New York Music Daily

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Tag: rock music

Purist Americana Rock Tunesmith Michaela Anne Brings Her Catchy Songs Back to Her Old Stomping Ground

Singer and bandleader Michaela Anne has built a devoted following with her blend of vintage honkytonk and twangy rock. Her catchy, smartly produced new album, Desert Dove – streaming at Bandcamp -, is much more rock than Americana-oriented, with keyboards, a string section and unexpected tinges of 80s new wave. Imagine Margo Price without the jamband interludes, or Tift Merritt with more elaborate arrangements. Michaela Anne and her band are playing the album release show on Oct 16 at 7 PM at the Mercury; adv tix at the counter, available M-F from about 5 til 7 PM, are $12.

The album’s first track, By Our Design is a determined, slightly bucolic powerpop song with sweeping strings: imagine Merrritt orchestrated by ELO’s Jeff Lynne. One Heart has windswept pedal steel and bluesy guitar…and cloying corporate urban pop overtones, too. It’s the only track here that should have been left among the outtakes.

I’m Not the Fire – as in “I’m not the fire, I’m just the smoke” – pulses along with a catchy backbeat and swirly organ. The brisk, deftly orchestrated, cynical roadtrip tale Child of the Wind is a dead ringer for a Jessie Kilguss song, while Tattered Torn and Blue (And Crazy) takes a turn toward Twin Peaks retro-Orbison noir pop.

The album’s title track is a steady, upbeat, anthemic, Mark Knopfler-esque tale about a ghostly archetype. Run Away With Me has a Tom Petty vibe; Michaela Anne takes until track eight before she hits the purist honkytonk with Two Fools, its mournful pedal steel and saloon piano.

If I Wanted Your Opinion is an unexpectedly fierce feminist anthem. Michaela Anne makes it clear that the last thing she wants is to be judged on her appearance:

I’m not a poster on the wall, not a porcelain doll
I think it’s funny how you think you run the show
You want to tell me how to sing, I’m not a puppet on a string
And if I wanted your opinion you would know

Somebody New is the new wave-iest tune here; the concluding cut is Be Easy, a simple, purposeful acoustic song, a word of comfort to a troubled friend. It’s cool to see a songwriter who honed her formidable chops playing an endless Dives of New York tour here reaching the point where she can play the tour circuit, where people will really appreciate her.

[If you’re looking for today’s Halloween piece, take a trip back in time on the mighty, ravenous condor wings of Merkabah, from exactly a year ago.]

Folk Noir and Fearlessly Political Songwriting: Still Going Strong in the East Village

Sunday night at Scratcher Bar in the East Village, Lara Ewen and Niall Connolly strung together a couple hours worth of memorably surreal narratives and catchy acoustic guitar tune with a crafty expertise that’s become increasingly rare in this city.

Ewen, who is probably best known as the founder and fearless impresario of the mostly-weekly Free Music Fridays series at the American Folk Art Museum, is also a distinctive tunesmith in her own right and opened this particular show. There was a lot of fresh new material in her set, an auspicious preview of her long-awaited new album, mostly likely due out sometime next year. This time out, there was more bluesy grit in her voice than usual, and she fingerrpicked a lot more as well.

“I don’t write political songs,” she told the crowd, “Politics is something we tend to do in every moment of our lives,” she explained, prefacing a witheringly sarcastic new number about an sexual assault survivor, and then a kid who narrowly misses getting shot by the cops, each emphasizing how incredibly lucky they are.

Another aphoristic, darkly sparkling new song concerned a guy who manages to dig himself into a hole where he’s comfortable, way down in the dark. In the final verse, he brings a length of rope down there, although Ewen never reveals what exactly he does with it. Her other character studies, some new and some older and full of strange, unresolved chords, had similarly lingering imagery, situated among the down and out, or the about to be down and out. Like hell Ewen isn’t political: she just doesn’t preach.

Watching Connolly parse a series of terse, judiciously picked tunes, it’s obvious that he’s a rock guy: it was easy to imagine him playing those lines on a Strat with a rhythm section behind him. He’s more overtly political than Ewen, with an unassuming, raw, often melancholy vocal delivery. The big audience singalong was a soaringly anthemic portrait of the last days of Irish Revolutionary hero James Connolly (an ancestor, maybe?): “Lily, don’t you cry, I’ve lived the fullest of lives” was the chorus.

The best of the new ones was a spot-on, strange account of a late-night Rockaways bus ride (interrupted for Miller High Life and a shot of well whiskey at a watering hole along the way), and the kind of weirdos you meet there, everybody sharing the near dream-state surrealism of outer-borough afterwork fatigue.

Connolly is also a great storyteller without his guitar (Ewen said that she’d stolen all her stage banter from him: not a bad place to start). The funniest tale of the night concerned a bus driver who pulled to the curb for a second, exited the vehicle and shouted his order for fried rice to the Chinese restaurant cook taking a break across the street. Connolly, a populist to the core, explained that he has a special appreciation for any employee who likes to bend the rules.This particular takeout joint’s fried rice is apparently worth a risk.

Connolly’s next gig is Oct 17 at 8:30 PM at the Hunterian at 413 E 70th St. between First and York Aves.. Theres also an excellent bill coming up at the Folk Art Museum on Oct 18 at at 6 PM with  Sharon Goldman – one of the great tunesmiths to come out of the NYC acoustic scene since the turn of the century – and dark, brilliantly lyrical oldtimey songwriter/multi-instrumentalist Pete Lanctot.

Iconic Songwriter Amy Rigby Revisits a Lost New York in Her New Memoir Girl to City

What’s more Halloweenish than the destruction of New York artistic communities in the blitzkrieg of gentrification, and the rush to throw up speculator property to displace working-class housing? Songwriter Amy Rigby got her start as a college student, in a $300-a-month Alphabet City apartment she shared with her brother. Rigby’s new memoir is a look back at a time and place that’s not going to come back until after the real estate bubble finally bursts. And that could be awhile, maybe even not until we repeal the tax exemption that enables it. Holdovers of New York, unite!

Amy Rigby‘s new memoir Girl to City validates the argument that great lyricists are also strong prose writers. But beyond a stunning level of detail, that generalization is where the similarity between Rigby’s often outrageously hilarious, witheringly insightful songwriting and this plainspoken book ends. Instead, it’s a sobering and understatedly poignant portrait of an era in New York gone forever.

Rigby is humble to a fault. If there’s anything missing from this book, that would be more insight into her songwriting process. She’s a polymath tunesmith, equally informed by and eruditely successful with styles as diverse as Americana, honkytonk, purist pop and these days, psychedelia. As a lyricist, she’s a first-ballot hall-of-famer: it wouldn’t be overhype to rank her with Elvis Costello, Steve Kilbey, Hannah Fairchild and the most memorably aphoristic Nashville songwriters of the 40s and 50s. Rigby takes some pleasure in revealing how she wrote one of her most gorgeously plaintive songs, Summer of My Wasted Youth, in her head on her way home on the L train. Otherwise, we’re going to have to wait for a sequel for more than a few stories behind some of the best songs of the past thirty-plus years.

Beyond that, this is a rich and often heartbreaking narrative. The only daughter in a large, upper middle class Pittsburgh Catholic family, young Amelia McMahon (nicknamed Amy, after the 50s Dean Martin pop hit), grew up in the 1960s as a tomboy and evemtual diehard Elton John fan. Spared the ordeal of Catholic high school, she developed a highly refined fashion sense – she was East Village chic long before East Village chic existed – and although she doesn’t go into many details about what seems to have been a repressive upbringing, it’s obvious that she couldn’t wait to escape to New York.

A talent for visual art got her admitted early into Parsons, where she earned a degree she never ended up falling back on – then again, fashion illustration was basically obsolete by the time she graduated. Meanwhile, she haunted CBGB at its peak. Even then, her taste in music was eclectic and adventurous, from punk, to gothic rock, disco, and eventually pioneering feminist bands the Slits and Raincoats.

Auspiciously, she teamed up with a bunch of college friends to open the legendary Tribeca music venue Tier 3 – where she made her New York musical debut, as the drummer of the minimalistically undescribable Stare Kits. “It seemed unthinkable even a decade later that the streets of downtown could ever have been so empty at night, or that a Manhattan club could have such haphazard beginnings. But that was part of the beauty, although you wouldn’t have thought to call it beautiful, “Rigby recalls. Understatement of the decade.

Rigby reveals that she came to embrace Americana when she realized that country music was just as  alienated as punk. Now playing guitar (and percussion, and a little accordion), it wasn’t long before she and her younger brother Michael McMahon (who’s led the hilarious, theatrical Susquehanna Industrial Tool & Die Co. for almost twenty years now) founded one of the first New York urban country outfits, the Last Roundup. Maybe it was that group’s newfound embrace of country music – a genuine appreciation, rather than the kitschy contempt for it that would characterize the Williamsburg Americana contingent twenty years later – that shaped their individualistic sound. Even then, Rigby was flexing her songwriting chops.

What’s even more improbable than being able to situate a punk club in Tribeca is that it was once possible to (barely) make ends meet as a working musician in Manhattan, playing original music. Like those trust fund kids in the East Village now, somebody had to be subsidized, rigtht?

As Rigby tells it, no. Cruelly, inevitably, money is always elusive. When she isn’t gigging, she temps and temps, for a succession of bosses from across the boss spectrum. The plotline of her classic, cynical bargain-shopper anthem, As Is, has never been more resonant in light of her experiences here. She seems to have given up everything but her career to keep her daughter clothed and fed.

Misadventures with small record labels, well-intentioned but clueless enablers and wannabe enablers from the corporate world, with both the Last Roundup and Rigby’s successor band, the fetchingly ramshackle, all-female Shams, are predictably amusing. Her details of simple survival are every bit as bittersweet.

Time after time, she falls for emotionally unavailable older men. She mentions “dad’s putdowns,” in passing: this legendary beauty doesn’t even seem to think of herself as all that goodlooking. A marriage to drummer Will Rigby results in a talented daughter (future bassist Hazel Rigby). and doesn’t last. The author goes easy on him, maybe because she’s already excoriated him, if namelessly, in song. 20 Questions, anyone?.

Yet, out of that divorce, and the borderline-condemnable three-bedroom $700-a-month Williamsburg apartment at the corner of Bedford and Grand, she built a solo career that would earn her a well-deserved media blitz and critical raves for her solo debut, Diary of a Mod Housewife. That’s pretty much where the story ends, and a sequel hopefully picks up.

What’s most depressing about Rigby’s narrative is that it could never happen in current-day New York. She started totally DIY – she’d never played an instrument onstage before joining Stare Kits – and made her way up through a succession of small venues, then larger ones and all of a sudden she was playing the Beacon Theatre and touring. No such ladder of success exists here anymore: in fact, it’s working the other way around. All the rock acts that used to play Bowery Ballroom are now being squeezed into its smaller sister venue, the Mercury (a joint that Rigby used to sell out with regularity twenty years ago)

What’s left of the Americana and rock scenes, so vital in Rigby’s early years, now rotate through a handful of small Brooklyn clubs, playing to the same two dozen people week after week. With larger venues (and even some of the smaller ones) assiduously datamining so they can book only the most active Instagram self-promoters, the idea of thinking outside the box and promoting artists whose strengths are not Instagram followers but lyrics and tunes is almost laughable. All this is not to say that the typical club owner in, say, 1985, wasn’t plenty lazy and greedy. It’s just that laziness and greed, at the expense of genuine art, have been institutionalized by social media.

