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A Prescient, Indomitable Final Album From Jewlia Eisenberg’s Charming Hostess

“There was a doctor, there was a teacher, but the doctor didn’t care about illness, and the teacher didn’t care about teaching,” Charming Hostess frontwoman Jewlia Eisenberg sang, to open her radical circus rock band’s final album, The Ginzburg Geographies. In the context of 2022, the irony could not be more crushing.

Eisenberg died on 3/11 last year, four months after the Covid shot rollout. She’d been in precarious health for quite some time before. Nonetheless, the indomitable singer and musical polymath had continued to perform and work on a vast series of projects right up until the 2020 lockdown. It’s something of a miracle that she got as far as she did with the album, which her bandmates finished without her last year.

It’s collection of wildly original arrangements of Italian protest songs, an exploration of the territory that nurtured and eventually destroyed the marriage between World War II-era Italian antifascist activists and writers Natalia and Leone Ginzburg, Hounded and pursued by axis forces, the two managed to evade and outlive Mussolini, but Leone was murdered by the Nazis. His widow would go on to serve in the Italian parliament in the decades after the war.

If you count their college days, Charming Hostess enjoyed a career that lasted almost thirty years, on and off. They went through many incarnations, from proto Gogol Bordello punk to feminist klezmer. Here, they do a strikingly faithful evocation of an anarchic Italian street band from seventy years ago, while also putting their own spin on retro 70s Italian film music in a Tredici Bacci vein . Eisenberg took several of the couple’s texts and used them to create a playlist of brooding, accordion-fueled psychedelia, oom-pah blue-collar protest songs and skittishly subversive bedroom pop. A girl protests against household drudgery, over a swaying, accordion-fueled backdrop. “Authority has no value,” Eisenberg reminds. Guitarist Jeremiah Lockwood jangles through some heartbreakingly beautiful interludes behind Eisenberg’s delicate multitracks. Much of this is on the phantasmagorical side, which makes plenty of sense considering the context. There’s also a ramshackle, bluegrass-flavored cover of a classic Woody Guthrie antifascist song.

The best number on the album is La Situazione, a slinky, shuffling, distantly creepy psychedelic rock shuffle fueled by Dan Cantrell’s roller-rink organ. The gist of Leone’s text is that it is Italians’ duty not to give in to alarmism and instead to dig in and fight while the Nazis roll into Rome. You want prophetic?

Eisenberg was outrageously funny, earthy and sometimes combative. Yet that feisty persona was a manifestation of her deeply liberational Jewish spirituality. She wrote film and theatre music, took a plunge into Babylonian mysticism and late in her career revisited her inner soul and blues sirens: she was a lot of those. Eisenberg didn’t just think outside the box: that box existed only as a target for her surrealist wit…or to be destroyed. How cruel that we’ll never know what else she might have had up her sleeve.

Catchy Powerpop and Dark Female-Fronted Punk Sounds in Astoria This Friday Night

Giftshop have been one of New York’s most distinctively catchy bands for more than a decade. Under the best circumstances, that kind of tenacity is rare. At this point in history, it’s even more of an achievement that the punk/powerpop quartet not only survived the lockdown but managed to put out some great singles over the last several months. Frontwoman Meghan Taylor is bringing the band, her powerful pipes and simmering, sardonic songs to a gig on May 20 at 9 PM at the Shillelagh Tavern, 47-22 30th Ave. in Astoria; take the N/R to 46th St.

Giftshop are also the rare band who have figured out the marketing value in putting their studio work out as free downloads: truth in advertising. Their most recent album, Biginastoria, does not seem to be the least bit sarcastically titled. A previous release, Tourist Trap goes back to 2013, has a louder punk rock crunch.

The opening track, Left Right would have ruled the college airwaves if the band had existed thirty years earlier. It’s a snide antiauthoritarian blend of skittish late 70s XTC new wave with a harder-edged, syncopated New York stomp.

Shine is not the Psychedelic Furs classic but a catchy, slurry riff-rock anthem. Anything Anything is a throwback to Garbage (or Missing Persons, ten years before that), with a surprise bass solo.

Taylor sends a ridiculously funny shout-out to a distinctly New England breed of dirtbag party animal in Parking Lot Astronaut, then the band blast through You Can’t Make Me at practically hardcore speed. They wind up the record with C’mon, which seems designed for audience participation. This is a fun look back to a time when the group wasn’t quite so dark or complex; then again, that could be said for the world in general.

An Individualistic, Intriguing New Album and an Outdoor Afterwork Show From Singer Miriam Elhajli

Songwriter Miriam Elhajli has carved out a distinctive sound that draws equally on jazz, 70s South American nuevo cancion and levantine sounds, reflecting her Venezuelan-Moroccan heritage. She cuts loose with an expressive, constantly mutable voice, likes fingerpicking her acoustic guitar in odd tunings and writes intriguing, thoughtfully imagistic lyrics. Her latest album The Uncertainty of Signs is streaming at Bandcamp. She’s playing an outdoor show on May 19 at 6 PM at the secluded terrace at Pier 3, toward the southern tip of Brooklyn Bridge Park. It’s a good setting for her verdant, rustic yet original songs. When the park was first landscaped, there was a joke going around that it had been designed as a staging area for an invading guerilla army to hide in the shrubbery. Those in search of more peaceful pursuits here can take the A or C to High St., go down to the Fulton Landing and hang a left.

