New York Music Daily

Global Music With a New York Edge

Tag: rock music

Amy Rigby Can Write Anything – Even Psychedelic Rock

On one hand, Amy Rigby might be the last person you’d expect to make a psychedelic rock record. On the other, she’s been fluent in an amazing number of styles – honkytonk, classic Brill Building pop, countrypolitan and garage rock, among others – for so long that her new album The Old Guys shouldn’t come as any surprise. While the presence of her husband Wreckless Eric – a guy who knows a thing or two about psychedelia – probably makes a difference, Rigby doesn’t need outside help. She’s playing the album release show, kicking off her latest American tour at El Cortez, 17 Ingraham St in Bushwick this Saturday night, Feb 24 at around 8. Patti Smith lead guitarist Lenny Kaye opens the night with relatively rare set of his own acerbic powerpop. Cover is $tba; take the L to Morgan Ave.

As the title implies, the album – which isn’t officially out yet and consequently hasn’t hit the usual online spots – weighs a lot of heavy questions, including but not limited to aging, death and the viability of being what’s charitably known as a “legacy act” out on the road. The opening cut is From philiproth@gmail to It’s Rigby at her slashingly surreal best, a stomping, clanging backbeat anthem and a sardonic look at the ups and downs (some might say the curse) of celebrity.

She keeps the hypnotic ambience going with the more subdued, nostalgic Are We Still There Yet. The title references one of her cult classics, specifically a hellish family drive scenario. Musically, the gently swaying opening chords look back to her ever-more-relevant Summer of My Wasted Youth, a bittersweet snapshot of early 80s pre-gentrification New York. This one has a lush, spacerock feel not unlike the Church at their dreamiest.

“I’ve been running out of time to do the little things I want, too much shit to get through,” she muses in Back From Amarillo over a gentle late 60s Jimmy Webb-style country shuffle backdrop. Somberly and soberly, she contemplates the grim realities facing veteran songwriters: “I hope it’s ok that I still drink.”

Playing Pittsburgh, a shout-out to Rigby’s adolescent stomping ground, has a slinky Chicano Batman psych-soul groove and some wry, satirical tropes pilfered from six decades worth of psychedelic rock. She follows that with Leslie, an echoey, drifty salute to an indomitable scenester with “fringe in your eyes to hide the lines.”

“Had my eyes on the prize when it was time to revise,” Rigby laments in the title cut, sort of a mashup of Cheap Trick and Brian Jonestown Massacre. “Bars are all closed ‘cause nobody goes…I raise a glass to the old guys, had a blast did the old guys.” Who’s playing that deliciously sinewy bass solo?

On the Barricade is classic Merseybeat gone psychedelic, an allusively pissed-off protest anthem that’s over too soon. “I’ve been known to turn the other cheek, but that was in a different place, a simpler time,” Rigby rails in New Sheriff, over a savage, noisy Ticket to Ride swing – it’s a coming-of-age song for any embattled liberal who’s been pushed over the edge.

“Built a city of sandcastles in the time it takes to swim from Malibu,” Rigby intones in Robert Altman, raising a glass through the mist to the late, great American film auteur. Slow Burner, the album’s most enigmatic number, has a starry, hypnotic jangle. Its most elegaic is Bob, a catchy, wistful recollection of the guy who taught her about Lou Reed – in the key of E. The final cut is One Off, an early Who-style stomp and the album’s most directly philosophical track. Nice to see someone with such a formidable back catalog still at the top of her game. If you want to learn how to write a song, this is as a good a place to start as any.


Tasty Psychedelic Tropicalia and a Union Pool Album Release Show by Renata Zeiguer

Renata Zeiguer sings in a balmy, dreamy high soprano and writes tropical psychedelic rock songs that often slink their way toward the noir edges of soul music. Yet as Lynchian as the guitar textures can be, her music isn’t gloomy – if there’s such a thing as happy noir, it’s her sound. And her new album, Old Ghost – streaming at Bandcamp – sounds like she had a great time making it. She’s playing the release show this Feb 23 at 11 PM at Union Pool; cover is $12.

