (Naked), streaming at Spotify. She’s making her US debut on Feb 25 at 7 PM at the Schimmel Auditorium at Pace University downtown at 3 Spruce St. Tix are $30, and getting them in advance is a highly advised: this show is a big deal for expats across the tri-state area.Take the J/6 to Brooklyn Bridge.

João hardly fits the demure, doomed fado singer stereotype. Reputedly, she puts on a high-voltage show, and some of that energy translates on the album. Her voice has more than a tinge of smoke, and she often goes for the jugular with a wide-angle vibrato to drive a crescendo home. While that device is most closely associated with iconic fadista Amalia Rodrigues, João frequently evokes the darkest, most noirish side of the style. She’s got a fantastic band: Ricardo Parreira plays with a spiky virtuosity on the ringing, overtone-rich 12-string Portuguese guitar, Nelson Aleixo holding down the rhythm elegantly on classical guitar, along with Francisco Gaspar on acoustic bass. The overall ambience is both stately and impassioned.

Most of the tracks are popular standards with spare but dynamically textured arrangements, both retro and radical in an age where indigenous styles in so many parts of the world mimic the most cliched, techy American musical imperialism. Beatriz da Conceição’s Um Fado Para Este Noite (A Fado for Tonight) sets the stage with its ringing, rippling textures and João’s almost stern, angst-fueled delivery.

Há Palavras Que Nos Beijam (The Words That We Kiss) switches out the brooding lushness of the Mariza version for an oldschool, sparse interpretation. A little later, the group flips the script the opposite way with As Rosas Não Falam (Roses Don’t Tell), by Brazilian crooner Cartola. The first of the Rodrigues numbers, O Senhor Extraterrestre is a coyly bouncy, Veracruz folk-tinged tale which does not concern space aliens.

The album’s most recent number, Sombras do Passado (Shadows of the Past), is also arguably its most mutedly plaintive. Likewise, the rustically low-key, hushed take of the metaphorically-charged Rodrigues classic Naufrágio (Shipwreck). Then the group picks up the pace with the rustic Romany waltz Lá Na Minha Aldeia (There in My Village)

Another Cartola tune, O Mundo é um Moinho (The World Is a Windmill) brings back the crepuscular ambience, João channeling a low-key, world-weary cynicism. The band pull out all the stops with Labirinto Ou Não Foi Nada: (Labyrinth, or It Was Nothing): the twin guitars building a hypnotic, harpsichord-like backdrop for this slowly crescendoing lament for what could have been.

João saves her tenderest vocal for the last of the Rodrigues’ songs, Quando Os Outros Te Batem, Beijo-Te Eu (When the Others Hit You, I Kiss You). I In keeping with the album’s up-and-down dynamic shifts, João picks up the pace once again with the scampering, Romany-flavored party anthem Noite de São João

The album winds up with a desolate take of Argentina Santos’ Naquela Noite em Janeiro (On That Night in January) and then a wounded, gracefully lilting fado-ized version of the Mexican folk standard La Llorona. Awash in longing and despair, João’s new collection works both as a trip back in time for fado fans as well as a solid introduction to the style for newcomers from a purist who knows the music inside out.

A Rare New York Show and a Killer Album from Paris Combo

Long before the Squirrel Nut Zippers were a gleam in anybody’s eye, or there was such a band as the Flying Neutrinos – remember them? – Paris Combo were swinging the hell out of a sound that was part 20s, part 30s and part 80s, at least when they started. Since then, they’ve maintained a devoted fan base on their side of the pond, but they make it over here too infrequently. Their French lyrics are sardonic, playful and funny; likewise, their music has a lot more edge and bite than your typical goodtimey swing band, which makes sense considering that they got their start when punk rock was still current. These irrepressible, ever-more-eclectic Parisians are making a rare New York stop at City Winery on Feb 21 at 8 PM; $25 admission is available, meaning that you can stand somewhere within shouting distance of the bar and not feel stressed about buying expensive drinks.

Paris Combo’s latest album Tako Tsubo – a Japanese term for the very real cardiological effects of heartbreak – is streaming at youtube. The opening number, Bonne Nouvelle (Good News) is a real stunner, part tarantella rock, part Romany swing. Frontwoman/accordionist Belle du Berry understates the narrative’s ominous undercurrent: it’s about playing with fire, more or less.