Interestingly, the first three songs on the record are in 6/8 time, more or less. When the Whirlwind Fades Out fades in with a whir from Cedric Easton’s drums, a growling drone from Ike Sturm’s bass and a brightly gorgeous, pointillistic solo from Firas Zreik’s kanun. Elhajli pulls the band into an elegant, anthemic sway with her steady fingerpicking and jazz-tinged vocals. “You should know better than to run toward that which falls,” she cautions.

There’s a subtle, conspiratorial mystery juxtaposed with a soaring angst in the second track, Tres Bocio, Elhajli’s voice rising from hints of the Middle East to a rousing, wordless crescendo, vibraphonist Chris Dingman adding lingering textures.

“I know the kingpin is an illusion, and I know we must not forget to sing in unison,” she asserts in Grayscale, which begins as a stark, Appalachian-tinged ballad and drifts further into an enigmatic contrast between dramatic vocals and a hazy backdrop. She revisits that same dichotomy a little later in Marble Staircase, Zreik’s rippling kanun setting up an otherworldly, tremoloing hulusi flute solo from Jake Rudin

Locusts Circumference is closer to Joanna Newsom-style freak-folk: it’s not clear what “quiet implosion” Elhajli is referring to. The strings of the Kasa Quartet waft and sail over Elhajli’s lattice of acoustic guitar and her full-throated, crescendoing vocals in Gold & God, an allusively jubilant salute to genuine human kindness.

The flute returns and flutters in Spiral Solutions, a brief, energetically circling number where Elhajli seeks to “recognize the unrecognizable.” Bracing, swooping strings permeate Bulk Flow: “Got two scissors and a match…I lost my spirit so I split to another land,” Elhajli relates over a lushly rustic, open-tuned, antique Britfolk-style melody.

She picks out a ringing web on electric guitar in Another Butterfly Ordeal. The next-to-last track, Cosmos is more of a jazz tone poem: “The unseen stays unseen,” Elhajli sings, “Pay attention, the cops encircle us, they don’t know what we’re up to.”

She winds up the record with In Your Arms, Familiar, a mutedly unsettled tableau reflecting a “state of utter hypnosis” where “everything is crushable” – sounds a lot like 2022, doesn’t it?

Whirlwind Violin Metal at a Favorite Uptown Spot Tonight

“Your prism is just a prison,” Stratospheerius frontman/violinist Joe Deninzon sings on the band’s latest single, Prism – streaming at Bandcamp – which they recorded live at the Progstock festival in New Jersey in 2019 . It’s surprisingly mellow for such a ferocious band, who dance through the tricky rhythms of this characteristically ambitious blend of 70s stadium rock and artsy metal with Andalucian violin flourishes. They survived the lockdown intact and are back tonight, May 12 at 11 PM at a favorite Manhattan spot, Shrine. The Harlem venue is a scruffy little place which is not known for being particularly organized. Considering the location, it’s highly unlikely that there are any apartheid door restrictions.

The band have another single from the Progstock show, Game of Chicken, which is also up at Bandcamp. Moving through clustering minor-key riffs, the band build to a ferocious guitar/violin duel on the way out. “Drowning in the false alarmers…Chicken Little is hungry for you, on your way to your alley of doom,” Deninzon sings: a prophetic statement from right around the time the Gates Foundation and Johns Hopkins were staging Event 201, the final rehearsal for the 2020 plandemic.

A third single, Cognitive Dissonance, could be the Alan Parsons Project at their heaviest and most complicated.

The last time this blog was in the house at a Stratospheerius show, it was in late May, 2018 at Gold Sounds in Bushwick on a killer twinbill with another tyrannosaurus of a band, Book of Harmony. Tragically, there is no field recording of the show in the archive here, although Book of Harmony did have the presence of mind to put several songs from a Drom show earlier that year up at youtube. Their band’s lone album is still up at Soundcloud: serendipitously, the oceanic first track is titled Echoes of Freedom. Less serendipitously, the band did not survive the lockdown.

That album features the band’s original singer, Leah Martin. By the time the group reached Bushwick, they had a new singer, an Asian woman with a dramatic intensity that may have been influenced by pansori or kabuki theatre. Bandleader/lead guitarist Anupam Shobhakar is also an accomplished sarod player and has a background in Indian music, which translated less in terms of riffage than long, labyrinthine, rhythmically impossible tone poems that seemed to go on for fifteen minutes at a clip.

If memory serves right, Stratospheerius headlined (the master concert list here isn’t clear on that). Deninzon was a whirlwind onstage, leaping down into the crowd and firing off lightning, Romany-flavored cascades of notes while the band pounced and roared behind him. The metal intensity grew as the show went on, the guitarist’s flurries of tapping entwined with Deninzon’s shivery, supersonic volleys. The crowd grew slowly, to the point where Deninzon actually had to dodge audience members as he spun across the floor in front of the stage. He may have to stay put at Shrine where there is less room for those kind of shenanigans.

Singles For the Second Week of May: Mega-Laughs and Some Creepy Stuff

Been awhile since the last collection of singles on this page: with so much more happening around town these days, it’s been harder to keep an eye on the rest of the world. Today’s self-guided playlist has about 25 minutes worth of music and a ridiculously funny thread to wind this up. As always, click artist names for their webpages, click titles for audio or video. Suggestion: download the Brave browser to avoid the hassle of having to mute the ads in the youtube clips.