“You’ve got a grip on consolation, a heavenly whip, I know,” Zeiguer intones cajolingly in the album’s opening cut, Wayside, which rises from a simple, catchy bossa-tinged vamp to a catchy, anthemic backbeat sway. Once you get past the jarring out-of-tune guitars and lo-fi synth on the intro to Bug, it morphs into a starry, ELO-ish romp with a gritty undercurrent. That uneasy catchiness pervades Below, from its Ellingtonian intro, to its lemon-ice chorus-box guitar riffs and gently pulsing samba rhythm.

After All comes across as a noisier take on Abby Travis-style orchestral noir – or 90s cult favorites Echobelly at their noisiest and dirtiest. Zeiguer’s coy melismas over the altered retro 60s noir soul backdrop of Dreambone evoke Nicole Atkins at her most darkly surreal – Zeiguer’s fellow Brooklynite Ivy Meissner also comes to mind.

The swaying Follow Me Down, awash in uneasily starry reverb guitars, depicts a lizard “Steadily slithering, steadily, patiently swallowing me whole.” The song’s mix of guitar textures – burning and distorted, keening, and lushly tremoloing – is absolutely luscious.

Neck of the Moon contrasts insistent syncopation and offhandedly noisy, flaring guitar work with Zeiguer’s signature starlit sonics. The dichotomy is similar in They Are Growing, pulsar guitar twinkles and pulses lingering over a brisk new wave shuffle beat. The album winds up with its title track, Gravity (Old Ghost), a steady, bittersweet lament about something that’s “only dissipating over time,” set to a catchy, Motown-inflected groove.

This is a great playlist for hanging out with friends on a smoky evening, adrift in the bubbling, percolating textures of the guitars and keys, Zeiguer’s comfortingly calm yet irrepressibly soaring vocals percolating through the haze. It would make a good soundtrack to that Netflix show about the weed delivery guy – now what’s that called?

Prolific Britrock Polymath Edward Rogers’ Latest Album Is His Best Ever

In 1976, the face of the next decade, if not the decades after was profoundly altered by the UK punk rock explosion. But does anybody remember what the bestselling UK album of 1976 was? It sure wasn’t by the Sex Pistols. And it wasn’t by David Bowie, or Pink Floyd, or Led Zeppelin either. It was a compilation by Americana hack Slim Whitman sold exclusively via tv infomercial. That paradox capsulizes the thought-provoking, sweepingly elegaic esthetic of Edward Rogers’ latest album TV Generation, streaming at Soundcloud. The epic fourteen-track collection chronicles the grim decline of a society that ignored digital intrusions on their privacy and their freedom until it was too late.  He’s playing the Cutting Room on Feb 22 at 7:30 M, opening for the world’s foremost twelve-string guitarist, Marty Willson-Piper, a similarly brilliant, acerbic songwriter and former member of Australian psychedelic legends the Church. Cover is $20.

Originally a drummer, Rogers narrowly escaped a grisly death in a New York City subway calamity that cost him the use of two of his limbs. But he persevered, reinvented himself as a crooner and songwriter and nearly twenty years down the line,  has built a formidable body of work that draws on classic glam, art-rock and psychedelic styles from the 60s and 70s. This latest album is his tour de force: in context, it’s his Scary Monsters, his Message From the Country, his London Calling, simply one of the best and most relevant albums released this decade.

“Are you wake it awake yet…let’s move along! Turn ont the tv!” Rogers hollers as the album’s tumbling, hypnotic, Beatlesque opening track,gets underway:

So many stories
Too many black holes
Keep you hypnotized
As they take their toll

With James Mastro’s simmering Mick Ronson-esque guitar paired against terse sax, 20th Century Heroes could be the great lost Diamond Dogs track, an enigmatic chronicle of corporate media archetypes whose fifteen minutes expired a long time ago falling one by one as the years catch up with them. Rogers follows that with No Words, a Bowie elegy set to a lush, elegantly fluttering  contrapuntal string arrangement.