Throughout the book, this charismatic, acerbic, laser-witted performer comes across as anything but a diva. Maybe the Catholic childhood, the authoritarian parents and series of doomed relationships cast a pall that she’s still trying to get out from under. More than anything, this tale deserves a triumphant coda: since Diary of a Mod Housewife, Rigby has put out a series of consistently brilliant albums, toured relentlessly if not overwhelmingly lucratively and married another legendary rock storyteller, Wreckless Eric.

New Music Duo andPlay and Cello Rocker Meaghan Burke Put on a Serious Party at the Edge of Chinatown

How do violin/viola duo andPlay manage to create such otherworldly, quietly phantasmagorical textures? Beyond their adventurous choice of repertoire, they use weird alternate tunings. Folk and rock guitarists have been doing that since forever, but unorthodox tunings are a relatively new phenomenon in the chamber music world. At the release party for their new album Playlist at the Metropolis Ensemble‘s second-floor digs at 1 Rivington St. last night, violist Hannah Levinson and violinist Maya Bennardo – with some help from their Rhythm Method buds Meaghan Burke and Leah Asher, on harmonica and melodica, respectively – evoked a ghost world that was as playful and bracing as it was envelopingly sepulchral. Anybody who might mistakenly believe that all 21st century serious concert music is stuffy or wilfully abstruse needs to check out the programming here.

The party was in full effect before the music started. A sold-out crowd pregamed with bourbon punch and grapefruit shots. As the performance began, Levinson sent a big bucket of fresh saltwater taffy around the audience, seated in the round. The charismatic Burke opened with a brief solo set of characteristically biting, entertainingly lyrical cello-rock songs. Calmly and methodically, she shifted between catchy, emphatic basslines, tersely slashing riffs, starry pizzicato and hypnotic, loopy minimalism. The highlights included Hysteria, a witheringly funny commentary on medieval (and much more recent) patriarchal attempts to control womens’ sexual lives, along with a wry, guardedly optimistic, brand-new number contemplating the hope tbat today’s kids will retain the ability to see with fresh eyes.

Dressed in coyly embroidered, matching bespoke denim jumpsuits, andPlay wasted no time introducing the album’s persistently uneasy, close harmonies  with a piece that’s not on it, Adam Roberts‘ new Diptych. Contrasting nebulous ambience with tricky polyrhythmic counterpoint, the duo rode its dynamic shfits confidently through exchanges of incisive pizzicato with muted austerity, to a particularly tasty, acerbic, tantalizingly brief coda.

Clara Ionatta’s partita Limun, Levinson explained, was inspired by the Italian concept of lemon as a panacea. Playful sparring between the duo subtly morphed into slowly drifting tectonic sheets, finally reaching a warmer, more consonant sense of closure that was knocked off its axis by a sudden, cold ending.

The laptop loops of composer David Bird‘s live remix of his epic Apochrypha threatened to completely subsume the strings, but that quasar pulse happily receded to the background. It’s the album’s most distinctly microtonal track, Bennardo and Levinson quietly reveling in both its sharp, short, flickeringly agitated riffs and misty stillness.

The next concert at the space at 1 Rivington is on Oct 11 at 7:30 PM with composer Molly Herron and the Argus Quartet celebrating the release of their new album “with music and poetry that explore history and transformation.” Cover is $20/$10 stud.

Live Music Calendar for New York City and Brooklyn for October and November 2019

Daily updates – if you go out a lot, you might want to bookmark this page and check back regularly.

If you’re leaving your hood, don’t get stuck waiting for a train that never comes, make sure you check the MTA delays and out-of-service page for service cancellations and malfunctions, considering how unreliable the subway is at night and on the weekend.

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

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

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

If you see a typo or an extra comma or something like that, remember that while you were out seeing that great free concert that you discovered here, somebody was up late after a long day of work editing and adding listings to this calendar ;)

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, beverages and lively conversation included! sug don, email for details/address

Mondays at 7 PM multi-instrumentalist Dennis Lichtman’s popular western swing band Brain Cloud at Barbes followed at 9:30 PM by a variety of tropical 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.

Mondays at the Vanguard the Vanguard Jazz Orchestra – composer Jim McNeely’s reliably good big band vehicle – plays 9/11 PM, $35 per set plus drink minimum.

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

Mondays starting at around 10:45 PM Rev. Vince Anderson and his band play two sets at Union Pool. The Rev. is one of the great keyboardists around, equally thrilling on organ or electric piano, an expert at Billy Preston style funk, honkytonk, gospel and blues. He writes very funny, very politically woke, sexy original songs and is one of the most charismatic, intense live performers of our time. It’s a crazy dance party. Paula Henderson from Burnt Sugar is the usual lead soloist on baritone sax, with frequent special guests. Sizzling guitarist Binky Griptite – Sharon Jones’ lead player – is also often there.

Tuesdays at 7:30 PM the chamelonic, playful, sometimes irresistibly cartoonish Daniel Bennett Group play jazz outside the box at the third floor bar at the Residence Inn, 1033 6th Ave at 39th St, free

Tuesdays at 9 PM, clever, fiery, eclectic ten-piece Balkan/hip-hop/funk brass maniacs Slavic Soul Party at Barbes (check the club calendar), $10 cover.

Three Wednesdays in October: 10/16, 10/23 and 10/30 stark southwestern gothic jangle and clang with And the Wiremen at Troost

Wednesdays at 9ish 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

Most Thursdays at 8:30, 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!

Thursdays in October, 7 PM fearless, insurgent, amazingly spot-on comedienne/vocal impersonator Tammy Faye Starlite plays Marianne Faithfull’s Broken English at Pangea, $25

Thursdays in October, 8 PM psychedelic latin soul tinged band Garcia Peoples at Nublu 151, $12

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

Saturdays in October at 6 PM ferociously funny, literate, historically informed oldtimey songwriter Robin Aigner and bassist Michael Brownell’s Hello Bittersweet at Barbes

Saturdays in October at 4 PM free concerts 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.

Three Sundays in September: 9/1, 9/15 and 9/29 Greg Lewis’ brilliant, fearlessly political Organ Monk Trio at Bar Lunatico at 1 PM for brunch.

Sundays at 5 PM in September at Barbes,  multistylistic, lyrical, improvisational cellist Rufus Cappodocia leads a series of ensembles

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

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

Sundays at 8:30/11 PM the epic, intense, politically fearless Arturo O’Farrill & the Afro-Latin Jazz Orchestra at Birdland, $30 bar seating avail

Sundays at 9:30 PM paradigm-shifting Romany jazz/psychedelic rock guitar mastermind Stephane Wrembel leads his band at Barbes – check the club calendar just to make sure.

10/1, 7:30 PM indie classical ensemble  Desdemona and Adam Holmes “team up for an evening of string trio and percussion, featuring video projections, a world premiere, and disturbing questions about capitalism and climate change. The concert will include a new work by Adam Holmes, David Bird’s Thresholds, and Sofia Gubaidulina’s String Trio” at 1 Rivington t., $20/$10 stud

10/1. PM rapturousy subtle tropicalia drummer/bandleader (and former Chicha Libre timbalera) Karina Colis leads one of her groups followed at 9 by clever, fiery, eclectic ten-piece Balkan/hip-hop/funk brass maniacs Slavic Soul Party at Barbes

10/1. 8:30 PM psychedelic supergroup the Elgin Marbles feat. members of Love Camp 7, Dervisi and Peter Stampfel’s jug band at Troost

10/1, 8 PM quirky, smartly lyrical avant cello-rock band the Icebergs at Threes Brewing, 333 Douglass St. in Gowanus, $tba

10/1-5, 8:30/11PM iconic bassist Ron Carter  leads his big band at Birdland, $30 tix avail. 10/8-12 he leads a trio, 10.15-19 he leads a quartet with Renee Rosnes on piano, then he’s with his Nonet 10/22-26

10/2, 1 PM pianist Kate Liu plays a program tba at the Greene Space, free w/rsvp

10/2,  6:30 PM veteran Japanese free jazz saxophonist Akira Sakata w/ Darin Gray at the James Cohan Gallery, 48 Walker St in Chinatown, free

10/2, 7 PM theremin virtuoso Pamelia Stickney followed at 8 by sychedelic klezmer/bluegrass mandolin and clarinet legend Andy Statman at Barbes, $10. She’s also at the Owl on 10/3 at 9 with her Transcendental Dissonance Quartet

10/2, 730/9:30 PM  alto saxophonist Caroline Davis and pianist Rob Clearfield’s Persona quartet at the Jazz Gallery, $15. 10/3 she leads a quintet at 7:30 PM at Smalls

10/2, 8 PM Dervisi feat. guitar god Steve Antonakos play “exotic Greek gangsta blues” and Middle Eastern flavored hash smoking anthems at Troost

10/2. 9 PM terse, brilliant jazz violinist Charlie Burnham & Kings County at Sunny’s

10/2. 9 PM bassist Jeon Lin Yang leads a quartet with Oscar Noriega on clarinet at Bar Lunatico

10/2, 9 PM psychedelic soul band  Frankie Sunswept and the Sunwrays at the Jalopy Tavern

10/2, 10 PM the king of indie shred guitar, Ty Segall at Bowery Ballroom, $30 gen adm. They’re also here on 10/3 at half past midnight and then 10/4 at 10 again

10/2-3 midnight ferocious art-rock jamband Planta at Terraza 7, $10

10/3, 6 PM improvisers in reverse order at Holo, free: Retrouvaile, Robert Edge, Bonnie Kane, Greg Gondek, Calytrix, Sandy Ewen, free

10/3-5, 7 PM ,Monica Bill Barnes & Company‘s hilarious new site-specific dance performance By at the World Financial Center, free.  The challenge is to figure out who the dancers are and who are just randos walking by (it’s harder than you think!). Headphones with a soundtrack of similarly wryly funny, cheesy top 40 hits from across the decades are part of the performance. Not to be missed.