In what is fast becoming a time-honored tradition, let’s open with one of Media Bear‘s signature snarky plandemic-themed cover songs. This one, mRNA is one of the funniest of the bunch. It’s a remake of YMCA, the big 1970s disco hit by the Village People. “Hey man, if you do not comply, contact tracers they will be stopping by…you must learn how to kneel, comply with the Green New Deal.”

Thanks to John C.A. Manley, author of the novel Much Ado About Corona, for passing along Martin Kerr’s smart, funky, sharp chamber-folk hit Little Screen, probably the only song ever to rhyme “creative” with “sedative.”

You don’t need to read the news today, it’s mostly lies
If you wanna know you’re not alone,
Get your fingers off your phone,
Get up out of your comfort zone and improvise..

Chillantro, by Miranda & the Beat is a cool minor-key fuzztone surf b-side that the band bravely put out in the ugly depths of May 2020…and sank without a trace

Let’s slow it down but keep the Lynchian ambience going with Natalie Saint-Martin‘s 2nd Place. It’s minor-league Hannah vs the Many – an understudy’s lament set to a phantasmagorical piano waltz

Tantalos, by Kuhn Fu is eight creepy minutes of 21st century cinematic big band jazz built around an allusive, macabre guitar loop. Dig that pregnant pregnant pause at 3:20!

Former Turkuaz frontwoman Nicky Egan‘s This Life is twinkly, vampy oldschool 70s soul with clangy guitar and echoey minor-key Rhodes piano

Check out this very subtle anti-lockdown video for Belgian pop star Angèle‘s latest single, Libre. Don’t be fooled into thinking that this is just bimbo synthpop – watch the costume change after the second chorus. She’s sick of falling into “Les pièges de fous….libre libre, crois-moi ça va changer (“The lunatics’ traps – we’re free, we’re free, believe me this is gonna change.”)

Just for the record: this is a diehard anti-social media blog. Elon Musk is a creep, and Twitter is not a place you want to be found, ever, unless you want to be surveilled. That being said, here’s Eugyppius – one of the best Substackers out there – on the benefits of Zoom versus real-world academic conferences. The thread just gets funnier and funnier

An Aptly Restless Album and a Red Hook Gig From Genre-Defying Pianist Gabriel Zucker

Pianist Gabriel Zucker has carved out a distinctive niche as a leader in the New York improvisational music scene. He is an anomaly in that he has a strong neoromantic classical sensibility, and likes to both muddy the water (or clear the skies) with electronics. His songs can be incredibly tuneful one moment and messy the next. His latest album Leftover Beats, was recorded live in the studio on the Fourth of July, 2019 is streaming at Bandcamp and is more of an art-rock record. David Bowie and Radiohead are the most obvious influences.

Zucker’s spare, lingering, wistful phrases quickly dissolve in a chaotic whirlpool as the album’s title track gets underway, guitarist Tal Yahalom’s dissociative phrasing sliding closer to the center as drummer Alex Goldberg drives this babelogue upward to A Day in the Life, more or less.

The group follow a bit of a Radiohead-flavored interlude into the second number, Shallow Times and its snidely loopy late 70s Bowie-esque art-rock drama. Yahalom slips into the skronky Adrian Belew role.

“I used to write so much more than I do, I used to fall in love so much more than I do,” Zucker intones with more than a hint of angst in Songbird, a bittersweet ballad livened with Goldberg’s tumbling drums. It’s the missing link between the Grateful Dead and peak-era mid-zeros Botanica.

The trio veer from a lingering ballad to a cascading art-rock crush in Someone to Watch You, Part 2. Drunken Calypso definitely sounds drunken but not particular Caribbean, each band member squirreling their way toward an emphatic unity, Predictably, Zucker completely flips the script with an attractive take of the Dirty Projectors’ Impregnable Question, a ballad without words. He returns to a mashup of Radiohead, Botanica and jazz poetry to wind up the record with Someone to Watch You, Part 3.

Zucker’s next gig is May 15 at 7 PM at the Red Hook Record Store on Van Brunt just before you hit Pioneer; it’s about a fifteen-minute walk from the front of the downtown F train at Carroll St. Take First Place all the way to Summit, go over the pedestrian bridge, make a u-turn and then follow Summit past the playground triangle and hang a left on Van Brunt.

Charismatic Road Warriors Frenchy & the Punk Bring Their High Energy Show to Queens This Evening

Before the lockdown, Frenchy & the Punk were one of the hardest-working bands touring the world. The duo of singer/dancer Samantha Stephenson and guitarist Scott Helland got their start when steampunk was all the rage and have since taken a turn in a harder-rocking direction than their original mix of noir cabaret and circus rock. The good news is that they’re playing again, with a show tonight, May 8 at 5 PM on the trailer in the back of the parking lot at Culture Lab in Long Island City.

Their most recent single, The Storm Is a Call For Rebuilding, is a rousing, Celtic-tinged protest song from the desperate days of August, 2020:

Watch who the leaders trample on
You might be next if in the way of their throne
Hear their words but judge on what they’ve done
It’s too easy to sway the unguarded
Oh, dance in the rain but see beyond the fog…

The single before that was a biting acoustic-electric cover of the Nerves’ Hanging on the Telephone, which beats the more famous Blondie version.

The band’s most recent album is Hooray Beret, which came out in 2019. They really mix it up on this one. The opening number is an unexpectedly successful detour into funk. From there they go into a lot of riffy powerpop in a more acoustic Joan Jett vein, Stephenson’s throaty wail over Helland’s punchy guitar and bass multitracks.

