New York Music Daily

No New Abnormal

Tag: rap music

ShoutHouse Trace the Turbulent History of New York With an Ambitious Blend of Styles

ShoutHouse play a lavishly orchestrated, absolutely unique blend of postrock, art-rock and indie classical pageantry. The obvious point of comparison is Sara McDonald’s similarly majestic NYChillharmonic. Both bands are (typically) fronted by women; the big differences are that ShoutHouse relies on strings instead of traditional jazz instrumentation, and they have a hip-hop edge. The group’s debut album, Cityscapes – streaming at Bandcamp – is a song cycle tracing the history of New York, from the days before the European invaders arrived, to a possible future. Bandleader/pianist Will Healy wrote most of the material.

The first track, Mannahatta has a bubbly, spacious, optimism reinforced by rapper Nuri Hazzard, David Valbuena’s clarinet and Connell Thompson’s sax adding verdant textures. George Meyer’s violin spirals and dips above Healy’s steady minimalism as Hudson Drones rises toward a lush peak, verses by Akinyemi and and Maassai reflecting how 19th century struggles here mirror those of today. Akinyemi spells it out at the end:

The morning of peace, took a trip around the hill
The same dividend impacted me, subtracted thrill
Add in all the negative: the subway stops, delays in the mix
As I’m released from these trapped doors
I’m faced with the fate of these past laws
My passion would probably pull me in a positive direction
I stop at the river entrance
Enthralled by the possibility but worrisome
Of the penalties that change by the minute…

Singer Majel Connery delivers a setting of a Billy Collins poem with brassy passion over a relentless drive and increasingly nebulous bustle in Grand Central. Drummer Aaron Ewing’s rhythmically tricky For Those Who Look Up shifts on a dime from minimialist mathrock to a summery trip-hop groove.

Percussionist Jesse Greenberg opens his contribution to the album, Ancient Tools, with tinkling bells over hazy atmospherics. Hannah Zazzaro’s pensive vocals over a catchy, syncopated sway evoke the Chillharmonic in a sparse, dancing moment; Akinyemi returns to end it with a long, rapidfire lyric.

Over a driving, emphatic sway, MCs Bush Tea and Nuri Hazzard put a wary, urban 21st century update on the old ant-and-grasshopper fable in the next-to-last track, Ants. The ensemble close the album with Rebuild, its tricky metrics anchored by Healy’s Radiohead chords, MC Spiritchild contemplating a rather grim cycle of death and renewal over an increasingly epic sweep. An ambitious achievement from a group who also include violists Leah Asher, Sofia Basile, Linda Numagami, Lauren Siess and Drew Forde; violinists Megan Atchley and Allison Mase; cellists Maria Hadge, Olivia Harris, Philip Sheegog, Mosa Tsay and Daniel Hass; bassists Luiz Bacchi, John McGuire and Andrew Sommer; flutists Kelley Barnett, Izzy Gleicher and Fanny Wyrick-Flax; clarinetist David Valbuena; guitarist Jack Gulielmetti; drummer Cameron MacIntosh and rapper Adè Ra.

Frank London and Adeena Karasick’s Darkly Gorgeous New Album Salutes a Feminist Archetype

“You are bringing in the big guns, opening the sluicegates with your hyperdramatic extra sex, a swishy riff, pithy swift grifters…like a feisty zeitgeist, a forever Riviera,” poet Adeena Karasick freestyles, saluting her title character in one of the early tracks on the new album Salome: Woman of Valor, her new collaboration with iconic trumpeter Frank London., streaming at his music page. It’s a psychedelic, globally-inspired, feminist reclamation of the Salome archetype, recasting her as a fearless, indomitable, multi-faceted persona rather than uber-slut. Typically, Karasick’s intricate, wickedly playful, erudite solo spoken world interludes are spaced in between the individual songs here.