The savage kiss-off anthem Gossips, Truth and Lies chimes along on a gorgeous twelve-string guitar arrangement capped off by a tantalizingly brief solo. By contrast, it’s easy to imagine ELO’s Jeff Lynne singing Wounded Conversations, a sunny, jazz-tinged 70s Stylistics-style soul-jazz ballad grounded by fluid, resonant organ.

The album’s centerpiece – and one of the most haunting songs released in the last year – is Listen to Me. Over a brooding wash of mellotron and moody acoustic twelve-string guitar, Rogers offers a challenge to the distracted millions to escape the surveillance-state lockdown:

Voices we hear all around us
Are out to control
Don’t wait for a postmortem
No one wants to know about
Isn’t too long til lost promises
Is this what you want for your future
More lies than we can count
…written by me through your own peephole

Rogers goes back to rip-roaring Stonesy early 70s Bowie for Sturdy Man’s Shout. On This Wednesday in June begins spare and reflective and then explodes, recalling the 1989 Montreal Ecole Polytechnique mass shooting – how sad that this song would be so relevant at this moment in history.

The austere baroque-tinged Terry’s World sends a shout-out to one of Manhattan’s last newsstand owners – an endangered job, “a life denied.” Rogers follows that with The Player, a sardonic, Kinks-style ba-bump portrait of an old codger who can’t take his eyes off the girls he probably wouldn’t have kept his hands off a half-century ago.

The Kinks in baroque-psych mode also inform Alfred Bell, a brisk stroll through a burnt-out schoolteacher’s drab day. The question is, should we be feeling sorry for this poor sap, or the kids who get stuck in his class?

With its gloriously acidic lead guitar, the album’s catchiest and hardest-rocking number is She’s the One, a portrait of a girl who gets what she deserves since she nothing’s ever good enough for her. The album closes with the wryly titled TV Remixxx, a goofy psychedelic mashup of themes from the title track. If you wish that Bowie was still alive and making great records, get this one.

A Lavish, Ambitiously Orchestrated Twinbill at Symphony Space Last Night

“How many of you have been to a classical concert before?” Wye Oak’s Jenn Wasner asked the packed house at Symphony Space last night. From the response, it didn’t appear that many had. Which makes sense if you consider that the average age at the big Manhattan classical halls is 65. But what Wasner’s band were playing, bolstered by the Metropolis Ensemble and the Brooklyn Youth Chorus, wasn’t the kind of classical you’d typically hear at those venues. It was a brand new kind of music: epic post-minimalist sweep matched to rock edge and attack.

Wasner spoke of being humbled in the presence of eighty other musicians of such a high caliber, but she has fearsome chops herself. She began the show on bass and proved herself more than competent, then moved to guitar and gave a clinic in shiny, emphatic, shimmery phrasing. Drummer Andy Stack pushed this mighty beast with a supple drive, shifting constantly between tricky meters. At one point, Wasner suddenly realized that her bass had gone out of tune, then didn’t miss a beat or a note, hitting her tuner pedal and then fixing everything even as the tempo and syncopation changed in a split second behind her. Tuning while playing is a rare art; it’s a whole other thing to tune and sing at the same time!

Throughout the show, whether singing her own material or William Brittelle’s restless new song cycle Spiritual America, there was considerable contrast between Wasner’s cool, concise, understated vocals and the orchestra’s leaps and bubbles. Guitarist Ben Cassorla added flaring cadenzas and carefully modulated sheets of sustain. frequently playing with an ebow. When Wasner was on bass, Metropolis Ensemble bassist Evan Runyon frequently teamed with her for a pulse that wasn’t thunderous, but close to it. Keyboardist Erika Dohi added warpy, new wave-flavored synth, wafting synthesized strings and on a couple of occasions during Brittelle’s suite, wryly blippy, EDM-tinged flutters.