In the middle of all that, there’s Sing, bouncy cautionary tale that’s the band’s equivalent of Pink Floyd’s Time. There’s Monsters, a brisk but ominously pulsing take on the acoustic goth pop Siouxsie took with Christine. “They’ve disguised themselves as shepherds….it’s up to us to break the cycle,” Stephenson insists.

Stephenson switches to her native French for Oo La La, a catchy blend of vintage Squeeze and All Along the Watchtower. Onstage, Helland plays with a loop pedal, giving the duo a louder, lusher sound than most two-piece acts. Fun fact: Helland’s solo work is 180 degrees from his high-energy attack in this project. His instrumental loopmusic albums are fantastic if you like ambient, ethereal sounds.

Epic Americana Anthems and Sobering Narratives From Amanda Anne Platt & the Honeycutters

At a time when most artists are struggling to get any music out at all, Amanda Anne Platt & the Honeycutters are on a rare creative tear. They’re one of the very few bands in history to release two consecutive double albums (the Grateful Dead did it twice). Their bristling, epic Live at the Grey Eagle, recorded in their hometown of Asheville, North Carolina is one of the most compelling Americana releases of recent years. They pick right up where they left off with their vast new release The Devil and The Deep Blue Sea, streaming at Soundcloud.

It’s a concept record: the first disc is generally upbeat, the second quiet and immersive. “Sometimes you’re drowning in the deep blue sea and you need the devil to pull you out,” is Platt’s explanation. There’s a lot of poignancy in her painterly narratives, none more than in the album’s opening track, New York. For anyone who’s been driven out of the city in the last two years, or is staring down that prospect, it will rip your face off. There’s a point right after the first chorus where pianist Kevin Williams takes a tentative little downward riff and leaves it dangling, unresolved, an elephant lost to memories.

Burn – as in “burn it down” – is a low-key Dusty Springfield-esque Memphis soul tune anchoring one of Platt’s signature, aphoristic portraits of rural anomie and discontent. She details the quick disollution of a couple who were way too quick to tie the knot in The Devil, a honkytonk shuffle that Matt Smith colors with his spare, sailing pedal steel.

Likewise, Dallas affords Williams a chance to color the downcast ambience with his vintage Nashville piano lines. There’s subtle mystery in Saint Sebastian, a surreal summer vacation tableau set to a tiptoeing mashup of vintage soul and Tex-Mex.

Bassist Rick Cooper and drummer Evan Martin kick in harder in the catchy backbeat anthem Great Confession, Smith’s tantalizingly brief Telecaster leads ringing out over Williams’ organ. Platt’s cynical sense of humor reaches redline in Girls Like You, a propulsive reminder that determined, individualistic women haven’t always been regarded as role models.

Platt reflects on the legacy effects of girls who can’t resist the wrong guys in Eurydice, a low-key oldschool country ballad. “I didn’t drink a bloody mary on the plane because I wanted you to see me how I was raised,” Platt’s emotionally conflicted narrator recalls in Perfect Word, a gorgeously bittersweet, brisk requiem. She winds up the first disc with Desert Flowers, a swaying cross-country tale that looks back to late 90s alt-country songwriters like Kim Richey.

Disc two begins with Open Up Your Door, an angst-fueled vintage Emmylou Harris-style ballad, just Platt’s vocals over Smith’s steel and Williams’ sparse electric piano. The band return cautiously for the similarly regret-laden Another Winter Gone, then slow down even further for Rabbit, a hypnotically swaying, gloomily imagistic portrait of rural decay.

Smith’s dobro lingers over Platt’s gentle fingerpicking and Williams’ judicious piano in Reverie, one of the more wryly funny narratives here. “They burned the city you loved…they talk about mercy, but you ain’t seen her face,” Platt sings in This Night, a defiant call to rebuild that may reference the BLM riots of 2020.

Platt keeps the drifting, starry milieu going in Even Good Men Get the Blues, lit up by a gorgeous Williams organ solo. She offers hope amidst disappointment in Always Knew, a front porch-flavored love song, then brings back the organ and angst in Lessons in Gravity, a makeup ballad.

The band sway their way through Only Just to Smile with a mid-70s Fleetwood Mac vibe and close this long, evocative album on a guardedly optimistic note with There May Come a Day. Their next affordable gig is May 25 at 7 PM at Potters Craft Cider, 1350 Arrowhead Valley Rd. in Charlottesville, Virginia. Advance tix are $20.

 

Mamak Khadem’s Rapturous New Album Transcends Tragedy and Loss

One of the most capriciously cruel effects of the post-2020 lockdowns was the separation of families from ailing, elderly parents. Because of totalitarian travel restrictions, singer Mamak Khadem was unable to return home to her native Iran to see her father before he died: divide-and-conquer taken to a particularly sadistic extreme. Khadem channeled her grief into an often wrenchingly beautiful, immersive tribute, Remembrance, streaming at youtube.

Although the album is characteristically eclectic and spans many genres, it’s 180 degrees from the exuberance and exhilaration of her previous release The Road, a 2016 brass-and-string fueled mashup of Balkan dances and classical Persian poetry. For whatever reason, this is more of an art-rock record.

The sound is more desolate and enveloping, sculpted largely by multi-instrumentalist Jamshied Sharifi, guitarist Marc Copely and cellist Chris Votek, with many other musicians contributing. Khadem sings in Farsi, opening with the title track. Mickey Raphael’s forlorn, bluesy minor-key harmonica is an unexpected touch in this slowly swaying setting of the Saadi Shirazi poem, Copely’s multitracks and Khadem’s imploring, melismatic vocals flickering over Sharifi’s atmospheric backdrop. It brings to mind peak-era, mid-zeros Botanica.