The enticement builds over an echoey wash from Shai Bachar’s electric piano, Deep Singh’s tabla and London’s lyrically pensive trumpet in the album’s first musical number, Song of Salome. As it goes on, London channels more of the acerbic, chromatic edge and meticulous melismas that have characterized his sound as one of this era’s great klezmer and Balkan brass players.

Playing with a mute, he introduces a bracing, suspenseful Ethiopian theme over a chilly, techy haze in Garden of Eros, Karasick celebrating the pleasures of the flesh amid the “cinders of avarice.” London shifts to a hypnotic mashup of Ethiopiques, qawwali and Romany psychedelia in Drown Me, exchanging terse, soulful trumpet riffs with a swirly synth as the tabla holds down the groove.

Dance of Desire has a darkly slinky trip-hop ambience, Karasick deviously referencing a half century or more worth of lyrics, from Wilson Pickett to Leonard Cohen as London’s trumpet teases the listener. Bind Me has a gorgeously brooding, contrapuntal Hasidic melody and a metaphorically loaded lyric: this Salome doesn’t like being restrained.

To introduce Johnny, Karasick sends a shout out to Jean Genet and other bad-boy figures before London’s balmy trumpet and tersely circling, uneasy piano enter the picture. Martyrology, a grisly chronicle of Jewish mystics tortured and murdered over the years, makes a chilling contrast, followed by a haunting, Middle Eastern and Indian-tinged interlude from London that brings to mind Ibrahim Maalouf.

London returns to an anthemic mix of murky Ethiopiques and woozy psychedelia in Yes I Will Yes Say Yes. He shifts to the Middle Eastern freygish mode for the undulating Dance of the Seven Veils, part klezmer, part Palestinian shamstep, featuring an imploring vocal cameo by Manu Narayan . The group return to dusky, forlorn Ethiopian ambience to wind up the record with Kiss Thy Myth. Look for this one on the best albums of 2020 list here, scheduled for the end of the year.

Ferociously Lyrical, Amazingly Psychedelic, Eclectic Sounds From the Free Radicals

Fearlessly political Houston-based collective the Free Radicals have a brilliant, insightful new album, White Power Outage Volume 1 out and streaming at Bandcamp. Over catchy, psychedelically arranged organic grooves that range from hard funk, to roots reggae, to dub and even surf music, a vast cast of over fifty artists speak truth to power with witheringly insightful lyricism. This album is like a great musical podcast about the state of the world right at the first strike of the lockdown: over and over again, this crew breaks down the big picture in ways that make sense, especially considering what’s happened since March 16 here in New York and even earlier in Wuhan.

Not surprisingly, it took more than a year to pull together all 23 tracks here. Hip-hop artist Obidike Kamau kicks it off over with America Is a Lie, over a slinky, live funk groove with wah guitar:

I know how much this hurts your feelings
It’s not because you strive for justice, but I’ve heard this bullshit all my life
The propaganda you spit, the rose-colored myths you declare
…I guess it goes back to your gangster beginnings
Your genocidal belief in unhappy endings
…I know a thief appreciates possession being nine tenths of the law
And you’re a liar
I ain’t in fear, your reign is temporary
I see it leaving here

EQuality delivers another broadside so good all 58 seconds of it are worth reprinting:

If multiple black men are found dead in the apartment of a millionaire tied to the Democratic Party named Ed Buck, and nobody investigates his role in the incident, does it make a sound?
Bartender I’ll take another round
But pouring kool-aid in a wine glass don’t make it merlot
A cat having kittens in the oven don’t make them biscuits
Well I’ll be George Washington Carver selling peanuts to the peanut gallery at the art gallery See what’s on the walls, pictures of poverty and pain
‘Cause that’s what sells n____s to negros
Some inverse tradeoff
Paid off the most popular rapper so the house can run the field n____s
Capitalism and Christ cut a deal in the back of the Vatican
As the Pope pours another round of scotch
Excuse my cynicism
The gospel according to a con

“Maybe we just catch a case and disappear without a trace,” says rapper Nosaprise over the loopy psychedelic backdrop of Cash Out — and he’s not talking about COVID.