In a context as orchestrated as this was, Wasner’s songs came across as very similar to Brittelle’s, Both songwriters’ lyrics are pensive, direct and don’t follow either a metric or rhyme scheme. Likewise, they both gravitate to simple, frequently circling phrases that went spiraling or bounding from one section of the ensemble to the next. Brittelle’s big crescendos tended to be more flamboyant, and more evocative of 70s art-rock like Genesis or Gentle Giant, with the occasional reference to coldly bacchanalian dancefloor electronics. Wasner’s tended to be more enigmitically reflective if no less kinetic, and more influenced by 80s new wave pop. Are both fans of Carl Nielsen’s playfully leapfrogging symphonic arrangements? It would seem so. 

The night’s coda, Wasner’s cynical I Know the Law, was a study in the utility of self-deception as well as its pitfalls. As with the rest of the material in the night’s second set, the chorus punctuated the music’s many splashes of color with steady, emphatic, massed polyrhythms and occasional moody ambience. Wasner joked that one of Brittelle’s more nostalgic numbers would be something that these kids would understand in about ten years, which could prove true. What they will remember is being on this stage with a hundred other musicians, and getting a huge standing ovation from an audience of their peers.

Metropolis Ensemble don’t have any upcoming New York concerts for awhile, but their violinist – and Mivos Quartet co-founder – Olivia DePrato is playing the album release show for her auspicious solo debut album, Streya, at 1 Rivington Street on March 13 at 7:30 PM. Tix are $20/$15 stud.

20 Years of a Legendary Venue and a Legendary New York Punk Band

Is punk nostalgia an oxymoron? Or is a band’s refusal to calm down and be quiet something we should all aspire to? Gogol Bordello’s latest album, Seekers and Finders – streaming at Spotify – doesn’t pose those questions, but it offers a mighty, roaring answer.

Twenty years ago, the self-described gypsy punks – a term which ironically has become outdated – were a cult band playing midsize venues across the country. Since the band hadn’t yet embarked on their seemingly endless, global stadium tour, frontman Eugene Hutz frequently spun vinyl on Friday nights at Mehanata, the Bulgarian bar that was then located in a second-floor space at the corner of Canal and Broadway.

Those nights were insane – not just because of Hutz, or because it was the best dance party in town, but because in the early internet era, it was pretty much the only place in New York where you could hear Balkan turbo-folk music, at least playing over a good PA. Who would have thought that two decades later, Mehanata would still be in business – relocated to the Lower East Side – and that Gogol Bordello would still be together, let alone still vital?

The band don’t have any New York gigs coming up – their most recent was at a hideously overpriced corporate venue at the far fringes of Williamsburg – but Hutz is playing a very rare acoustic gig to celebrate Mehanata’s 20th anniversary on Feb 13. Doors are at 6, the party goes all night, Hutz is theoretically headlining – in a duo set with his Gogol Bordello bandmate Sergey Ryabtsev. Also on the bill are klezmer trumpeter Frank London with percussionist Deep Singh, Bulgarian sax titan Yuri Yunakov, accordion wizard Yuri Lemeshev and oudist Avram Pengas; other special guests are promised. Cover is $20; the first 200 through the door get a free Mehanata 20th anniversary t-shirt.

What does the new album sound like – in case you haven’t heard it? It’s a throwback to the2005 classic Gypsy Punks, arguably Gogol Bordello’s definitive statement (even though the word “gypsy” now has a connotation akin to “colored” – we are all better off saying “Romany”). The opening track, We Did It All comes across as a stomping Balkan brass number transposed to the electric guitars of Hutz and Boris Pelekh, with a characteristically surreal Hutz stream-of-consciousness lyrical interlude before the band explodes again.

Walking on the Burning Coals is a classic, metaphorical GB anthem spiced with brass, Sergey Ryabtsev’s violin and Pasha Newmer’s accordion over the guitar fury and the surprisingly slinky rhythm section: bassist Thomas Gobena and Alfredo Ortiz.

Break Into Your Higher Self is closer to 90s Warped Tour punk, with a typical Hutz exhortation to get with the revolutionary program. Harmony singer Vanessa Walters duets with Hutz on the singalong title track, followed by Familia Bonfireball and its unexpected spaghetti western tinges. Ryabtsev’s slithery violin pans the mix as it winds out.