10/3, 7:30 PM wild Palestinian hip-hop/dancehall reggae/habibi pop band 47soul at the Lincoln Center Atrium, free, early arrival advised

10/3-6, 730/9:30 PM shapeshifting pianist Sullivan Fortner leads his trio with John Pattituci on bass and Nasheet Waits on drums at the Jazz Standard, $30

10/3. 7:30 PM Quartet 131 play Schubert’s Quartetsatz plus works by Dutilleux, Beethoven and Bloch at mekin Concert Hall, $25 tix avail

10/3. 8 PM Ethiopian croone Habte Awalom at Silvana

10/3 8 PM New York’s most charismatic, darkly compelling lyrical songwriter/storyteller/keyboard genius Rachelle Garniez followed by intense Balkan chanteuse Jenny Luna‘s haunting, traditional Turkish band Dolunay at Barbes

10/3, 8 PM a screening of Errol Morris’ The Fog of War with live orchestra playing Philip Glass’ score at the New School Tishman Auditorium – U100 University Center – 63 Fifth Avenue, free

10/3, 830 PM  Wormburner – who were once Hoboken’s answer to the Jam – at 11th St Bar

10/3, 830 PM a klezmer dance party Ternovka Ensemble featuring gruff-voiced singer Zhenya Lopatnick at Town & Village Social Hall, 334 E 14th St.(between 1st & 2nd Ave.), $15

10/3. 8:30 PM Se-Hee Jin, Yuanyuan Zhou and Chen Li play works by Tan Dun, Zhangzhao, Huanghuwei, Qiqi Liu, Gershwin and Harbison.at Spectrum, $15

10/3, 9 PM uneasily eclectic tropically-influenced singer Renata Zeigeur and band and lush, snidely lyrical parlor pop/new wave band Office Culture playing the album release for their new one at Union Pool, $12

10/3. 9 PM smartly tuneful oldschool soul/psych-pop songwriter Mimi Oz at Bar Chord

10/3, 10 PM ethereal Indian soulstress Shilpa Ananth at C’mon Everybody, $10

10/3, 10 PM punchy noiserockers Big Bliss  at Trans-Pecos, $10

10/3. 10 PM catchy post-Velvets psychedelic band Quicksilver Daydream  at Footlight, $tba

10/3, 10 PM the great unsung NYC hero of darkly purposeful, noir-tinged jazz guitar, Saul Rubin at the Fat CatHes also here on 10/15 and 10/22 at 7

10/4, 5:30 PM eclectic pan-latin and Middle Eastern-inflected acoustic songwriter Miriam Elhajli  at the American Folk Art Museum

10/4, 6 PM intense, soaring harmonium player/singer Elana Low plays the album release party for her new one at Muchmore’s

10/4, 7 PM Belarusian folk-punk band Midevil playing works of Belarusian renaissance composers, and more! at Nublu 151,$30

10/4, 7:30 PM  ambitious, smart, noir-inclined tenor saxophonist Patrick Cornelius  with Pablo Menares on bass and EJ Strickland on drums at the Bar Next Door, $12

10/4, 7:30 PM classical guitarist Laura Snowden plays works by Villa-Lobos and others at the Tenri Institute, $25/$20 stud/rs

10/4, 7:30 PM multimedia group Ensemble Parralax presents an all-Italian program with mezzo-soprano Kathleen Roland, featuring music by Salvatore Sciarrino and Patricia Alessandrini at National Sawdust, $25 adv tix rec

10/4, 7:30 PM a chamber orchestra concert with theme music by Kohei Tanaka, Shiro Hamaguchi, and Shouko Fujibayashi. from the Japanese cartoon series One Piece at the DiMenna Center, $20

10/4. 7:30/9:30 PM avant jazz viola titan Mat Maneri’s Dust Quartet at the Jazz Gallery, $25

10/4, 9 PM third-wave Stooges style rockers Acid Dad, the swirly post-Velvets Meatbodies and Aussie heavy psych band the Psychedelic Porn Crumpets at the Music Hall of Williamsburg, $16 gen adm

10/4. 9ish exotic vibraphone-driven surf band the Vibro-jets at Troost

10/4, 9 PM brilliantly bluesy Certain General guitarslinger Phil Gammage leads his other rock project, the Rebel Factory at Otto’s

10/4, 10 PM Los Cumpleanos – with Nestor Gomez – vox/percussion; Lautaro Burgos – drums; Eric Lane – keyboards; Alex Asher – trombone and others playing trippy, dubwise tropical psychedelia at Barbes

10/4, 10:30 PM  tuneful oldschool soul/jazz trombonist Dave Gibson leads his quintet at the Fat Cat

10/5, 1:30 the Rasslers- Mark Ehrhardt – drums / Chet Mazur – vocals / Tim Mullins – guitar; Nick Romanenko – bass; 3:30 Ava Mendoza – guitar / James Brandon Lewis – tenor sax; Shayna Dulberger – bass / Daniel Carter – woodwinds; 4:30 Welf Dorr Unit – Welf Dorr – alto sax / Keisuke Matsuno – guitar / Dmitry Ishenko – bass at Children’s Magical Garden, 129 Stanton St, just east of Essex

10/5, 4 PM cinematic, psychedelic quirk-pop keyboardist Michael Hearst presents “Curious, Unusual and Extraordinary” songs from his many bands followed at  6 by ferociously funny, literate, historically informed oldtimey songwriter Robin Aigner  and bassist Michael Brownell’s Hello Bittersweet and at 10 by epic ranchera/bolero brass crew Banda de los Muertos at Barbes

10/5 4:30ish Asphalt Orchestra, “Bang on a Can’s radical street band,” performs music by the Pixies, Thomas Mapfumo, Charles Mingus, Frank Zappa, and more” on the plaza at 300 Ashland Place, down the block from BAM,

10/.5, 6 PM charmingly inscrutable Parisienne jazz chanteuse Chloe & the French Heart Jazz Band at Club Bonafide,$20. She’s also here on 10/19 and at the Cutting Room on 1022 at 7:30

10/5, 7:30/9:30 PM epically brilliant, Shostakovich-inspired jazz pianist/composer Fabian Almazan leads his trio at the Jazz Gallery, $25

10/5, 7:15 ish dark psychedelic acoustic blues/klezmer/reggae/soca jamband Hazmat Modine at Terra Blues.

10/5, 7:30 PM ethereal yet powerful parlor pop/goth singer/composer Kristin Hoffmann at the Center for Remembering and Sharing, $20

10/5. 7:30 PM Juana Zayas, piano performs works of Debussy and Ravel at the Tenri Institute, $20

10/5, 8 PM saxophonist Antonio Hart leads a quintet with Duane Eubanks, trumpet; Miki Yamanaka, piano; Alex Ayala, bass at Flushing Town Hall $16/$10 srs/free for students 19-under w/ID

10/5, 8 PM maritime music night with the Johnson Girls and Quarterdeck at the People’s Voice Cafe, sugg don, $20, “more if you choose; less if you can’t; no one turned away”

10/5, 8 PM darkly lyrical psychedelic pop songwriter Jennifer Hall at the Parkside

10/5, 8 PM rrepressibly lyrical multi-reedman Ned Rothenberg with Sylvia Courvoisier on piano, Mark Feldman on violin and Mat Maneri on viola at Happy Lucky No. 1 Galley, $20. Rothenberg is also there on 10/6 leading a quartet with Anthony Coleman on piano

10/5, 8 PM trippy, dubby roots reggae and ska sounds with Avo & Skalopy at the Jalopy Tavern

10/5, 9 PM the Jaded Babies play their theatrical, quirky, comedic mashups of punk and art-rock at LP n Harmony, 638 Grand St in Williamsburg, free, take the G to Lorimer

10/5, 9 PM eclectic, electric, guitarishly excellent C&W/blues band the Jug Addicts at Bar Chord

10/5, 9 PM ubiquitous, moodily lyrical, politically savvy Irish folk-rocker Niall Connolly followed eventually at 11 by psychedelic Brazilian band Os Clavelitos at the small room at the Rockwood

10/5; 9:30 PM a rare NYC appearance by dynamic, visionary, dystopic Humanwine frontwoman Holly Brewer at 66 Greenpoint Ave, $10, G to Nassau

10/5 10 PM Unsteady Freddie‘s monthly surf rock extravaganza at Otto’s begins at 10 PM with the percussive Bongo Surf, at 11 guitar mastermind Mike Rosado’s volcanic, pounding Dick Dale-influenced surf band 9th Wave and then at midnight Brooklyn cover crew Band of Others

10/5. 10 PM Certain General guitarslinger Phil Gammage plays his dark Americana and blues at the Way Station

10/5. 10 PM organist: Cory Henry & the Funk Apostles at the Music Hall of Williamsburg, $25 gen adm

10/5, 10:30 PM intense, fearlessly relevant Middle Eastern clarinetist Kinan Azmeh with similarly haunting violinist Layale Chaker at Drom, $15 adv tix rec

10/5, 10:30 PM Stoogoid stoner boogie band Sun Voyager and awesomely unhinged horror surf/hotrod instrumentalists the Mad Doctors at the Gutter, $7

10/5, 10:30 PM purist CBs style female-fronted powerpopsters the Carvels NYC – a rare rock band with sax that’s actually good – at the Cobra Club, $10

10/5, 11 PM ferocious, twin guitar-fueled, Radio Birdman-esque psychedelic punks the Electric Mess  at Desmond’s

10/6, 11 AM violinist Grace Park performs a program tba with pianist Joseph Liccardo at Subculture, $20, snacks/coffee included

10/6, 1 PM low-key deep-Brooklyn sounds with Naomi Shelton & the Gospel Queens playing a gospel brunch show at Bar Lunatico. They’re also here on 10/20

10/6. 1 PM two sets by hard-hitting, brass-fueled newschool latin soul/boogaloo dance band Spanglish Fly  with dance performances at Playground 52 LII, 681 Kelly St, the Bronx , 2/5 to Jackson Ave, (rain location is Bronx Music Heritage Center at 1303 Louis Nine Blvd,

10/6, 3 PM violinist Audrey Hayes leads a trio playing Beethoven’s Archduke Trio plus the Rachamninoff Cello Sonata and works by Natalie Dieterich and Michael Laurello at Concerts on the Slope, St. John’s Episcopal Church, 139 St. John’s Place downhill from 7th Ave, sugg don

10/6, 3 PM John Zorn with Laurie Anderson followed by Zorn’s Cobra at the New School auditorium at 66 W 12th Stl, free registration reqd 

10/6, 3 PM the Greenwich Village Orchestra play Beethoven Symphony No. 6, Pastoral and the Dvořák Cello Concerto at All Saints Church, 230 E 60th St (2/3rd Aves) $25 sug don

10/6, 5 PM, repeating 10/7 at 7 Valeria Sholokhova, cello; Yelena Grinberg, piano play works by Fanny Mendelssohn, her bro Felix, Chopin, Kirchner and Schumann at Grinberg’s upper westside piano salon, reception to follow, $35, close to the 1/2/3 train at 96th St., deets here 

10/6, 7 PM singer Christiane Karam leads her Balkan/Middle Eastern jazz band at Drom, $15 adv tix rec

10/6, 7 PM dark cinematic klezmer art-rockers Barbez‘s Dan Kaufman in a rare duo with percussionist/vibraphonist John Bollinger followed at 9:30 by paradigm-shifting Romany jazz/psychedelic rock guitar mastermind Stephane Wrembel at Barbes

10/6, 7:15 crystalline-voiced acoustic songwriter/storyteller Lara Ewen‘and ubiquitous, moodily lyrical, politically savvy Irish folk-rocker Niall Connolly at Scratcher Bar, 209 E 5th St

10/6, 7:30 PM a rare NYC appearance by virtuoso classical guitarist Hakob Jaghatspanyan – who excels at both Armenian, flamenco and Romany sounds – at Merkin Concert Hall, $35

10/6, 7:30 PM hypnotically rippling Balinese bell orchestra Cudamani Gamelan at Symphony Space, $30 seatsa avail

10/6, 8 PM perennially tuneful, pensively lyrical Americana janglerocker Mike Ferrio of Tandy and Good Luck Mountain at 11th St. Bar. On 10/10 at 9 PM at Pete’s he’s pulling Good Luck Mountain together for a rare reunion show

10/7, 3 PM the Mannes Orchestra  play Johanna Beyer – Three Movements for Percussion; Ruth Crawford Seeger – Music for Small Orchestra and a Haeyun Kim work at the first-floor auditorium at 63 5th Ave, free

10/7. 6 PM not music-related but scary/important: the opening of photographer Alice Miceli’s Projeto Chernobyl at the Americas Society. “The artist developed a method of image making to document the enduring effects of the Soviet nuclear plant explosion of April 26, 1986. Though gamma radiation continues to be present and to cause health problems and deaths in the area, it is invisible to the naked eye and to traditional methods of photography that have been used to document the region’s ruins. Miceli made this contamination visible via direct contact between the radiation and film, which was exposed in the Chernobyl Exclusion Zone for months at a time.”