“Beware the boogieman, terror threats scaring us out of psychological reason,” D-Ology warns in Look at That, a far-reaching catalog of threats from police brutality to transhumanism.

The Great Australian Heist, featuring hip-hop lyricist Bryte from down under, reminds how the slave trade devastated his country’s indigenous population…and how that resonates today in, as just one example, the way fracking is destroying the country’s already scarce water supply. He doesn’t get into the fascist lockdown situation there, the most repressive clampdown on human rights outside of China and Israel right now.

Swatara Olushola takes over the mic in Racist Car No Driver, revealing a sinister white supremacist motivation behind driverless cars: their “garbage in, garbage out” technology was designed not to recognize the presence of black people in the street. Earlier in the record she contributes another rocksteady-tinged protest song that also pokes savage fun at technosupremacists.

The musicians here turn out to be a phenomenal roots reggae band. The best of many of the reggae tunes here are the intricately arranged Daughter of Diana, with Kam Franklin on vocals, and Student Debt Dub, an Ethiopiques number fueled by bass and brass. Yet the best straight-up instrumental on the album is the sarcastically titled Deepwater Horizon, a slinky, reverbtoned minor-key surf rock instrumental – it’s really cool how the bass gets to carry the melody for a verse.

Later on the band careen into punk klezmer for a bit, then toward the end of the record Matt Kelly contributes Piece of the Rock, a Celtic/punkgrass mashup sung from the point of view of a greedy oligarch. “Come take a hit of my rock,” he snarls.

Highlights among the many other tracks here also include also fiery, politically charged reggaeton from Karina Nistal; Rashard’s More Power, a political update on vintage James Brown spiced with vibraphone and horns; and Genesis Blu & Jasmine Christine’s Chariot Rock, a conscious hip-hop reinvention of Swing Low, Sweet Chariot over dubby, Ethiopian-tinged loops. You’ll see this on the best albums of 2020 page here at the end of the month.

Witheringly Smart, Cynical Oldschool Soul, Gospel and Funk From Fantastic Negrito

Multi-instrumentalist Fantastic Negrito a.k.a. Xavier Amin Dphrepaulezz has been pumping out fearlessly populist, cynically amusing, pro-freedom songs that span the worlds of oldschool soul, hard funk, hip-hop and gospel music since the zeros. His deliciously layered, often witheringly lyrical latest album Have You Lost Your Mind Yet? is streaming at Spotify. It’s funny, it’s sharp, it’s a clinic in vintage soul music, the layers of guitar and organ are killer, and you’ll see it on the list of the best albums of 2020 here at the end of December. If you miss Prince, this guy picks up where he left off.

The first track is Chocolate Samurai, a gritty ba-bump roadhouse blues theme mashed up with some psychedelic hard funk and swirly gospel organ: a sly message to free ourselves from mental slavery, as Bob Marley put it.

I’m So Happy I Could Cry is a similarly high-voltage minor-key gospel hip-hop number complete with passionate guest vocals from Tarriona Ball of Tank and the Bangas. How Long? is next, a brooding, savagely wise soul tune in a bluesy Gil Scott-Heron vein:

To alll the baby Al Capones
Out there screaming all alone
Full of shit, full of hope
Holding on
We can repeat the same old lies
That make us feel all right
Try to escape
But but we gotta fight the scary ones
…moving so fast, spitting out hashtags
But the lynch mob’s ready to kill

The saturnine guitar solo midway through packs a wallop.

Searching For Captain Save A Hoe features golden age Bay Area rapper E-40, in a darkly organic, soul-infused reprise of his surreal, sarcastic 1993 stoner classic. Your Sex Is Overrated is more subtly amusing than you would think – and the expertly guitar-infused, darkly jazzy early 70s soul ballad atmosphere is spot-on.