Khadem rises from a wary tenderness to fullscale angst in Mina, a brooding, drifting setting of a Saied Soltanpour text lowlit by Sharifi’s piano and Benjamin Wittman’s clip-clop percussion. Khadem goes to the Rumi repertoire for the lyrics to Entangled over dissociative, rhythmic layers of vocals, cello and wafting synthesized orchestration.

Khadem takes a backseat, contributing vocalese to Across the Oceans, Coleman Barks narrating the Rumi poem over a loopy, simple backdrop with spare contributions from Roubik Haroutunian on duduk and Ivan Chardakov on gaida bagpipes. Dead and Alive begins more calmly, in a pastoral Pink Floyd vein, then Copely pulls the energy skyward. It’s an apt poem for this point in history: one of its central themes is to be open to serendipity.

Khadem sets an emotive Fatemeh Baraghani poem to a starkly gorgeous traditional Armenian theme in Face to Face, Mehdi Bagheri adding ravishing, spiraling kamancheh fiddle. Copely plays spare resonator guitar behind Khadem’s warm, hopeful delivery in Messenger, Sharifi turning up the enveloping keyboard ambience. The final cut is Don’t Go Without Me: Barks’ English narration is especially poignant considering the circumstances, as is Khadem’s gentle, wounded interpretation of the original. As her harmonies rise in the distance, the effect is viscerally heartbreaking.

Live Music Calendar for New York City and Brooklyn For May and June 2022

More concert listings this month than last: hardly critical mass, but live music in this city is becoming a thing again. Hopefully this is a trend: if all goes well, there will be many additions to this calendar throughout the month.

Weekly events first followed by the daily calendar.

Mondays at the Django 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.

5/6, 5/13 and 5/20 at 7:30 PM, and  5/12 at 10:30 PM tenor saxophonist Ken Fowser leads his band at the Django. Jukebox jazz in a JD Allen vein but not as dark and more straight-ahead/groove-oriented: as postbop party music goes, nobody’s writing better than this guy right now, $25

5/1, 8ish offhandedly chilling angst-rock/psychedelic songwriter Grace Bergere followed by Heavy Feather and the Magic Word – who do a good, shambly baby Supergrass imitation – at Our Wicked Lady, “$13.60” meaning $14 at the door

5/2-6, half past noon veteran, melodic 1950s era jazz pianist Bertha Hope plays the house electric model at Bryant Park

5/2, 7:30/9 PM reliably adrenalizing saxophonist Seamus Blake leads a quartet followed at 10:30 by  expansive postbop pianist Miki Yamanaka and her group at Smalls, $25 cash at the door. Blake is back here the next night, 5/3; Yamanaka is back on the 23rd.

5/2, 8 PM an intriguing avant jazz sax-and-guitar duo: Charlotte Greve and Simon Jermyn Duo at Seeds

5/3, 6 PM Avenida B play oldschool Lower East Side-style salsa at Bryant Park

5/3, 6:30 PM guitarist Federico Balducci leads an improvisational trio with bassist Brian Kastan and drummer Mike Pride followed at 7:30 by Alix Tuccp solo on bass trombone at Downtown Music Gallery, free

5/3, 7 PM eclectically rustic newgrass shredders We Banjo 3 at City Winery, $26 adm avail.

5/4. 5:30 PM Venezuelan piano jazz with the Gabriel Chakarji Group at Multi-Use Room A in Pelham Fritz Recreation Center at Marcus Garvey Park, free

5/4, 6 PM the Antoinette Montague Experience play oldtimey swing jazz at Bryant Park

5/4. 7 PM intriguingly brooding Turkish jazz pianist Bilge Gunaydin at the big room at the Rockwood, $15

5/4. 7:30 PM chanteuse Anais Reno fronts the lyrically energetic Pete Malinverni Trio at the Django, $25

5/4, 8 PM Jambalaya brass band NOTUS march into Drom, $10 adv tix rec

5/5, 6 PM Mariachi Real de Mexico who are as playfully rustic as they are regal at Bryant Park\

5/5, 7:30/9 PM intimate trumpet and piano sounds from Dominick Farinacci and Dan Tepfer at Smalls, $25 cash at the door

5/5. 11 PM ferociously dynamic, tuneful,female-fronted power trio Castle Black at Otto’s

5/6, 7 PM fearlessly powerful, outside-the-box South African jazz siren Melanie Scholtz at the downstairs room at the Rockwood,$15

5/7, 7 PM Liftoff Brass Band play New Orleans-style tunes outdoors at Culture Lab in Long Island City

5/7. 7:30 PM Abhik Mukherjee on sitar and Dibyarka Chatterjee on tabla at the Chhandayan Center For Indian Music, $25

5/7, 8 PM a cool surf twinbill at Otto’s with the Chillers and Blue Wave Theory

5/7. 10:30/midnight  feral tenor saxophonist Eric Wyatt and band and then the jam session at Smalls, $25 cash at the door. He’s back on 5/21

5/7, 11 PM trippy, fun psychedelic disco unit Cosmonaut Radio at the big room at the Rockwood, $10

5/8, 1 PM clever saxophonist Paul Shapiro’s Ribs & Brisket Review plays the “music of Mrs. Maisel” at City Winery $25