10/7, 7:30 PM the Aizuri Quartet play works by Hildegad Von Binghen, Caroline Shaw, Haydn and others at Music Mondays, Advent Church, northwest corner of 93rd and Broadway, free

10/7, 8 PM improvisational  viola sorceress Jessica Pavone‘s string quartet play the album release show for their magical new one at Roulette, $18 adv tix rec

10/7, 9 PM  sweeping, swinging vibraphonist Behn Gillece and group at the Fat Cat

10/7, 9 PM baritone saaxophonist Alex Harding with Transylvanian pianist Lucian Ban at Bar Lunatico. 10/10 at 7:30/9:30 they’re playing the album release show for their new one at the Jazz Gallery, $15

10/7, 9 PM sharply surrealistic folk noir/outlaw country band Maynard & the Musties at Pete’s

10/7, 9:30ish Gato Loco bass saxophone monster Stefan Zeniuk’s new slightly less crazy band Green Mambo – a Perez Prado tribute – at Barbes

10/8, 11 AM (in the morning) catchy, eclectic ska-pop/latin/reggae sounds from the Brown Rice Family at the Lincoln Center Atrium, free, early arrival advised

10/8, 7ish low-key, purposeful, pastoraally-inclined saxophonist Peyton Pleninger and his band play the album release show for his new one on the Ubuntu Rooftop. 977 Jefferson Ave in Bushwick, $10 includes munchies, J to Halsey St., walk back toward Williamsburg

10/8-9, 7:30/9:30 PM drummer Ralph Peterson leads a monster band playing an Art Blakey tribute with Bill Pierce & Donald Harrison – saxophones; Brian Lynch – trumpet ; Zaccai Curtis – piano; Essiet Essiet – bass at the Jazz Standard, $30

10/8, 8 PM bass quartet Large Furniture play works by Julia Wolfe, Robert Honstein, Veronika Krauss and Larry Polansky at Arete Gallery, $tba

10/8-13, 8:30/11PM hard-charging saxophonist Mark Turner leads a chordless trio at the Vanguard

10/8. 9 PM the rambunctious, historically rich 19th century style East River String Band at the Jalopy Tavern

10/8, 9 PM otherworldly French-Algerian singer Ourida with her combo at Bar Lunatico

10/8, 10 PM the Alabama Clash: Lee Bains & the Glory Fires at the Knitting Factory, $12

10/9, 1 PM elegant bop-era guitar legend Gene Bertoncini at St. Peter’s Church, 54th/Lex

10/9, 6:30 PM adventurous cellist Okkyung Lee at the James Cohan Gallery, 48 Walker St in Chinatown,free

10/9, 7:30 PM dark glam/powerpop band Zombie Sundae, sardonically catchy powerpop/janglerockers the Hell Yeah Babies, nd colorful, Bowie-esque female-fronted glamrockers the Manimals at Our Wicked Lady, $10

10/9, 7:30 PM a fun, purposeful improvisational twinbill:  Peach and Tomato – Sana Nagano -violin and Leonor Falcón -viola and Sferos Plus – Juanma Trulillo, Hery Paz, Dayeon Seok + Santiago Leibson – at Scholes St. Studios

10/9, 8:30 PM haunting Middle Eastern jazz bassist Petros Klampanis leads his trio playing the album release show for his killer new one at Symphony Space, $27 adv tix rec

10/9, 9 PM irrepressible improvisational violinist  Pauline Kim Harris plays the album release show for her hypnotically atmospheric, electroacoustic new one at the DiMenna Center, $25

10/9, 10 PM art-rock night at Shrine with Joe Deninzon’s wickedly fun string metal band Stratospheerius

10/9, 10 PM uneasy female-fronted psychedelic abstract rock band Gold Dime at Alphaville, $17

10/9, 10:30 PM sizzling postbop tenor saxophonist Carl Bartlett Jr leads a quartet at Smalls

10/10, 7 PM bassist Lisa Hoppe’s chamber jazz trio Third Reality (Charlotte Greve, Lisa Hoppe, Tal Yahalom), Pascal’s Triangle (Pascal Le Boeuf, Martin Nevin, Peter Kronreif ) and accordion genius Shoko Nagai  & Satoshi Takeishi’s Vortex at Greenwich House Music School, $25/$20 stud/srs

10/10-13, 7:30/9:30 PM intense pianist Gerald Clayton leads a trio at the Jazz Standard, $30

10/10, 7:30 PM 7:30 PM  Sharon Goldman – one of the great tunesmiths to come out of the NYC acoustic scene since the turn of the century – and Americana rock siren and ex-Red Molly multi-instrumentalist Carolann Solebello at the vault downstairs at Putnam Pub & Cooker,  419 Myrtle Avo, Ft. Greene, G to Clinton-Washington

10/10, 7:30 PM “Everything is ridiculous if one thinks of death” – a literary-musical collage combining the works of Thomas Bernhard with music by Austrian baroque composers at the Austrian Cultural Center, free w/vsvp 

10/10, 7:30 PM pianist Laura Farré Rozada plays works by contemporary French composers tba at Spectrum, $15

10/10, 7:30 PM Cuban chanteuse Melvis Santa at the Lincoln Center Atrium, free, early arrival advised

10/10 8 PM plush, balmy, oldtimey uke swing band Daria Grace & the Pre-War Ponies at Barbes

10/10. 8 PM edgy postbop guitar improviser Liberty Ellman’s Supercell quintet wih Jonathan Finlayson on trumpet at Roulette, $18 adv tix rec

10/10, 8 PM “an evening in celebration of Issue Project Room’s beloved late founder Suzanne Fiol. The event is an open showcase of Suzanne Fiol: Ten Years Alive, an exhibition of Suzanne’s mixed media work organized in collaboration with Suzanne’s daughter, Sarah Fiol, who gives an introduction to the work. The evening presents a conversation with Suzanne’s close friends: artists Kathy Brew, Michelle Handelman, and Kimiko Hahn centered around themes from Suzanne’s unfinished book/film proposal The Mothers of Creation / The Matriarch Project,” at Issue Project Room, free

10/10, 8 PM Scottish Gaelic singer Julie Fowlis at Merkin Concert Hall, $30 tix avail

10/10, 8:30 PM Dan Blacksberg‘s klezmer dance band at Town & Village Social Hall, 334 E 14th St.(between 1st & 2nd Ave.), $15

10/10 9 PM the world’s creepiest, slinkiest, most psychedelic crime jazz/film noir band, Big Lazy at Bar Lunatico

10/17, 9 PM jangly Beatlesque band Coastal Clouds at Arlene’s, $10

10/10, midnight unpredictably fun, funny psychedelic art-rock band the Academy Blues Project a the small room at the Rockwood

10/11. 7 PM, intense, microtonal string ensemble the Sirius Quartet  For Living Lovers (guitarist Brandon Ross & bassist Stomu Takeishi) and Theremin Noir (Rob Schwimmer, Mark Feldman, Uri Caine) who reinvent Bernard Herrmann film noir scores, at Greenwich House Music School, $25/$20 stud/srs

10/11, 7:30 PM original works by original pianists: Luiz Simas, Armen Donelian and Steve Sandberg plus special guests at Metro Baptist Church, 410 W 40th St, $20/$15 stud/sr

10/11. 7:30 PM composer Molly Herron and the Argus Quartet celebrate the release of their album with music and poetry that explore history and transformation, at 1 Rivington St., $20/$10 stud

10/11, 8 PM Romany-flavored punk night: Uncle Djuzeppe & the Mob and creepy, psychedelic circus rock/Russian folk band Mad Meg at Drom, $15 adv ix rec

10/11, 8 PM Syrian chanteuse Nano Raies at Brooklyn Lutherie, 232 3rd St. in Gowanus, R/F to 4th Ave, $20

10/11, 8 PM poignant, eclectic, lyrical jazz bassist/composer Pedro Giraudo’s tango quartet at Barbess

10/11, 8:30 PM ambitious, perennially tuneful saxophonist Mike McGinnis leads his pastoral jazz Roadtrip nonet at I-Beam, $15

10/11 9 PM ES punk guitar legend Simon Chardiet’s harder-swinging band the Rooftoppers at Sunny’s

10/11. 10 PM Malian duskcore grooves with Danaya Band at Silvana

10/12, noon lustrous singer and badass cello-rock bandleader Serena Jost at Maker Park Radio, 450 Front St. Unit A in Staten Island

10/12, 2 PM free jazz brass and reed legend Joe McPhee at the James Cohan Gallery, 48 Walker St in Chinatown,free

10/12. 4 PM lyrical indie pop cult hero Franklin Bruno followed by the even more vivid Lianne Smith at Pete’s. Irrepressibly sardonic janglerock/folk-punk songwriter, New Yorker illustrator and White Hassle alum Marcellus Hall plays after at 10

10/12, 6 PM ferociously funny, literate, historically informed oldtimey songwriter Robin Aigner  and bassist Michael Brownell’s Hello Bittersweet followed at 10 by singer Carolina Oliveros’ mighty 13-piece Afro-Colombian trance/dance choir Bulla en el Barrio at Barbes

10/12, 7 PM purposeful Chicago-style blues guitarslinger Bobby Radcliff at Terra Blues

10/12. 7:30 PM Vidushi Rajyasree Ghosh – vocals; Samir Chatterjee – tabla’ Anirban Chakraborty – harmonium at the Chhandayan Center For Indian Music, $20

10/12-13, 8 PM adventurous cellist Okkyung Lee leads an ensemble at Happy Lucky No 1 Gallery – 10/13 with atmospheric guitarist/soundscaper Rafiq Bhatia,

10/12, 730/9:30 PM saxophonist Tivon Pennicott leads a big band with a seven-sax frontline at the Jazz Gallery, $15

10/12, 9ish PM socially aware folk vets Dave Lippman at the People’s Voice Cafe, sugg don, $20, “more if you choose; less if you can’t; no one turned away”

10/12. 9 PM dark, new wave-ish lit-rock bandleader Dalton Deschain at Footight Bar, $10

10/12, 9 PM Super Yamba play their undulating psychedelic Afrobeat jams at Nublu 151, $15

10/12, 9:30 PM sardonically relevant guitar-fueled female-fronted Americana punks Spanking Charlene at Hill Country, free

10/12, 10 PM a rare uptown appearance by brilliantly lyrical, conscious roots reggae band Taj Weekes & Adowa at Silvana

10/13, 11 AM colorful, irrepressible, imaginative classical pianist Jenny Lin plays her Etudes Project at Subculture, $20, snacks/coffee included

10/13, 1 PM Greg Lewis’ brilliant, fearlessly political Organ Monk Trio at Bar Lunatico. He’s also there on 10/27 and at the Fat Cat at 10 on 10/24

10/13, 2 PM indie classical ensemble Ymusic play a 70th bday Robert Sirota composer portrait concert at Merkin Concert Hall, $30