These Are My Friends is a strutting, gospel-tinged chronicle of the shady characters Fantastic Negrito surrounds himself with. “Things that don’t kill you in this lockdown will only make you stronger,” he reminds. Easier said than done!

“You want me kissing your ass and you know I never could do that,” he explains in All Up In My Space, an eerie mashup of noir 60s soul and hip-hop, with a slithery organ solo. He brings in a harder funk edge in Platypus Dipster, the album’s most psychedelic number – the ending is priceless. He winds up the record with King Frustration, blending vintage soul, searing Chicago blues and early 70s Stevie Wonder in a fervently detailed message to the masses to wake up. We’ve never needed music this good as much as we do now. 

“Live Music Calendar” for NYC for November 2020

Moving at a snail’s pace, there are a handful more publicly announced concerts this month than there were last. Due to Andrew Cuomo’s increasingly desperate efforts to maintain a police state at all costs, most artists are still playing under the radar, and most venues that were closed when the lockdown was announced remain closed.

But there are good things happening, most of them outdoors, as both audiences and musicians are waking up to the fact that there was never any need to close venues or cancel performances, ever, this year. Here’s what’s on tap so far this month: more shows may be added to this page, so if you’re really dedicated to getting a concert fix this month, you might want to bookmark this page. Like last month, most of this is jazz and classical music.

And there are tons of artists out there busking – swing by your local park and you never know who  you might see.

11/3, 7 PM epically ferocious art-rock jamband Planta at Terraza 7, $10

11/4, noon violinist Elena Moon Park (with accordionist Nathan Koci on the pedestrian mall on Willoughby north of Jay in downtown Brooklyn

1/4, 7 PM former and future ubiquitous jazz bassist Peter Brendler leads a quartet at Terraza 7, sug don

11/5, 7 PM Venezuelan pianist Cesar Orozco’s Kamarata Jazz at Terraza 7, sug don

11/6, noon, banjo player Hilary Hawke and fiddler/spoons player hilippa Thompson of M Shanghai String Band at Albee Square on the Fulton Mall in downtown Brooklyn

11/6, 7 PM Cuban trumpeter Kalí Rodriguez-Peña leads a quintet at Terraza 7, sug don

11/7, 3 PM intuitive, lyrical pianist  Melody Fader leads a chamber ensemble playing works by Beethoven, Chopin and Mozart at St. Teresa’s Church, 141 Henry St, Chinatown, F to East Broadway, sug don

11/7, 7 PM flamenco jazz group New Bojaira at Terraza 7, sug don

11/14, 3 PM organist Mark Pacoe plays a program TBA at St. John Nepomucene Church, 411 East 66th St at 1st Ave, sug don

11/15, 3:45 PM organist Michael Hey plays works by Ravel and others at St.Patrick’s Cathedral, free

11/19, 7 PM  poignant, eclectic, lyrical jazz bassist/composer Pedro Giraudo’s tango quartet at Terraza 7

12/12, 3 PM organist Maria Rayzvasser plays a program TBA at St. John Nepomucene Church, 411 East 66th St at 1st Ave, sug don.

12/20, 3:15 PM organist Jennifer Pascual plays works by Tschaikovsky and others at St.Patrick’s Cathedral, free

 

NYC “Concert Calendar” for October 2020

Once again, this month’s calendar is little more than a sticky note for the fridge since most of the publicly announced shows are jazz and classical, and outdoors.

Continuing a free series of performances in Central Park honoring the legacy of U.S. Representative and civil rights leader John Lewis, 10/4, 1:30ish  saxophonist Darius Jones with drummer Gerald Cleaver and bassist Dezron Douglas at the mall in Central Park, south of the Naumburg  Bandshell, enter at 72nd St.

10/9, 7 PM bhangra mastermind Sunny Jain’s Wild Wild East on the elevated lawn at the northwest corner of the Lincoln Center complex

10/10, 1:30ish, the Nicole Glover Trio – postbop saxophonist Nicole Glover, bassist Daniel Duke, drummer Nic Cacioppo at the mall in Central Park, south of the Naumburg  Bandshell, enter at 72nd St.