Clearvoyance has a sotto-vocce bounce: “It’s like running from my prison of your mind,” resolutely solitary Hutz insists. Then the band picks up the pace with the album’s best track, the magnificently scorching, chromatically charigng Saboteur Blues. They keep the energy at redline with Love Gangsters, which begins as reggae tune as the Clash would have done it and builds from there. If I Ever Get Home Before Dark follows the same blueprint but more quietly.

Pedro Erazo-Segovia’s trippy, echoing charango kicks off You Know Who We Are before the big guitars kick in. The album ends with Still That Way, the band taking a stab at a big, dramatic Celtic ballad. After all these years, Gogol Bordello haven’t lost sight of a message that’s more relevant than ever: it’s never too late to party for our right to fight.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

2/17 Aleppo, Syrian music master Muhammad Qadri Dala at Alwan for the Arts is sold out

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

2/28, 8 PM the Trump Beatles – who do hilarious political satire set to classic Fab Four tunes – at Drom, $10 adv tix rec

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Black Lillies Bring Their Fiery, Eclectic Americana to the West Side This Weekend

The Black Lillies are one of the most esteemed, eclectic and hardest-working bands out on the Americana highway. But they transcend that label, blending Nashville gothic, psychedelic rock and oldschool soul into their hard-hitting mix. Their latest album Hard to Please is streaming at Bandcamp. They’re playing a relatively rare, intimate gig this Jan 28 at 8 PM at City Winery;  general admission is $15.

Bandleader Cruz Contreras – who plays several keyboards and guitars here – gets a lot of production work, so he draws on an extensive talent base. The core of the band on this album includes singer Trisha Gene Brady, pedal steel player Matt Smith, guitarist Daniel Donato, bassist Bill Reynolds and drummer Bowman Townsend.

The album opens with the title cut, guests Jamel Mitchell’s baritone sax and Kris Donegan’s baritone guitar growling on the low end, building a vintage 60s R&B sway in the same vein as the Pretty Things or early Kinks. That’s the Way It Goes Down follows a familiar Americana rock pattern: catchy, jangly verse, explosive chorus as the BoDeans would have done it in their heyday twenty years ago. Donato’s savage lead blasts through into the third chorus and just doesn’t stop: it’s the album’s high point.

Contreras’ echoey Wurlitzer and Ed Roth’s Hammond organ infuse Mercy with a Memphis soul-gospel simmer, Mitchell leading a similarly summery horn section. Brady’s passionate vocals rise over the horns’ steady late 60s soul pulse in The First Time, with a neat exchange of solos, Donegan’s guitar and Smith’s steel over Contreras’ bubbly electric piano.

Matt Menfee’s banjo echoes mournfully in the grim duet Bound to Roam, an update on the folk classic Wayfaring Stranger. Then the band picks up the pace with Dancin’, Contreras’ bluegrass guitar contrasting with Smith’s honkytonk steel and Donegan’s southern-fried riffage; Menefee’s banjo is the icing on the cake.

Backlit by steel and easygoing acoustic picking, Desire sounds like a more down-to-earth Deer Tick. Contreras’ jaunty barrelhouse piano fuels the raucously Chuck Berry-ish band-on-the-road narrative 40 Days. He switches to mandolin for the album’s most relevant number, the broodingly allusive World War II Pacific theatre ballad Broken Shore. The album closes with a surreal mashup of mid-80s Cure pop and 70s dadrock. The band have a new one in the works; the show this weekend may be a good chance to get a taste of what they have in store.

The Fearlessly Relevant Kath Bloom Returns to a Favorite Brooklyn Haunt

Since the 70s, songwriter Kath Bloom has enjoyed a devoted cult following, especially among her colleagues. Her influence can be heard in the work of artists as diverse as Carol Lipnik and Larkin Grimm; both Linda Draper and Rose Thomas Bannister cite Bloom as an important early discovery. Beyond the reverence of her fellow songwriters, what’s most astonishing is that Bloom may be at her creative peak at this point, even with a vast back catalog of eighteen previous albums. Her voice may have weathered somewhat, but her writing is more harrowing and unflinchingly direct than ever. She’s making a stop at her favorite intimate Greenpoint venue, Troost on Jan 21 at around 9.