10/13, 4 PM the Sometime Boys’ riveting, powerful, theatrical frontwoman Sarah Mucho sings dark cabaret and rock tunes at Freddy’s

10/13, 4 PM Post Moves (solo pedal steel guitar) / Sandy Ewen (solo guitar) / Emilie Weibel (improv vocals) at Arete Gallery, $tba

10/13, 5 PM Frank Donaruma plays a rare program of solo french horn works by Stradella, Poulenc and Alec Wilder at Flushing Town Hall, free

10/13, 6 PM imaginative, tersely atmospheric jazz guitarist Ross Hammond plays solo resonator guitar at Downtown Music Gallery

10/13, 7 PM Bobtown – NYC’s most alluringly lurid folk noir harmony band – play the album release show for their slightly less creepy new one at the big room at the Rockwood. $10

10/13, 7 PM brilliant steel guitarist Mike Neer’s Steelonious – who do Monk covers in the same vein as Buddy Emmons –   followed at 9:30  by Romany jazz/psychedelic rock guitar mastermind Stephane Wrembel at Barbes

1013, 9 PM dark blues/folk noir/oldschool soul songwriter Kelley Swindall  at 11th St Bar

10/13, 9:30 PM atmospheric, cinematic drummer/composer Tim Kuhl and band at Pete’s

10/14, 6 PM the Greenpoint Songwriters Exchange – a diverse bunch playing everything from folk noir to Costelloesque, literatry rock to Indian ragas and oldschool soul – at Pete’s

10/14, 9 PM charismatic, smolderingly intense, politically fearless Tunisian-American art-rock singer Emel Mathlouthi at the Poisson Rouge, $15 adv tix rec

10/14, 8 PM Toot Sweet play twisted theatrical accordion glam rock at the small room at the Rockwood. Cinematic violinist Christina Courtin plays the basement room at 8:30 for $12

10/14, 10ish the NYC Gaita Club – a Bulla en el Barrio spinoff – play rustically pounding Afro-Colombian trance-dance music at Barbes

10/15, half past noon organist Esteban Elizondo Iriarte plays a program TBA at Central Synagogue, 54th/Lex, free

10/15, 7 PM his year’s annual Momenta Festival opens with the Monenta Quartet playing works by Julian Carrillo, Alvin Singleton, Mario Davidovsky:, Matthew Locke and Matthew Greenbaum at the Americas Society, free, rsvp sugg.

10/15, 8 PM intense Balkan chanteuse Jenny Luna‘s haunting, traditional Turkish band Dolunay at Sisters Brooklyn, 900 Washington Ave at Fulton, C to Clinton-Washington, sug don

10/15, 8 PM allstar Americana jammers the Honky-Tonk Heroes,, featuring Springsteen pianist Charlie Giordano, Gene Yellin, Trip Henderson, Tim Kiah and some surprise guests at the Jalopy Tavern

10/15, 8 PM brilliant bassist Dana Schechter’s haunting slowcore project Insect Ark and Finnish black metal/postrockl band Oranssi Pazuzu at the Poisson rouge, $18 adv tix rec

10/15-20, 8:30/11 PM state of the art tenor saxophonist Donny McCaslin leads a quintet at the Vanguard

10/16 7 PM this year’s annual Momenta Festival continues with the Monenta Quartet playing works by Evwin Schulhoff, Robert Sierra, Mario Lavista, LIgeti and Harry Partch at the Americas Society, free

10/16-19, 8:30 PM tuneful, state-of-the-art postbop jazz guitarist Will Bernard  plays with a series of ensembles at the Stone at the New School. Choice pick closing night jam with Brian Chase (drums) Charlie Burnham (violin) Kirk Knufke (trumpet) Mike McGinnis (clarinet, sax), remixed live by Ikue Mori

10/16, 1 PM singer Hilary Gardner and stride pianist Ehud Asherie at St. Peter’s Church, 54th/Lex

10/16, 3 PM street brass band Seed & Feed Marching Abominable at Maker Park Radio in Staten Island

10/16, 5 PM street band the Extra Syrup Horns outside the Apollo Theatre

10/16, 7 PM Ryan Truesdell conducts the New School Studio Orchestra playing Bob Brookmeyer compositions at the New School first floor auditorium at 63 5th Ave, free

10/16, 7 PM fiery newschool honkytonk/janglerock bandleader Michaela Anne at the Mercury, $12 av tix rec

10/16, 8 PM energetic retro soul band the California Honeydrops at the Music Hall of Williamsburg, $25 gen adm

10/16. 8 PM famenco guitarist/singer Anna Garano at Barbes. 10/23 at 9 she’s at Bar Lunatico

10/16, 9 PM sharply lyrical janglerock/Americana/soul songwriter Matt Keating and guitarist Steve Mayone’s catchy project the Bastards of Fine Arts at 11th St. Bar

10/16, 9 PM intense, charismatic oldschool soul belter Sami Stevens and unpredictably fun, funny  art-rock/psychedelic soul band the Academy Blues Project  at Threes Brewing, 333 Douglass St. in Gowanus, $10

10/16, 9 PM snidely amusing oldschool CBs style punk band the Live Ones at Footlight Bar, $10

10/16, 10 PM energetic delta blues/Romany swing guitaris Felix Slim at LIC Bar

10/17, 7 PM the pretty self-explanatory, deliriously fun Fanfarra Feminina Sagrada Profana, hard-hitting funk/latin bassist Dawn Drake & ZapOte and Dingonek Street Band playing second line, Afrobeat, Ethio-jazz, at Barbes

10/17, 7 PM trombonist Kalia Vandever and her Group followed by cinematic, lyrical postbop jazz with the Mark Wade Trio at the National Jazz Museum in Harlem, $10 sug don

10/17, 7:30 PM eclectic soul-jazz alto saxophonist Lakecia Benjami & Soul Squad at Symphony Space, $20 for 30 and under, $30 otherwise

10/17, 7;30 PM violist Jung-Yun Lee plays works by American composers Jack Delano, John Stafford Smith , Alan Hovaness, Daniel Troob at the National Opera Center, 333 7th Ave, free

10/17, 7:30 PM the annual celebration of A People’s History of the United States, performers tba, at the Lincoln Center Atrium, free, early arrival advised

10/17, 8 PM deviously funny, clever retro honkytonk crooner Dale Watson at Hill Country, $17

10/17 8:30ish in reverse order at the Bell House : retro rock and blue-eyed woul with Shannon and the Clams, jangly garage-psychedelic band Las Rosas, weird circusy oldschool soul with Champagne Superchillin, ‘$25 adv tix rec/

10/17 830 PM klezmer trumpet icon Frank London & Eleanor Reissa at Town & Village Social Hall, 334 E 14th St.(between 1st & 2nd Ave.), $15

10/17, 10 PM ageless, unstoppable third-wave garage rockers the Fleshtones at Bowery Electric, $18

10/17, 7:30 PM pianist Per Tengstrand and Opus 21 play Gersnwin’s Rhasody in Blue plus works by Schumann at Scandinavia House, $25

10/18. 6ish Sharon Goldman – one of the great tunesmiths to come out of the NYC acoustic scene since the turn of the century and brilliantly lyrical dark oldtimey songwriter/multi-instrumentalist Pete Lanctot at the American Folk Art Museum

10/18 7 PM this year’s annual Momenta Festival continues with the Monenta Quartet playing works by works by Manena Contreras, Alyssa Weinberg: Jason Kao Hwang; Christopher Stark at the Tenri Institute, free

10/18. 7 PM Balkan and other string band madness: Fanfarra Feminina,, theatrical street band Seed & Feed Marching Abominable and Demolition Brass Band at Headroom Bar & Social, 150 Bay St, Jersey City, $12, Path train to Grove St

10/18, 7:30 PM Tito Rodriguez Jr. leads his salsa dura band at the Lincoln Center Atrium, free, early arrival advised

10/18. 7:30 PM the Sora Quartet, with Emile Blondel and Shawn Barnett play works by Gorecki, Ravel and Faure at Arete Gallery, $tba

10/18, 8 PM surviving improvisers of 60s creative jazz legends the AACM reunite at Symphony Space, $30

10/18-19, 8 PM, repeating 10/22 at 7:30 PM Susanna Mälkki conducts the NY Philharmonic in Strauss’s Also sprach Zarathustra and Haydn’s Philosopher Symphony, $35 tix avail

10/18. 8:30 PM nimble, pensive acoustic guitarist songwriter Genessa James‘ Onliest,the upbeat, oldtimey Ebony Hillbillies – NYC’s only oldschool African-American string band – and Nashville gothic/janglerock/oldschool C&W band Karen & the Sorrows playing the album release show for their new one at Littlefield, $10

10/18, 9 PM noir guitar legend Jim Campilongo leads his trio at Bar Lunatico

10/18 and 10/20, 9ish psychedelic dark garage legends Thee Oh Sees at Warsaw, $25; the 10/19 show is sold out

10/18,7 PM ambient guitarist and Bowie collaborator Gerry Leonard a.k.a. Spooky Ghost at the basement room at the Rockwood $15. At 10 PM New England Americana songstress Heather Maloney is at the big room at for five bucks more

10/19 3 PM perennially edgy soul survivor Bettye LaVette outdoors on the plaza at 300 Ashland Place up the block from BAM

10/19, 5′:30 PM pianist Isabelle O’Connell pairs works by Chopin and Schubert with more recent pieces b George Crumb and Missy Mazzoli, at Brooklyn Conservatory of Music, $15/$10 stud/srs

10/19 6/8 PM the Pablo Ziegler Chamber Quartet play the album release show for their lush new nuevo tango release at Bargemusic, $35/$30 srs/$15 stud

10/19, 7 PM rudite jazz drummer Winard Harper & Jeli Posse with special guests Jimmy Owens on trumpet, Vanessa Rubin and Charenee Wade on vocals at Flushing Town Hall ,$20/$10 srs/free for students 19-under w/ID

10/19, 7PM this year’s annual Momenta Festival winds up with the Monenta Quartet playing works by Phyllis Chen, Stephanie Griffin, Mozart and Stefano Gervaso at the Tenri Institute, free

10/19, 7 PM the annual, marathon Ragas Live Festival of Indian music at Pioneer Works, nonstop ragas on every instrument imaginable, runs til 7 PM on 10/20, variable pricing depending on how long you’re planning on staying

10/19, 7:30 PM the Juilliard String Quartet play works by Mozart, Britten and others at Washington Irving High School, 40 Irving Pl, $unknown

10/19, 7:30 PM rare slide guitar-ish Indian ragas:  Barun Kumar Pal – hansaveena; Steve Gorn – bansuri flute; Aditya Phatak – tabla at the Chhandayan Center For Indian Music, $20

10/19, 8 PM Vox Luminis sing Scarlatti’s Stabat Mater and works by Monteverdi and his contemporaries at the Church of St. Mary the Virgin, 145 W 46th St,  $30 seats agail

10/19, 8 PM legendary percussionist Pejman Hadadi leads a spellbinding Iranian trio with Saeed Kamjo on kamancheh and Kourosh Taghavi on setar at Roulette, $30 gen adm

10/19, 8 PM fiddler and Carolina Chocolate Drops collaborator Jake Blount and acoustic blues dude Bob Malenky at the People’s Voice Cafe, sugg don, $20, “more if you choose; less if you can’t; no one turned away”