5/8, 1:30 PM intense retro 60s influenced Nubian funk band Alsarah & the Nubatones and high voltage Mexican folk-punk band the Villalobos Brothers at the bandshell in Forest Park, Woodhaven Boulevard and Forest Park Drive in Queens, J to 111th St

5/8, 5 PM charming/slashing noir cabaret/circus rock duo Frenchy & the Punk outdoors at Culture Lab in Long Island City

5/9-13, half past noon noir-inspired pianist Todd Robbins plays speakeasy jazz and blues at Bryant Park

5/10, 6:30 PM an improvisational triplebill:  Symbiotique with guitarist Michael Eaton, Seth Andrew Davis, Cheryl Pyle and Kule Quass followed at 7:30 by violinist/singer Kate Birch with guitarist Tal Yahalom and then at 8:30 PM guitarist Chris Pitsiokos and Kevin Murray at Downtown Music Gallery, free

5/11, 7:30 PM lyrical, sweeping pianist/accordionist Ben Rosenblum leads his septet at Smalls, $25 cash at the door

5/11, 8 PM  funk-jazz crew the Silver Arrow Band at Drom, free. They’re also here on 5/24

5/12, 6 PM music of the Americas: Colombia, Peru, and Venezuela with classical guitar duo Nilko Andreas and LaMar NYC at Bryant Park

5/12, 6:45 PM not a music event but fascinating for the scientifically-minded – a titanically smart lineup with the world’s most widely published cardiologist, Dr. Peter McCullough, holocaust survivor and brilliant historian Vera Sharav and Rabbi Jonathan Rietti lead a panel discussion on where we go from here, at 1437 President St (Kingston/Albany), Midwood, Brooklyn, 2 to Nostand Ave, also livestreamed. Put together by the reliably acerbic and insightful Brucha Weisberger and her team

5/12, 7 PM Afro-Cuban percussion legend Pedrito Martinez leads his rumbling, jazz-tinged salsa project at Drom, $20 adv tix rec

5/12, 10:30/midnight  tuneful oldschool soul/jazz trombonist Dave Gibson leads his quintet at Smalls, $25 cash at the door/ He’s back on the 26th

5/12, 11 PM  high-voltage, violin-driven art-rock/metal band Stratospheerius at Shrine

5/13, noon oldschool Cuban streetcorner salsa with Joaquin Pozo y la Clave Suena at Poe Park, 2640 Grand Concourse in the Bronx, B/D to Grand Concourse

5/13, 7 PM the Bootheel Boss Gobblers play western swing and Americana outdoors at Culture Lab in Long Island City

5/13, 7 PM the 18th annual Hank-o-Rama with an allstar band playing Hank Williams classics. Including but not limited to the Lonesome Prairie Dogs, Lenny Kaye on pedal steel, host Alex Battles, with guest stars Tammy Faye Starlite, Cliff Westfall, Sean Kershaw, Jordan McLean, Lil’ Mo Monica Passin and others at the Cutting Room, $20 adv tix rec

5/14. 11 AM (in the morning) oldschool purist 50s jazz guitar sounds with the John Cooksey Quartet at the Smith houses rec center, 80 Catherine St in Chinatown, walk south from Canal St.

5/14, 1 PM West African jazz beats with Jomion & the Uklos Band at Highland Park in Brooklyn, F to Jamaica

5/14 staggered brass band sets around Brooklyn Bridge Park starting at 2 PM with the L Train Brass Band  at Pier 6; at 2:30 – Sugartone Brass Band at the Visitors Center; 3:10 – Ad Hoc Brass Band playing second line stuff at Pier 4 Beach; 3:15-4:25 – Ad Hoc Brass Band at Pier 4 Beach; 4:25-4:30 – Ad Hoc Brass Band second line to Pier 3 Lawnl 4:30-5:10 – Stoop Kidz Brass Band at Pier 3 Lawn; 5:10-5:50 – Extra Syrup Horns at Pier 3 Plaza

5/14, 7:30/9:30 PM drummer Sylvia Cuenca leads a beast of a band with Brian Lynch on trumpet, Craig Handy on sax and Dave Kikoski on piano at Smalls,$25

5/14, 8 PM soaring oldtime front-porch harmony band the Calamity Janes followed by urban country legend Alex Battles at the small room at the Rockwood. In the big room moody retro new waver Alfonso Velez plays at 7 for $14; in the downstairs room at 9 amazing Middle Eastern-tinged psychedelic instrumentalists Sandcatchers play for $10

5/14, 10:30 PM tenor saxophonist Stacy Dillard at Smalls, $25 cash at the door. He’s back here on 5/28

5/15, noon-4 PM the Biophony Festival with various configurations of Metropolis Ensemble-adjacent chamber music groups playing new environmentally-themed works by a vast cast of composers including Charlotte Greve, Claire Dickson and Maria Grand at various locations throughout the Brooklyn Botanic Garden, $18/$12 stud/srs, kids under 12 free.