Pianist David Lewis opens Je Suis Partie (I’m Out of Here) with an uneasy minor-key glimmer, du Berry channeling moody angst as the band leaps into a bouncy groove from bassist Benoît Dunoyer de Segonzac and drummer François Jeannin. Then Lewis supplies balmy trumpet over guitarist Potzi’s breezy, cosmopolitan swing shuffle in the album’s title track, with a droll, tongue-in-cheek hip-hop interlude.

Anemiques Maracas is one of the album’s funniest numbers, part Morricone soundtrack spoof, part yuppie satire. Profil does double duty as balmy, vampy retro 60s ye-ye pop and snide commentary on internet dating. Notre Vie Comme un Western (Our Life As a Western) opens as a surprisingly uneasy waltz and then takes on a cynical bolero-tinged atmosphere, Europeans equally mesmerized and mystified by American cultural imperialism.

Part Django swing, part tongue-in-cheek spy theme, D’Heidi has a wide-eyed sarcasm that recalls the group’s Dutch 80s/90s contemporaries Gruppo Sportivo. The slashing wordplay of Specimen comes across as a French counterpart to New York murder ballad duo Charming Disaster. Just title of Mon Anatomie Cherche un Ami – part Doors, part Chicha Libre – takes that cleverness to to the next level,

Vaille Que Vaille (Somehow) follows a pretty savage faux-Spanish waltz sway: it’s an oldschool existentialist cautionary tale. The faux-reggae Cuir Interieur (Leather Seats) is just plain hilarious: if the Tubes had been good French speakere, they might have sounded something like this. The album winds up with Orageuse (Stormy), which is funny because it’s hardly that – it’s a balmy before-the-rain scenario, at best. Every time you listen to this, you discover something new and amusing, which might well be poking fun at you too. Count this as one of the best albums to come over the transom here in the past several months.

A Playful Change of Pace for New Orleans Chanteuse Carsie Blanton

On one hand, for Carsie Blanton to put out a record of Lynchian retro rock is kind of like the Squirrel Nut Zippers making a heavy metal album. But the Zippers are great musicians – who knows, maybe they’d pull it off. Turns out Blanton is just as adept at allusive, nocturnal early 60s Nashville pop as the oldtimey swing she made her mark in. Her latest album, So Ferocious, is streaming at her webpage and available as a name-your-price download, the best advertising she could possibly want for her upcoming show at 7 PM on Feb 21 at the Mercury. Cover is $10.

Although it’s a switch for her, Blanton is just as badass and funny as she is out in front of a swing band. She sings and plays uke here, backed by guitarist Pete Donnelly, keyboardist Pat Firth, bassist Joe Plowman and drummer Jano Rix. One of the funniest tracks is Fat and Happy, a return to Blanton’s oldtimey days: the theme is “just wait and see,” and the way it turns out is too LMAO to give away.

Fever Dream builds a surreal New Orleans after-the-storm scenario, darkly spare bass paired against sepulchral toy piano. Hot Night offers a bouncy, energetic contrast, spiced with a distant brass chart; if Springsteen really wanted to write an oldschool soul song, he would have done it like this. Another nocturnal soul ballad, Lovin Is Easy pairs a spare string section against similarly low-key electric piano and Blanton’s unselfconsciously matter-of-fact, tender vocals.

Ravenous, a chirpy look back at adolescent friskiness, has a roller-rink charm that brings to mind both the Kinks and the Cucumbers, a mashup that Blanton revisits on the understatedly biting title track.. She turns the clock back anothe twenty years in Scoundrel, a coy Phil Spector pop tale about a couple of troublemakers.

Musically speaking, the album’s best track is probably The Animal I Am, a defiant individualist’s anthem set to artsy Jeff Lynne-style Nashville gothic pop. The album’s darkest track is To Be Known, part brooding Jimmy Webb chamber pop, part early BeeeGees existentialist lament. “Isn’t it al you ever wanted, to be alone?” Blanton ponders. Or is it “To be known?”. There’s also Vim and Vigor, a funnier take on what Amy Winehouse was up to before she self-destructed. Download this irrepressibly fun, dynamic mix and get to know one of the real genuine individualists in retro rock and many other styles as well.