10/19 8 PM legendary Argentine metal band Horcas at Blacktorn 51, $25

10/19, 10:30 PM diverse, smartly playful viola virtuoso/film composer Ljova at the Postcrypt Coffeehouse

10/20, 11 AM Molly Carr, viola, & Anna Petrova, piano play material from their Refugee Project, inspired by their visits to refugee camps around the world at Subculture, $20, snacks/coffee included

10/20, 4 PM sitarist Shafaat Khan at the Queens Botanic Garden, 43-50 Main Street, Flushing, $6, kids free, 7 to Main St./Flushing

10/20, 5 PM pianist Evelyne Luest‘s Contrasts Ensemble play trio works of Brahms, Stravinsky, Clara Schumann and Khachaturian at the Lounge at Hudson View Gardens, 128 Pinehurst Ave @ W 183rd St, A train or #1 train (to 181st St) or the M4 bus (to 183rd St), $15/$12 stud/sr

10/20, 5 PM Emilie-Anne Gendron, violin; Yelena Grinberg, piano play works by Clara and Robert Schumann plus Brahms, Kirchner, Reinecke, Dietrich and Joachim at Grinberg’s upper westside piano salon, reception to follow, $35, close to the 1/2/3 train at 96th St., deets here 

10/20, 5:30 PM the mighty, stunningly eclectic, Middle Eastern-tinged Eyal Vilner Big Band at Birdland,$30

10/21, 8 PM dark intense lyrical southwestern gothic/paisley underground rockers Shanghai Love Motel at Arlene’s, $10

10/21. 8:30 PM  elegant, sharply lyrical parlor pop stylist Heather Eatman at the basement room at the Rockwood $10

10/21. 9 PM ubiquitously purposeful tango bassist Pablo Aslan leads a killer quartet with Frank London on trumpet and Rob Curto on accordion at Bar Lunatico

10/22, 7:30 PM the ferociously edgy all-female Rhythm Method String Quartet play works by Kristin Bolstad and Ole-Henrik Moe (Norway); 19th-century Swedish composer Amanda Erika Maier-Röntgen; and their own violinist Leah Asher at Scandinavia House, $15

10/22, 8 PM Brooklyn Iranian expat janglerock band Habibi followed by legendary Zambian fuzztone garage-psych band WI.T.C.H. (We Intend to Cause Havoc) at the Bell House, $20

10/22, 8 PM first-wave punk legends Stiff Little Fingers – with iconic Jam bassist Bruce Foxton – at Warsaw, $33

10/22, 8 PM bracing avant garde vocal superduo Lea Bertucci and Amirtha Kidambi followed by Japanese band Asa-Chang & Junray in their US debut at Issue Project Room, $15/$12 stud/srs

10/22 9 PM legendary dual-reedman George Braith – who can play two saxes at once better than most guys can play one – leads his quartet at the Fat Cat

10/22 10:30 PM charismatic, adventurous postbop/avant garde trombonist/crooner Frank Lacy leads his group at Smalls

10/23, 8 PM brilliant Middle Eastern multi-instrumentalist Rami Khalife at Drom, $15adv tix rc

10/23. 8 PM composer Nick Hallett and ensemble “return to perform the grand finale of his newest dark comedic opera project, To Music; and composer Emily Manzo presents the world premiere of her new multimedia song cycle, How to Rescue” at Roulette, $18 gen adm

10/23. 8PM Stoogoid stoner boogie band Sun Voyager heavy psych band Heavy Temple and ornate, epic metal crew The Well at St. Vitus, $10

10/23, midnight boisterously funny oldschool 60s C&W and brooding southwestern gothic with the Jack Grace Band at the Ear Inn

10/24, 6:30 PM (early) mesmerizing, dynamic, psychedelic Malian duskcore band Songhoy Blues at Baby’s All Right, $15

add 10/24, 10ish PM hip-hop legend Wyclef Jean at Chelsea Music Hall

10/24, 7 PM string players/composers Jessica Meyer and Jessie Montgomery premiere their new Lower East Side-themed art-songs at 1 Rivington St., $20/10 stud

10/24, 7:30 PM, repeating 10/26 at 8 Emmanuel Ax & the NY Philharmonic play Beethoven’s Piano Concerto No. 1 plus works by Roussel, Ravel, Jennifer Higdon, $32 tix avail

10/24, 730/9:30 PM this era’s most cutting-edge, politically relevant large jazz ensemble, Darcy James Argue’s Secret Society  at the Jazz Standard, $30

10/24 7:30 PM cellist Saeunn Thorsteinsdottir and ensemble play new Icelandic works by Hafliði Hallgrímsson, Páll Ragnar Pálsson, Halldór Smárason and others at Scandinavia House, $25

1024, 7:30 PM in reverse order at Bric Arts: alto powerhouse Ravi Coltrane;s tribute to his mom Alice Coltrane, Cuban pianist Dayramir González & Habana enTRANCé, drummer-composer Makaya McCraven, funky keyboardist  Aaron Whitby‘s Cousin from Another Planet project, vibraphonist Sasha Berliner‘s Azalea, intense, lyrical, politically fearless tenor saxophonist Roxy Coss’ Quintet, and some weirdass lame electronic act to open the show. $30 adv tix rec

10/24, 8 PM a composr portrait of this era’s arguably best jazz pianist, Vijay Iyer including performances by the man himself with violinist Jennifer Koh and eclectic, edgy orchestra the Knights at the Miller Theatre, $20 tix avail

10/24, 8 PM oldschool and newschool folk with eclectic, tuneful accordionist/songwriter Ali Dineen at the Owl

10/24 8 PM sax quartet Nois play darkly pensive works by each of the group’s members at Roulette, $18 gen adm

10/24, 8 PM the Eurasian Symphony Orchestra play works by Saint-Saens, Glnnka, Kreisler, Kazhgaliyev, Sarasate and R.Abdyssagin at Symphony Space, $28 adv ti avail

10/24, 8:30 PM hot klezmer string band music with Hankus Netsky & Eden MacAdam-Somer at Town & Village Social Hall, 334 E 14th St.(between 1st & 2nd Ave.), $15

10/24, 9 PM lyrical latin jazz pianist Aruan Ortiz leads a trio at Bar Lunatico

10/24 11 PM wickedly torchy noir songwriter Julia Haltigan and her killer band play the album release show for her long-awaited new one at the Sultan Room, $10

10/25, 7 PM clarinet wizard Thomas Piercy with Lish Lindsey, ryuteki, flute; Xiao Li, soprano; Chen Yihan, piano play a rare performance of many contemporary Japanese composers plus works by Teubal, Auerbach and Serebrier at Bargemusic, $35/$30srs/$2o sud

10/25, 7:30 PM in reverse order at Bric Arts: Georgia Anne Muldrow, iconic, rapturous AACM pianist/organist Amina Claudine Myers: Generations 4, everybody’s favorite postrock/jazz mashup band Kneebody, vibraphonist Joel Ross’ genuinely Good Vibes, incisive, latin-inspired sax improviser Maria Grand, drummer Tosin Aribisala’s Trio, and QNA (Q&A after maybe???). $30 adv tix rec

10/25, 7:30 PM the two-guitar Alhambra Band with Brahim Fribgane, oud play flamenco jazz at Terraza 7, $15

10/25, 7 PM legendary horror punk band the Undead at Blackthorn 51, $15

10/25, 7 PM cellist Carolyn Jeselsohn leads an ensemble playing a program tba at Third St. Music School Settlement

10/25-27, 7:30/9:30 PM brisk postbop pianist Christian Sands leads his Highwire Trio with Luques Curtis on bass and Ulysses Owens on drums at the jazz Standard, $30

10/25, 8 PM  careeningly explosive ten-piece Balkan brass crew Veveritse at Silvana

10/25-26, 8 PM the reliably entertaining, adventurous Chelsea Symphony play Mozart’s Jupiter Symhony plus works by Jessie Montgomery, Haydn, Weber, Jennifer Higdon and Aaron Dai at St. Paul’s Church, 315 W 22nd St., $20 sugg don

0/25, 8:30 PM low-key Americana/country blues songwriter Jon LaDeau plays the album release show for his new one at 11th St Bar

10/25, 8 PM classical avant-punk violin duo String Noise play works by Ki Young Kim at the Center for Remembering and Sharing, $25 adv tix rec

10/25, 8:15 PM Eichard Nelson’s cinematically improvisational Makrokosmos Orchestra at Shapeshifter Lab, $10

10/25, 9ish wirly fuzz/dreampop band Mantismass, haunting slowcore/art-rock band Cortége , and intense, menacing stoner/doom band Sleeping Village at Gussy’s Bar in Queens

10/25, 9 PM saxophonist Anant Prahan leads a sextet playing a tribute to Jamaican jazz legend Cedric Brooks at Bar Lunatico

10/26, 7 PM Indian odissi dancer Kaberi Sen followed by sitarist Anjan Saha at the Chhandayan Center For Indian Music, $20

10/26, 7:30 PM Music From China play premieres by Zhong Lu, Chen Yi’ and others at Symphony Space, $18 adv tix rec

10/26, 730 PM in reverse order at Bric Arts: drummer/composer Ben Perowsky, Josh Kaufman & Stuart Bogie of Antibalas; stoner percussion-scaper Kassa Overall, drummer Antonio Sanchez vivid, intense, lyrical jazz pianist Myra Melford ’s Snowy Egret, luminous, soulful pan-Latin jazz chanteuse Claudia Acuña  and high-voltage alto saxophonist Tia Fuller and her band $30 adv tix rec

10/26, 8:30 PM soprano sax star Sam Newsome‘s Imaginary Kraken chamber jazz sextet at I-Beam, 415

10/26, 8 PM crazy segue, great twinbill: ferocious, creepily enveloping, kinetic psychedelic tropicalia band Yotoco and lustrous singer and badass cello-rock bandleader Serena Jost at the Owl

10/26, 9 PM baritone honkytonk crooner Jack Grace resurrects his legendary 90s jamband Steak at Bar Chord

10/26, 9 PM the Delorean Sisters – who do funny oldtimey acoustic covers of cheesy 80s pop songs – at the Delancey, $10

10/26, 9 PM honkytonk guitarslinger Danny Weiss and charming singer Mary Olive Smith’s oldschool C&W band Stillhouse Serenade at the Jalopy Tavern

10/26, 9ish growly, darkly cinematic postrockers Russian Circles at Warsaw, $25

10/27, 11 AM Laura Metcalf (cello) and Rupert Boyd (guitar),play a program tba at Subculture, $20, snacks/coffee included

10/27, starting at 2 PM, going til 9, electric guitar quartet Dither play a marathon show, opening with the world premiere of JG Thirlwell’s Feather Mask for prepared guitar plus selections from their new album, Potential Differences, plus performances by a long list of talent including Alicia Hall Moran and the Mivos Quartet at Frost Theater of the Arts, 17 Frost St. in Williamsburg,, G to Lorimer

10/27 ,2 PM pianist Marika Bournaki plays Beethoven Sonatas Nos. 11, 24 and 31 at Bargemusic, $35/$30 srs/$20 studs

10/27, 2 PM cellist Camille Thomas and pianist Julien Brocal play works by Messiaen, Franck, Brahms and Beethoven at the Town Hall, $tba