5/15, noon the annual Greek Jewish Festival opens with the bouncy Elias Ladino Ensemble, followed by the Greek American Folklore Society, the Noga Group featuring oud sorcerer Avram Pengas, captivating bellydancer Layla Isis, psychedelic oud-rocker Scott Wilson & Efendi and the stark, haunting Pontic Firebird (best bandname ever, right?) outdoors at Kehila Kedosha Janina Synagogue and Museum, 280 Broome St (Allen/Eldridge), Chinatown, B/D to Grand St

5/15, 7 PM Portuguese fado-jazz singer Sofia Ribeiro plays the album release show for her new one at Drom, $20 adv tix rec

5/15, 7 PM often haunting, tuneful, improvisational art-rock pianist Gabriel Zucker at the Red Hook Record Store on Van Brunt before you hit Pioneer; F train to Carroll, exit front of the downtown train, take First Place to when it becomes Summit, go over the footbridge, hang a u-turn at the base of the bridge, continue on Summit to the playground triangle and hang a left. It’s about 15 minutes from the train.

5/16, 5:30 PM the American Symphony Orchestra string quartet performs works by French composers including Debussy and Ravel at Bryant Park

5/16, 7:30 PM perennially vital vocal jazz legend Sheila Jordan with cinematic pianist Alan Broadbent at Mezzrow, $25 cash at the door

5/17, 5:30 PM the ASO Percussion Ensemble“combines Afro-Cuban Batá drumming and poetry with the sounds of contemporary chamber percussion, featuring Imani Winds’ oboist Toyin Spellman-Diaz in compositions by percussionist and composer Javier Diaz” at Bryant Park

5/17, 7:30 PM Romany guitarist Pedro Cortes’ Flamenco Ensemble at the Django, $25

5/17, 9:30 PM fearlessly comedic all-female brass crew the eGALitarian Brass at Drom, $10 adv tix rex

5/18, 10:30 PM haunting Elliott Smith-esque rockers No-No Boy play their song cycle about Japanese Americans in US prison camps during WWII at the downstairs room at the Rockwood, ‘$12

5/19, 6 PM  eclectic pan-latin and Middle Eastern-inflected acoustic songwriter Miriam Elhajli at Pier 3 Greenway Terrace toward the south tip of Brooklyn Bridge Park

5/19, 10:30 PN charismatic, adventurous postbop/avant garde trombonist/crooner Frank Lacy leads a quartet at Smalls, $25 cash at the door.

5/20-21, 7 PM an outrageously cool/weird noisefest at 508 Smith St, in Red Hook just across the canal, $30. Acts include “flaming harp, a fire-shooting brass band. baritone sax and motorcycle double-quartet, a balloon choir and a 500,000 watt tesla coil”

5/20, 7:30 PM the Spanish Harlem Orchestra play the album release show for their blazing new salsa jazz record at Drom, $30 adv tix rtec

5/20, 9 PM Giftshop – the missing link between Blondie and the Distillers – at Shillelagh Tavern, 47-22 30th Ave, Astoria, N/R to 46th St

5/20, 10:30 PM  badass bassist and jazz composer Endea Owens and the Cookout at the Django. $25

5/21, 3 PM an afternoon-long free music festival with short sets by Jeff Rodriguez. goofy ukulele songstress Seann Cantatore, hip-hop artists Jam Young, King ECH, and Too Dapper, scruffily psychedelic female-fronted indie band Loosie, Sara No H and Rao at the laundromat at 50-14 Roosevelt Ave in Woodside, 7 to 52nd St. It’s a clothing drive, bring stuff you don’t need, donations gratefully accepted. Free soap, free cookies while they last

5/21, 6:30 PM moody Greek-flavored jazz duo Christos Rafalides – vibraphone and Giovanni Mirabassi – piano followed by ubiquitously tuneful Spanish bassist Manel Fortia and his band and then poignant, captivating Greek singer Eleni Arapoglou and her Mediterranean band at Drom, $20 adv tix rec

5/21, 7 PM the colorful Yu Nishiyama Big Band at Culture Lab in Long Island City

5/21, 8 PM sitar and tabla – Radhakrishna T – a student of Ravi Shankar -. and Jorge Ramiro at the Chhandayan Center For Indian Music $25

5/21, 9 ish drony thrash band the Expollutants followed by intriguing retro 80s rockers Substitute – like GBH with a chorus pedal – and then the fiercely pro-immigrant, all-female Frida Kills at Our Wicked Lady, $14

5/22. noon new-music marching band Asphalt Orchestra play world premieres by Leila Adu-Gilmore, Jeffrey Brooks, and Kendall K. Williams, with special guest steel pan street band Pan in Motion. They will also perform a new arrangement by Tomeka Reid and Ken Thomson’s arrangement of Once in a Lifetime by the Talking Heads at Bryant Park

5/22, 5 PM elegantly lyrical Slavic jazz guitarist Martina Fiserova at the small room at the Rockwood,

5/22. 7:30 PM Canary Islands flamenco-jazz violinist Tania Mesa and band followed by Tunisian bassist Marwan Allam leading a quartet with Yacine Boulares on sax, wow, at Drom, $20 adv tix rec

5/22, 7:30/9 PM clever, purist B3 jazz organist Akiko Tsuruga leads a trio at Smalls, $25 cash at the door

5/23-24, 5:30 PM the American Symphony Orchestra: Jazz Ensemble – not an oxymoron – with Alexa Tarantino on sax play Nat Kiug Cole and Ellington tunes at Bryant Parka

5/25, 7 PM bizarre segue, good twinbill: psychedelic electric jazz keyboardist Sean Wayland followed by Americana banjo songwriter  Hilary Hawke  at the small room at the Rockwood

5/25. 7:30 PM the best singing pianist (and the best piano-playing singer) in jazz, the irrepressible Champian Fulton  followed at 10:30 (separate $25 adm) by purist jazz chanteuse Samara Joy and her octet at the Django