10/10, 2 PM the Calidore String Quartet play a program TBA under the trees at the back of the Lincoln Center complex

10/10, 2 PM badass bassist and jazz composer Endea Owens and the Cookout outside the National Jazz Museum in Harlem

10/11, 1:30ish, high-voltage postbop jazz with the Chris Potter Trio: saxophonist Chris Potter, bassist Joe Martin, drummer Nasheet Waits at the mall in Central Park, south of the Naumburg  Bandshell, enter at 72nd St. Wow – Potter with a chordless trio, this could be killer. 

10/17, 2 PM violinist Jennifer Koh plays a program TBA under the trees at the back of the Lincoln Center complex

10/17, 3 PM organist Austin Philemon plays a program TBA at St. John Nepomucene Church, 411 East 66th St at 1st Ave, sug don

10/18, 5 PM Josh Sinton and his trio What Happens in a Year – Sinton on bari sax and bass clarinet with guitarist Todd Neufeld and electric bassist Giacomo Merega – celebrate their debut recording cérémonie/musique at In the Yurt at Courtyard 1 – 2, Industry City, 274 36th St, Sunset Park, $10, R to 36th St

10/18. 5 PM charmingly inscrutable Parisienne jazz chanteuse Chloe & the French Heart Jazz Band play the release show for her eclectic new album at an outdoor NYC house party show, email for address/deets

10/20, 5 PM, not in NYC but fairly close on the Metro North train, a septet of Orpheus Chamber Orchestra musicians perform Richard Strauss’s Till Eulenspiegels lustige Streiche, Op. 28 arranged by Franz Hasenöhrl, plus Beethoven’s Septet in E-flat Major, Op. 20, in celebration of the composer’s 250th birthday,at the Reformed Church of Bronxville, 180 Pondfield Rd, Bronxville, free, bring your own lawn chair

10/23, 7 PM anthemic Cuban jazz pianist Elio Villafranca on the elevated lawn at the northwest corner of the Lincoln Center complex

10/23, 8 PM punk/downtown jazz icons Marc Ribot’s Ceramic Dog play the album release show for their new one from the roof of St. Ann’s Warehouse in Dumbo, looking down on the street below (rooftop is not open to the public)

10/24, 2 PM popular gospel/soul singer Alicia Olatuja under the trees at the back of the Lincoln Center complex

10/30, 7 PM Jorge Glem – the Jimi Hendrix of the cuatro – with pianist Cesar Orozco on the elevated lawn at the northwest corner of the Lincoln Center complex 

10/31, 2 PM baritone saxophonist Paul Nedzela and his trio under the trees at the back of the Lincoln Center complex*

11/14, 3 PM organist Mark Pacoe plays a program TBA at St. John Nepomucene Church, 411 East 66th St at 1st Ave, sug don

12/12, 3 PM organist Maria Rayzvasser plays a program TBA at St. John Nepomucene Church, 411 East 66th St at 1st Ave, sug don.

As artists and audiences become more comfortable with staging and attending shows again, you’ll see more here. There are a few venues in town who have reopened, but so far it looks like they’re adhering to Cuomo’s Nazi lockdowner rules like enforcing a six-foot rule and such, and it’s hard to imagine anybody having any fun under those circumstances. Once all that BS is over, let’s look forward to a joyous return to the Old Normal!

Searingly Relevant Spoken Word and Steel Pan Music From Miyamoto Is Black Enough

Miyamoto Is Black Enough blend excoriating, politically fearless spoken word and innovative, kinetic indie classical compositions by the group’s steel pan player, Andy Akiho. Cellist Jeffrey Zeigler serves as bass player and also supplies metal riffage, with Sean Dixon on drums behind frontman Roger Bonair-Agard. Their brilliant debut album Burn/Build is streaming at Bandcamp.