10/27. 3 PM classical guitarist Roberto Sánchez performing works by Luys de Narváez, J.S. Bach, G. Regondi, C. Chávez, H. Villa-Lobos, and M.M. Ponce. at St/ Paul’s Chapel downtown, free, reception to follow

10/27, 3 PM Valery Gergiev conducts the Munich Philharmonic playingMendelssohn: Scherzo from Midsummer Night’s Dream; Tchaikovsky: Piano Concerto No. 1 and Shostakovich: Symphony No.5 at NJPAC in Newark, $30 tix avail

10/27, 4 PM fiery and elegant dance and music from Georgia and India: Dancing Crane plus Jiva Dance with dancers: Sonali Skandan, Maya Kappil, Amrita Doshi, -plus a band wih attuvangam – Kiran Rajagopalan; vocals: Vignesh Ravichandran; mridangam: Bala Skandan; violin: Neha Krishnamachary at Manhattan Movement Arts Center, 248 West 60th St, $25/$20 stud/srs

10/28 8 PM astonishingly prolific and acerbic guitarist Mary​ ​Halvorson & John Dieterich of Deerhoof play the album release show for their new duo record A Tangle of Stars at Roulette, $18 gen adm

10/28. 9:30 PM irrepressible storyteller/psychedelic guitarist/new wave cult hero Wreckless Eric and psychedelic janglerock legends the Flamin Groovies at the Cutting Room, $27 adv tix rec. The Groovies are back on the 29th at 10:30 for the same price

10/29, drinks at 5:30 PM, show at 6, indie classical allstar quintet Counterinduction –  (Miranda Cuckson, violin; Jessica Meyer, viola; Karen Ouzounian, cello; Benjamin Fingland, clarinet; Ning Yu, piano) play music of Jessica Meyer at the Miller Theatre, free

10/29-30 730/9:30 PM intense, darkly lyrical Israeli jazz pianist Shai Maestro leads his trio with Philip Dizack on trumpet at the Jazz Standard, $30

10/29, 7:30 PM Unheard-Of Ensemble play a program tba at 1 Rivington St., $20/$10 stud

10/29 8 PM saxophonist Aaron Burnett’s Big Machine “reflects on society’s urgency for freedom and peace in a world ruled by corporations and overwhelming technology” at Roulette, $18 gen adm

10/29 8 PM Sephardic dance jamband Yemen Blues at Symphony Space, under 30 $26 adv tix avail, otherwise $30 in advance

10/29-11/3, 8:3/11 PM John Zorn leads a quartet with Julian Lage (guitar); Jorge Roeder (bass); Kenny Wollesen (drums) at the Vanguard

10/29, 9 PM edgy lead guitarist Damian Quinones and his psychedelic latin soul band at Bar Chord

10/29, 10:30 PM this era’s most intensely powerful tenor saxophonist/composer, JD Allen leads his smoking, intense new quartet at Smalls

10/30 1 PM the Ron Aprea Big Band featuring Angela DeNiro play a Basie tribute at St. Peter’s Church, 54th/Lex

0/30-31 ,7/10 PM the best singing pianist (and the best piano-playing singer) in jazz, Champian Fulton at Birdland, $20 seats avail

10/30, 730 PM the Mannes Orchestra play works by Brian Ferneyhough, Michael Finnissy, Bahar Royaee and Unsuk Chin at the New School first floor auditorium at 63 5th Ave, free

10/30, 8 PM the DaCapo Chamber Players perform works by Jonathan Dawe, Vasiliki Krimitza,Cynthia Folio, Louis Karchin, Jihyun Kim, Bruce Adolphe at Merkin Concert Hall, $20

10/30-31, 8PM the Red Room Orchestra  at Symphony Space, under 30 $26 adv tix avail, otherwise $30 in advance. The 10/30 show features music from The Big Lebowski; 10/31 they’re playing horror film soundtrack material

10/30, 8 PM bump bump, bump-bump, bump: oldschool garage rock with the Schizophonics at Union Pool, $10

10/30, 8 PM guitar goddess Barbara Endes’ exhilarating psychedelic janglerock band Girls on Grass followed by wild Irish band the Narrowbacks and raucous New Orleans psychedelic soul band the Hooten Hollers at Gold Sounds, $10

10/30, 9:30 PM everybody’s favorite zeros-era Led Zep-ish stoner boogie band: Wolf Eyes at Brooklyn Bazaar, $15 adv tix avail at the Poisson Rouge box office

10/31, starting at 3:30 PM a family-friendly Halloween party at Brooklyn Conservatory of Music with “scary sounds, terrifying tempos, insane instruments, and frightening faculty!” free

10/31, 6 PM ish trumpeter Pam Fleming’s wickedly cinematic, sinisterly amusing jazz/reggae/soul crew the Dead Zombie Band at the outdoor Waverly Ave block party in Ft. Greene west of DeKalb, follow the noise and the trick-or-treaters

10/31, 7:30 PM a Mexican Coney Island Halloween with pine-tingling, darkly mystical art-rock/avant-garde/chamber pop songwriter Carol Lipnik and cabaret pianist Tareke Ortiz with Matt Kanelos on piano at the Lincoln Center Atrium, free, early arrival advised

10/31 7:30/o9:30 PM iconic low register reedman Scott Robinson ‘s Heliotones play their annual Halloween show at the Jazz Standard, $30

10/31 8:30/11 PM allstar violinis Jenny Scheinman and drummer Allison Miller’s Parlour Game trio with formidable pianist Carmen Staaf at Birdland, $30 seats avail

10/31, 8:30 PM pyrotechnic clarinetist and Dave Tarras protege Michael Winograd and band at Town & Village Social Hall, 334 E 14th St.(between 1st & 2nd Ave.), $15

10/31 9 PM one of NY’s most versatile, ferocious guitarists, ex-Sharon Jones lead player Binky Griptite and band at Bar Lunatico

10/31. 9ish the circus rock band that started the whole thing – World Inferno at Warsaw, $25

10/31 9 PM uneful, cinematic jazz trombonist John Yao‘s Tricieratops play the album release show for their new one at the old Nublu

10/31 9ish edgy, Romany and latin-spiced dance band Paprika at Branded Saloon

10/31, 9:30 PM purist CBs style female-fronted powerpopsters the Carvels NYC – a rare rock band with sax that’s actually good – and comedic, legenday SoCal first-wave punks the Dickies at Bowery Electric, $206

10/31, 9:30 PM torchy singer Jennifer Charles’ haunting, atmospheric, cinematic art-rock band Elysian Fields at the Sultan Room, $16

11/6, drinks at 5:30 PM, show at 6, TAK Ensemble play works by Ashkan Behzadi ,Erin Gee, Taylor Brook , Tyshawn Sorey and David Bird at the Miller Theatre, free

11/7 7:30 PM All-female Korean band The Tune combines shamanistic traditional music with art-rock at the Lincoln Center Atrium, free, early arrival advised

11/8, 8 PM the world’s darkest, slinkiest, most blackly funny crime jazz/film noir band, Big Lazy play the album release show for their danceably creepy new one Dear Trouble at the Old American Can Factory, 232 3rd St. in Gowanus with special guests Steven Bernstein on trumpet, Slavic Soul Party’s Peter Hess on saxes and Miramar’s Farfisa sorceress Marlysse Rose Simmons, $20

11/14, 7:30 PM the Attacca Quartet with Caroline Shaw (prexumably on vocals and violin) at the Lincoln Center Atrium, free, early arrival advised

11/15 7:30 PM conguero Edwin Bonilla leads his salsa dura band at the Lincoln Center Atrium, free, early arrival advised

11/21, 7:30 PM soca hall of famer Mighty Sparrow in a relatively intimate show, omg, at the Lincoln Center Atrium, free, early arrival advised

11/21, 8 PM Rena Anakwe “presents the third and final work of her 2019 residency with the premiere of Ogwu (the healing), an immersive purification ritual sculpted through a visual, sound, and scent bath inspired by the element of fire” at Issue Project Room, free

11/24, 5 PM violist Jessica Thompson (Daedalus Quartet) and pianist Andrea Lam (Claremont Trio),team up for works by Bach, Britten, Kurt Rohde, and Schumann at the Lounge at Hudson View Gardens, 128 Pinehurst Ave @ W 183rd St, A train or #1 train (to 181st St) or the M4 bus (to 183rd St), $15/$12 stud/sr

11/26, 7:30 PM Cuban pianist Dayramir González & Habana enTRANCé at the Lincoln Center Atrium, free, early arrival advised

12/10, drinks at 5:30 PM, show at 6, badass harp virtuoso Bridget Kibbey plays works by Bach, Gershwin, Albeniz and Tschaikovsky at the Miller Theatre, free

Above the Moon Steals the Show at Marcus Garvey Park

Sunday afternoon at Marcus Garvey Park, it was validating to watch Above the Moon take over the big stage like they owned the place. The last time this blog was in the house at one of their shows, it was a weeknight at a hideous little Chinatown mob joint where frontwoman/Telecaster player Kate Griffin’s vocals weren’t even in the mix. Which was a crime, because her voice will give you chills. Still, good things started happening: all of a sudden, the band were headlining Arlene’s on Friday nights, and they’ve released a series of excellent ep’s. The data-mining dorks at the big corporate venue chains don’t get it, but Above the Moon are proof that there’s still a massive market for smart, fiercely tuneful rock.

Their sound these days is tighter and harder than it’s ever been, a lot less jangly. Griffin played her usual uneasy mix of roaring, distorted major and minor chords punctuated by Shawn Murphy’s gritty, new wave-ish bass and Strat player James Harrison’s terse, incisive upper-register chordlets and simple, jagged blues leads. Drummer John Gramuglia provided a relentless, colorful stomp, using his whole kit, not just the kick and the snare like a lot of bands with this kind of sound.

Likewise, Griffin uses every inch of her mighty voice’s register, from ominous lows to wailing highs, leaping and bounding effortlessly. The high point of the show was when the music came to a sudden stop after a chorus, but Griffin kept wailing for a couple of seconds of raw adrenaline until the band jumped back in again. There’s always been a restlessness in her songwriting, and the new, angrier edge is a welcome development. Maybe it’s a sign of the times. The band are about to record yet another ep, and the new material is more punk and new wave-influenced than ever. Songs ended sudden and cold, and the final, slowly crescendoing anthem brought to mind a Buzzcocks epic from the 80s.

The rest of the bill was a mixed bag. The last band opened with what sounded like a loud guitar version of a Madonna hit from the 90s and got really cheesy from there, with a goofy ha-ha presence and lazy, inept Pearl Jam-style open chords. After Above the Moon, Mojo & the Mayhem were as lame as their name, which was sad because they have really good songs, and a strong frontwoman who has the timing and the flair to go deep into the group’s attempt to work an oldschool soul vibe. It’s rare to see a band with such purist, catchy material looking so lost onstage. Maybe they’d get somewhere with a different lineup (and a different name – ouch). The horns were ragged, and the guys in the group should know better than to try to upstage a good lead singer on the mic – or, for that matter, to take a halfhearted stab at fake ebonics at a Harlem show. That was shameful. And the bassist and guitarist looked like mercenaries, bored out of their minds, phoning it in and then overplaying when they finally got to take centerstage.