Her latest album This Dream of Life is streaming at her audio page. The sound is more full and lush than you would expect from a simple blend of acoustic and electric guitars: Red House Painters’ Mark Kozelek is there to parse the tunes, with frequent contributions from Avi Buffalo and Imaad Wasif.

The catchy, propulsive, anthemically bluesy title track, which could easily be a Draper number, opens the album:

Someone’s stepping on the gas
Someone’s crawling up your ass
Everybody wants to go back…
We’re all crying in our cage
We’re all using half our brains
Don’t you wanna be free?
Someone says we’re getting out
Tell me what it’s all about
Everybody’s lying to me
This dream of life is not for the faint of heart…

Then Bloom gets political in the second verse. It’s hard to think of a more aptly bleak, wintry commentary on our times.

The  intricately fingerpicked, country-tinged lullaby I Bring the Rains is 180 degrees the opposite. Then Bloom finds middle ground over a lively country gospel-inspired bounce in the death-fixated Reminds Me of It.

The lush, psychedelic sweep of At Last contrasts with Bloom’s starkly plainspoken, lamentful lyrics. The guys in the band add moody, gospel-tinged harmonies in the methodically swaying Oh Baby. With its surreal litany of images, the catchy, echoey Changing Horses in Mid Stream is Bloom at her aphoristic best: this caustic kiss-off anthem could be her Positively 4th Street.

This Love Has Got a Mind of Its Own makes a return to enigmatic psychedelic folk, the guitars rising to a jaggedly majestic peak. Bloom keeps that hazily lingering atmosphere going through the anxious I Just Can’t Make It Without You, then flips the script with the playfully edgy symbolism of the aptly titled retro 60s folk-pop of Let’s Get Going:

Come on, you Southern
And Northern
Maybe we can meet in the middle
Look around you
Doesn’t it astound you
Or maybe you recognize it a little?

Cold & Windy is as tremulous as its title, but also hopeful. Bloom examines good intentions gone drastically off the rails in How Can I Make It Up to You?, probably the only song ever to rhyme “drama with “Dalai Lama.” She closes this sometimes devastatingly straightforward album with Baby I’m the Dream You Had: “Though you don’t remember, this happened to you,” Bloom reminds.

Nuclear Family Fantasy Bring Their Scorching, Cynical, Catchy Songs to Williamsburg

Nuclear Family Fantasy play heavy, punk-inspired rock with catchy, anthemic hooks and a great sense of humor. Frontwoman Mossy Ross is a one-woman wrecking crew: she plays both bass and drums and is also a first-rate singer, with an understatedly pissed-off, chilly delivery. William Wilcox handles lead and rhythm guitars with equal parts punk snarl and metal slash. They’ve got a couple of Williamsburg gigs coming up, on Jan 19 at 9:45 PM at the Gutter in Williamsburg for $5 and then on the 25th at 10 at Diviera Drive, 131 Berry St (N 6/7th Sts).

Their debut album is streaming at Bandcamp. The opening track is Everybody Loves You When They’re Drunk: #bestsongtitleever, right? Ross cynically fills in every detail in a dead-end life, desperate to get out: “This is the place great minds go to meet…getting thrown to the wolves without being thrown a bone…” Wilcox’s solo out matches Ross’ withering commentary.

The duo go in a stoner boogie direction in Done, which sounds like a heavier Spanking Charlene. It’s easy to see where this one comes from: the album is inspired by a dysfunctional relationship where the guy went AWOL and remains on the missing persons list more than a year later.

Coulda, Shoulda, Woulda is faster, with an acidic early Siouxsie new wave feel. Anger Hangs On Her has an icy, implied ba-bump groove, Ross painting a picture of the kind of barfly girl we all know medicating herself to passout point. Ross hits some neat syncopation in the more low-key Left Me Lonely Again; the album winds up with Ross’ heaviest and most rhythmically tricky number, So Many Maybes Ago. An awful lot of people are going to relate to these gloomy, doomed, but indomitably catchy songs.