5/26, 7:30 PM New Bojaira play flamenco jazz  at Drom, $20 adv tix rec Followed at 9:30 (separate $15 adv adm) by pyrotechnic clarinetist Ismail Lumanovski’s ferociously kinetic NY Gypsy All-Stars

5/26, 7:30/9 PM darkly eclectic pianist and Cecile McLorin Salvant collaborator Sullivan Fortner leads a trio at Mezzrow, $25 cash at the door d

5/26, 8 PM agelessly slashing, tuneful janglerock/powerpop icon Willie Nile at City Winery $20

5/27, 6:30 PM American Wild Ensemble, a septet of winds, strings, and percussion, will perform music inspired by Olmsted-designed parks including Brooklyn’s Prospect Park and Manhattan’s Fort Tryon Park. The program includes newly commissioned works by composers Oliver Caplan, Nell Shaw Cohen, Michael-Thomas Foumai, Libby Meyer, Ayumi Okada, Justin Ralls, Christina Rusnak, and Ryan Suleiman on the lawn at Ft Tryon Park. The program repeats on 5/28 at noon at the Prospect Park boathouse, Their Boston show last month playing this material was off the hook.

5/27-28, 7:30/9 PM legendary lyrical jazz pianist Bill Mays leads a trio at Mezzrow, $25 at the door

5/28, 6:30 PM a rare chance to see popular Nordic drummer/bandleader Kresten Osgood with trumpeter Herb Robertson and tuba player Marcus Rojas at Downtown Music Gallery

5/28, 8 PM 10-piece chamber orchestra CACEnsemble and the Wendy Osserman Dance Company perform violinist/singer Concetta Abbate’s hauntingly improvisational new suite Laminaria: “fairytale meets noir meets classical music, the story of an underwater shadow ghost emerging from a kelp forest. Laminaria (the Latin word for kelp) is used medicinally to induce labor in women and serves as a metaphor for rebirth, transformation and loss,” at the Park Church Coop, 129 Russell St., Greenpoint, $20, G to Nassau Ave

5/29. 7:30/9 PM charmingly retro Americana jazz chanteuse Sasha Dobson leads a quartet with Peter Bernstein on guitar at Smalls, $25 cash at the door

5/31, 6:30 PM a cool improvisational trio: guitarist Jessica Ackerley, saxophonist Erin Rogers and drummer Henry Mermer followed by trumpeter Darren Johnston and drummer Ches Smith at Downtown Music Gallery

5/31, 8 PM first-wave dreampop legend and Throwing Muses frontwoman Kristin Hersh at City Winery, $20

5/31, 10:30 PM  rustic Cuban country music band Los Hacheros play electric island grooves at the Django

6/8. 7 PM MasterVoices and the Orchestra of St. Luke’s with Shereen Pimentel, soprano and Tariq Al-Sabir, tenor perform works by Mendelssohn, Josquin, Barber and others at Waterline Square Park on Riverside Dr (60/61)

6/11, 7:30 PM the Pan Evolution Steel Orchestra followed by veteran dancehall reggae singer Maxi Priest at Prospect Park Bandshell

6/14, 7:30 PM edgy orchestra the Knights  play a historically brilliant program: new orchestral arrangements of Beethoven’s Sonata No. 9, “Kreutzer Sonata” and Janáček’s String Quartet No. 1, “Kreutzer Sonata”, at the Naumburg Bandshell in Central Park

6/14. 8 PM the NY Philharmonic plays Wagner’s Prelude to Act I of Die Meistersinger, Bruch’s Violin Concerto No. 1 with Bomsori Kim as soloist, Dvořák’s Symphony No. 7, and works by young composers in Van Cortlandt Park in the Bronx. The program repeats on the Great Lawn in Central Park on 6/15, in Cunningham Park, Queens on 6/16 and Prospect Park on 6/17

6/24, 7:30 PM oldschool Colombian gangsta sounds with La Cumbiamba eNeYé followed by Colombian vallenato crooner Fonseca at Prospect Park Bandshell

6/25, 4 PM firebrand Guinean feminist rocker Natu Camara followed by Guinean acrobatic troupe Cirque Kalabanté at Prospect Park Bandshell

6/28. 7:30 PM the Handel and Haydn Society, led by violinist Aisslinn Nosky play works by Corelli, Vivaldi, Geminiani, Handel and Charles Avison at the Naumburg Bandshell in Central Park

7/12, 7:30 PM  A Far Cry  play an innovative program of string arrangements of Bartok miniatures plus works by Franghiz Ali-Zadeh, Dvorak, Beethoven and Karl Doty at the Naumburg Bandshell in Central Park

7/14, 7:30 PM imaginative indie classical choir Roomful of Teeth followed by a live interview with avant garde legends the Kronos Quartet at Prospect Park Bandshell

7/16, 8:30 PM slinky soul-influenced psychedelic band Chicano Batman at Prospect Park Bandshell

7/26, 7:30 PM edgy orchestra the Knights & Lara St. John, violin soloist play Mendelssohn’s Scottish Symphony plus works by Avner Dorman at the Naumburg Bandshell in Central Park

8/2, 7:30 PM  lush, majestic string ensemble the East Coast Chamber Orchestra play works by Adolphus Hailstork, Maureen Nelson and Schubert’s String Quartet No. 14 in D minor, D 810, ‘Death and the Maiden’ at the Naumburg Bandshell in Central Park