It’s bookended by a piece titled Panifesto. The first part covers a lot of territory: cultural appropriation, Yoruban mythology, and the fact that the steel pan was invented in Trinidad solely to fuel an “exodus to freedom…a weapon in the continued unchaining of the enslaved.” As Bonair-Agard sees it, the steel pan tradition reflects genuine history rather than one codified by “victors and false discoverers.”

Zeigler solos slowly and plaintively over Akiho’s shimmering ambience as the defiant concluding half picks up steam: appropriately, Bonair-Agard’s voice pans the speakers. In Nina, Bonair-Agard teaches a child about genfrication over Akiho’s eerie, dancing pointillisms:

Nina, the bike shop used to be a bodega…
The bar with the M&Ms on the counter used to be a candy store…
This park used to be a park
With potholes and crack vials on the running track
And dirt in the center of the field where grass should be
And that dog run was a field of geraniums
The Dominican restaurant used to be cheap
Used to have a line out the door
I used to be able to afford to live above it
And come down in the middle of the night
Especially after my girl left and I was tired of looking at the linoleum
And the sloping floors…
Kim’s grocery used to sell 40s
This subway stop used to be dangerous…
These cops used to be in squad cars, and not always so polite…
Big Daddy Kane once played a block party right here on Marcus Garvey…
This garden used to be a drum circle
Before the new neighbors called the cops to complain…
That school used to be public
This used to be Brooklyn

Black Shapeshift is a sardonic hip-hop litany of common salutations in ebonics, “where n___a and god both mean love.” Over the Asian-tinged reggae of Revolver, Bonair-Agard chronicles the exploits of a former high school valedictorian whose colorfully vast knowledge extends to firearms and heroin.

21 for Jit, which traces a Trinidad steel pan star’s DIY journey to greatness, has a more hypnotic, circling backdrop. The title track has the album’s catchiest hip-hop groove and also the most venomously relevant lyric, perfectly capturing the outrage of the past six months: “The movement needs both builders and burners…praise guns in the hood waiting to clap back at the right time, this is the right time!”

The group take their name from Ariana Miyamoto, who was chosen to represent Japan in a beauty contest but was later accused of being insufficiently Japanese since her heritage is half African-American.

Revisiting Fiery Violinist Briga’s Wildly Eclectic Balkan Album

Quebecoise violinist Brigitte Dajczer, who performs under the name Briga for branding’s sake, put out a 2017 album, Femme, which made the best albums of year page here, Then it disappeared into the abyss known as this blog’s hard drive. If you missed it then, you missed a deliciously entertaining mix of songs from across the Balkans along with several similarly diverse originals. Looking at the international cast of special guests on it, it’s obvious that they knew she was on to something good. She sings in French and several Eastern European languages as well. The album is still up at Bandcamp.

The first track is Ibrahim, a bouncingly bittersweet love song with a break for a wildfire solo by kanun player Didem Bagar. New York’s own Eva Salina supplies otherworly harmonies on the tightly pulsing Albanian song Dada Do Ta Shes, the bandleader opening it with a stark solo over accordionist Alix Noel’s drone. As the song goes on, he switches to synth for wry P-Funk textures, bassist Gregoire Carrier-Bonneau hitting a nimbly syncopated groove in tandem with drummer Marton Maderspach and percussionist Tacfarinas Kichou.

Accordionist Sergiu Popa duets with Dajczer on the fleetingly joyful Romanian song Dragoi. Svetulka Rachenitsa, a breathless south Serbian-flavored dance tune, features alto saxophonist Ariane Morin matching Dajcer’s ferocity; Noel’s eerily blipping keys add an unexpected psychedelic edge.

Guest chanteuse Tamar Ilana opens the slow, haunting epic Pour Pelin – inspired by Marcel Khalife’s Asfour – with a sharply plaintive solo over another accordion drone. Again, Bagar’s kanun ripples and pounces, then hands off to the string section (which also includes cellist Gael Huard) and the music grows more lushly orchestral.