Cosmonaut Radio, on the other hand, do one thing and one thing spectacularly well: psychedelic funk, with a little oldschool 70s disco in places. They were literally as tight as their drummer. And they have a sense of humor; “We’ve got one more for ya. That’s the name of the song: ‘One More For Ya,’” one of the group’s two Telecaster players explained to the crowd – and then treated them to at least another half-hour of groove. With chicken-scratch rhythm, wah-wah lead guitar, smoky organ, a fiery two-man horn section, wryly processed bass and a high-voltage soul chanteuse out in front, they did their best to get a sleepy indian summer crowd on their feet. But it was a hot day; people seemed more interested in sipping Hennessy and smoking weed than moving around much.

Warish Bring Their Hard, Fast Attack to the Knitting Factory

Warish play hard, fast, heavy music that sounds a lot like Queens of the Stone Age: metal chord changes at punk speed. They’re not big on guitar solos but they are big on hooks and evil chromatics. They like their textures fuzzy and dry, Pantera-style. Their new album Down in Flames – which doesn’t seem to be a Dead Boys reference – is streaming at Bandcamp. On the record, they tend to pair similar-sounding songs together, maybe because the tunes here are on the short side: no wasted notes. Warish are playing the Knitting Factory on Sept 30 at 8 PM followed by the epic Wizard Rifle and then psychedelic doom legends Acid King; cover is $20. Because of the L-pocalypse, you’ll need to find a way to take the G train – which doesn’t have any scheduled delays that night, at least as far as we know – to connect with whichever subway you’re taking home.

The album’s first track, Healter Skelter doesn’t sound anything like the Beatles, but it does sound exactly like QOTSA: fast, gritty, simple riffage, mostly a one-chord jam. You’ll Abide has the same kind of hammering QOTSA drive, but the changes are just as fast and furious and a lot catchier.

Big Time Spender has gleefully evil doomy hammer-ons from frontman/guitarist Riley Hawk in between the bludgeoning riffs; Bleed Me Free follows the same pattern. With its catchy 3-2-1 minor-key hook, the desperate wartime trench tune In a Hole is the album’s punkest tune. Then they follow with Bones, which is much the same.

Voices has an especially tasty chromatic menace and hints of horror garage rock. They go back toward punk with Fight and its slithery raga-rock intro. Then, in Shivers, they shift from wide-angle psychedelic chords to straight-ahead punk and a little halfspeed Sabbath.

Running Scared could be surf punk legends Agent Orange at their heaviest. The album closes with the cynical, QOTSA-style blues-tinged Their Disguise – finally, a shreddy guitar solo, and it’s unhingedly good! Their Disguise. Not a single weak song on this record: these guys have really figured out their sound. If you like speed and power, this is for you

The Long Ryders Celebrate Americana Rock Legend Sid Griffin’s Birthday in Jersey City

“After this obligatory encore, I’ll be at the merch table where you can ask me anything about the Bangles and the Dream Syndicate,” Long Ryders founder and guitarist Sid Griffin told the packed house at WFMU’s Monty Hall in Jersey City last night.

He was joking, of course. But who ever imagined that the Long Ryders – or the Dream Syndicate – would be back in action, touring and still making great records, almost forty years after they started? The difference for this band is that the individual members seem to be more involved as songwriters this time around. “The world’s smallest Kickstarter,” as Griffin called it, crowdfunded the Long Ryders’ often astonishingly fresh, vital, relevant new album, Psychedelic Country Soul, which figured heavily in the set.

Griffin was celebrating his 64th birthday, and was regaled from the stage by his bandmates: guitarist Stephen McCarthy played the Beatles’ When I’m 64 into the PA from the tinny speaker on his phone, and the crowd revealed their music geekdom by not only knowing the words but also the instrumental break after the first chorus. Griffin held up his end: he still has his voice and his lead guitar chops, trading long, crackling honkytonk solos with McCarthy early in the set.

“I had a dream that Trump was dead,” McCarthy ad-libbed, updating the new wave-flavored I Had a Dream for the end of a new decade. The band had most recently played this particular venue the night of the fateful 2016 Presidential election, and had plenty of vitriol for the possibly soon-to-be-impeached tweeting twat in the Oval Office. That wasn’t limited to banter with the crowd: Griffin reminded how prophetic the broodingly jangling anti-Reaganite protest song Stitch in Time, from the band’s 1986 Two Fisted Tales album, had turned out to be. And bassist Tom Stevens switched to Telecaster for the plaintively jangling Bells of August, the song Griffin described as the best on the new album, a familiar story centered around a family’s beloved son finally returning home…in a body bag.

It’s been said many times that the Long Ryders invented Americana as we know it today, but despite their vast influence in that area, they were always a lot more eclectic. This time out, they broke out covers by the late Greg Trooper, Mel Tillis – the big crowd-pleaser Sweet Sweet Mental Revenge – and what sounded like the Flamin’ Groovies. Of the band’s classic 80s material, both Final Wild Son and the last song of the night, a delirious singalong of Looking for Lewis and Clark, came across as chicken-fried Highway 61 Dylan.

Stevens’ other standout among the new material was a garage-psych flavored tune, What the Eagle Sees. And Griffin put some muscle behind his punkish stage antics with a slashing, embittered new one, Molly Somebody, which for whatever reason sounded a lot like the Dream Syndicate. And that makes sense – if you know any of the baseball-hatted old guys who went to this show, or knew them when they were baseball-hatted young guys, everybody who liked the Dream Syndicate was also into the Long Ryders, and True West. And the other great 80s guitar bands, including the Del-Lords: their frontman and lead guitarist, Eric Ambel, had played the evening’s opening set.

The Long Ryders tour continues tonight, Sept 19 at 9 PM at the Lockx, 4417 Main St.  in Philadelphia? Cover is $30

Monograms Bring Their Spot-On Gothic 80s Sound to Bushwick This Weekend

Monograms call themselves “New York’s nuke wave.” In an era when rock music has become a legacy style like bluegrass or roots reggae, this four-piece band do a great job emulating the dark side of early 80s British new wave, particularly the Cure around the time of the Pornography album. Monograms’ debut album Living Wire is streaming at Bandcamp; they’re playing the release show on Sept 21 at 9ish at the Broadway, the recently reopened former Gateway space at 1272 Broadway in Bushwick. The noisy Big Bliss play beforehand. Most of the shows at the Gateway were pass-the-hat: the venue doesn’t have a website. so it’s it not clear if that’s the situation, or if there’s a cover charge. Take the J to Gates Ave. and walk back toward Williamsburg a couple of blocks.

The album opens with the opaque Buzz Choir, a swirly, dreampop-tinged take on Joy Division. The second track, Sounds Like Mean Spirit is total 80s goth, frontman Ian Jacobs’ spare, catchy, watery chorus-box guitar over Sam Bartos’ snappy, trebly bass and Rich Carrillo’s skittish 2/4 drumbeat. In the background, Michelle Feliciano’s synth quivers and oscillates.

Likewise, Don’t Fight For It is awash in grey-sky string synth and icy guitar/bass textures: it’s basically a one-chord song. The chugging dancefloor beats and washes of synth in Nose Dive are pure New Order circa 1981. Common Circles has some neat guitar/bass/synth tradeoffs, while the gloomily propulsive Century pulses with fried-plastic textures.

Garbage Can could be an especially guitarish outtake by mid-80s New Order; likewise, the final cut, Pirate Government Inc. is a denser take on early Human League (before that band got all poppy).

For the most part, lyrics and vocals don’t really figure into this band’s music: it’s all about the chilly ambience. If you have an aunt or uncle who spent time at any of the New York goth palaces like Slimelight or the Cooler back in the 90s, ask them if they have any black eyeliner you can borrow for the Bushwick gig.

Shapeshifting Art-Rockers Changing Modes Put Out Their Most Savagely Brilliant Record Yet

Changing Modes aren’t just one of the most instantly recognizable rock bands in the world: they’re also one of the best. Over the past ten years or so, they’ve put out an increasingly brilliant succession of sharply lyrical, mind-warpingly eclectic albums that span from quirky new wave to majestic art-rock to ferocious punk. It wouldn’t be a stretch to call them the American Pulp – or to call Pulp the British Changing Modes. The big news about the group’s latest album, What September Brings – streaming at Spotify – is that keyboardists and co-frontwomen Wendy Griffiths and Grace Pulliam, guitarist/bassist Yuzuru Sadashige and drummer Timur Yusef have been bolstered by the addition of baritone saxophonist Sawa Tamezane. The new release is also arguably the band’s angriest and most political record yet (think about that title for a second). Griffiths has a short fuse when it comes to narcissists, and she torches several here. Changing Modes are playing the album release show on Sept 20 at 8 PM at Arlene’s; cover is $10. It’s impossible to think of a more entertaining, consistently surprising Friday night rock act anywhere in New York right now.

The album’s opening track, Days, could be described as noir new wave Motown circus rock, but that’s only scratching the surface of how artfully the band blend those styles. The two women’s voices harmonize eerily over an uneasy, altered waltz, the sax adding a deliciously smoky undercurrent:

These are the days I never spent with you
Black eyes and broken wings
White lies don’t give away
Black eyes and broken wings
Butterflies don’t miss a day

Pretty Poisonous has gritty guitar majesty balancing those carnivalesque keys, an allusively snide slap upside the head of real estate bubble-era yuppies. With blippy Wurlitzer, fuzz bass and sarcastic ba-ba harmonies, Tightrope is a delicious dis aimed at a phone-fixated drama queen: It also might be the funniest song Griffiths has ever written.

Corey Booker Blues is not about the mayor and erstwhile candidate: it’s a slinky instrumental, sort of a mashup of Henry Mancini and mid-70s King Crimson, dedicated to Griffiths’ cat – that was his name when she got him from the shelter. Next, the band keep the shapeshifting menace going with another instrumental, 2 1/2 Minutes to Midnight, with some tremolo-picked savagery and more than a hint of heavy metal growl from Sadashige

The band romp lickety-split through 250 Smiles, a sardonic sendup of a catty girl whose “tiny lies accessorize.” Then Pulliam flips the script with January, a pensive tale of abandonment set to an insistent, ornate solo piano backdrop.

Rocket, a sinister surveillance state parable, brings to mind X at their most rockabillyish: “Tell me why the failsafe signal failed/Tell me why the driver never broke a sweat,” Griffiths wants to know. Fueled by Amy Boyd’s shivery violin, Alexander Springs is a more psychedelic take on classic, lush mid-70s ELO, laced with brooding Aimee Mann cynicism:

Wasted summer days on village greens
You wait to see what September brings ‘cause
You’ve been down that lonely road before

Fire has backbeat stomp from Yusef, wary chromatics from Tamezane and Griffiths’ most savagely dystopic lyrics here:

In the line of fire
There’s no reality
As they watch you on their flat screens
A blip is all they see
Caught by friendly fire
As drones divide the sky
You’ll just give in if you never ask why

The cynicism reaches redline in Glide, a sardonically twinkly boudoir soul-tinged nocturne, Griffiths fixing her crosshairs on slacker apathy. The band reach back toward circus rock, with a little Beatles, in Potassium and Riboflavin, a strutting kiss-off number. They close the record with Night Loop, recalling Ennio Morricone’s Taxi Driver score as much as Angelo Badalamenti’s David Lynch theme music. It’s going to be awfully hard to choose any album other than this as the best of 2019 at this point.