Elfassi is a rai hip-hop tune with an amusing stoner rap in French from Giselle Numba One. The album’s itle track is an icepick-precise mashup of Balkan brass and salsa, Briga’s violin leaping over an undulating, tumbling groove featuring trombonist Rachel Lemisch. Briga and singer/violinist Iva Bittova duet on the stark, stripped-down dance tune Mama Irena.

Cafe Sarajevo is a fond, trippy, North African-flavored disco portait of a party spot there, inspired by rai music legend Cheika Rimitti. Briga really picks up the pace and cuts loose on the rapidfire, strutting minor-key Chanson Moldave…and then they speed it up some more! Eva Salina and Popa close the album with a calmly passionate, benedictory duet. From a New York perspective, this is Golden Fest in a box. May we get a Golden Fest in 2021.

Trippy, Free Neosoul on the Northern Plains Next Weekend

There’s another intriguing free outdoor concert next weekend at 4 PM on Sept 20 at Terrace Park, 1100 W 4th St in Sioux Falls, South Dakota, where neosoul singer and hip-hop artist Arlinda Peacock plays a duo set with keyboardist Gus Martins. Her most recent album is the Peacock Cassette, which came out in 2016 and is still available at Bandcamp as a name-your-price download. It’s sort of Janelle Monae before Janelle Monae got really popular, with simple, swoopy layers of keys and a beatbox. Peacock has an expressive voice and doesn’t waste notes: you won’t hear any over-the-top American Idol bullshit in her songs.

Peacock opens the record (or the cassette, if you want to to call it that) with a loopy, twinkly, mostly instrumental trip-hop intro. The first song is Eff Annie, a Little Orphan Annie parable. Rapper Bob Rawss takes the bridge, with insights into how people who haven’t had positive influences growing up figure out how to make sense of the world.

”There was once a beginning, that we all decided to destroy,” Peacock announces as  Chosen Unchosen gets underway  It’s a simple, telling commentary on equality and how to create it. “We call them people these days,” she explains dryly.

Pony Boi is a trippy, spare number with a catchy piano hook and jazzy synthesized brass. “Don’t ever let me catch you looking down again,” Peacock sings in Bravery, a chiming, upbeat trip-hop anthem.

The album’s swooshiest and most psychedelic track is Attitude Rewind: it could be a Missy Elliiott tune from the late 90s. Peacock keeps the surreal, cinematic ambience going with the most ominous cut here, Justice.

Konstantly is even scarier, when you consider that Peacock’s character is talking to her dead mom. The last of the songs is the epically mysterious Timmy on the Run, set to a dark, classically-influenced, vintage RZA suspense/action film style backdrop. Peacock brings the album full circle at the end.

If you’re wondering why a New York music blog would be paying this much attention to such a faraway state as South Dakota, be aware that it’s one of the few places in the nation where it’s still legal for crowds to gather to see live music. Here in New York, the State Liquor Authority recently ordered restaurants and bars not to charge a cover or sell tickets to performances, and to keep musicians twelve feet or more from the customers. Presumably this bureaucratic overrreach extends to places that do not serve alcohol as well. Whoever thought we’d live to see the day when South Dakota would be kicking New York’s ass 24/7 as far as support for the arts is concerned.

NYC “Concert Calendar” for September 2020

This is more of a sticky note for the fridge than a real concert calendar: lots of stuff going on, but nobody’s talking about it outside of small circles of friends. Most of the publicly announced concerts are jazz and classical since it’s unamplified, outdoors and unlikely to draw the attention of Cuomo’s gestapo.

9/5, 1 PM saxophonist Marquis Hill leads his Quartet at the Mall in Central Park, close to the Naumburg Bandshell, more or less mid-park, enter at 72nd St. Then the next day Sept 6, 1 PM saxophonist Michael Thomas is there with his trio.

9/7, 4 PM new all-female string quartet the Overlook play an amazing program of music by black composers: Samuel Coleridge-Taylor and others at the Morris-Jumel Mansion, outdoors, 65 Jumel Terrace two blocks east of Amsterdam Ave just off 160th St., A/C to 163rd St 

9/14, 5:30 PM members of the American Symphony Orchestra play rare works by African-American composers including Jessie Montgomery, William Grant Still, Florence Price and others at Bryant Park

9/19, 1 PM the Leap Day Trio with drummer Matt Wilson, bassist/vocalist Mimi Jones and saxophonist Jeff Lederer at the mall in Central Park, close to the Naumburg  Bandshell, enter at 72nd St.

9/19, 2 PM guitarist Andreas Arnold plays original flamenco compositions and classics at an outdoor house concert in Prospect Lefferts Gardens, free, email for address/deets 

9/19, three sets at 1, 2 and 3 PM a quartet with members of the Harlem Chamber Players, perform works by African-American composers George Walker and Florence Price atop the  Hill of Graves in Green-Wood Cemetery in Brooklyn, R to to 25th St. go straight uphill. The program repeats on 9/26.

9/19, 3 PM Gail Archer plays rare Ukrainian organ works at St. John Nepomucene Church, 411 East 66th St, at 1st Ave, free

9/20, 1 PM wildfire vibraphonist Joel Ross’ Quartet with saxophonist Sergio Tabanico, drummer Craig Weinrib and bassist Rashaan Carter at the mall in Central Park, close to the Naumburg  Bandshell, enter at 72nd St.

9/20, 3:30 PM bass goddess/soul singer Felice Rosser’s ageless reggae-rock-groove band Faith outdoors at the Front, 526 E 11th St.

9/21, 5:30 PM members of the American Symphony Orchestra play string quartets by Samuel Barber and Nino Rota at Bryant Park

9/26, 1 PM drummer Nasheet Waits with saxophonist Mark Turner and bassist Rashaan Carter at the mall in Central Park, close to the Naumburg  Bandshell, enter at 72nd St

9/26, 3 PM the S.E.M. Ensemble play works by Robert Ashley, Morton Feldman, Alvin Lucier and Petr Kotik outdoors at 25 Columbia Place on the Brooklyn Prom, take State St to the Prom free, rsvp req if you want a seat

9/27, 1 PM intense saxophonist Immanuel Wilkins with drummer Nazir Ebo and bassist Burniss Earl Travis at the mall in Central Park, close to the Naumburg  Bandshell, enter at 72nd St.

10/4, 1 PM saxophonist Darius Jones with drummer Gerald Cleaver and bassist Dezron Douglas at the mall in Central Park, close to the Naumburg  Bandshell, enter at 72nd St.

10/10, 2 PM badass bassist and jazz composer Endea Owens and the Cookout outside the National Jazz Museum in Harlem

10/17, 3 PM organist Austin Philemon plays a program TBA at St. John Nepomucene Church, 411 East 66th St at 1st Ave, sug don

10/20, 5 PM, not in NYC but fairly close on the Metro North train, a septet of Orpheus Chamber Orchestra musicians perform Richard Strauss’s Till Eulenspiegels lustige Streiche, Op. 28 arranged by Franz Hasenöhrl, plus Beethoven’s Septet in E-flat Major, Op. 20, in celebration of the composer’s 250th birthday,at the Reformed Church of Bronxville, 180 Pondfield Rd, Bronxville, free, bring your own lawn chair

11/14, 3 PM organist Mark Pacoe plays a program TBA at St. John Nepomucene Church, 411 East 66th St at 1st Ave, sug don

12/12, 3 PM organist Maria Rayzvasser plays a program TBA at St. John Nepomucene Church, 411 East 66th St at 1st Ave, sug don

There may be other outdoor shows going on this month where the artists are comfortable inviting the public – if so, you’ll see them here.