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No New Abnormal

Tag: Steve Ulrich composer

The 50 Best Albums of 2019

This is a playlist, plus one last record at the very end that can’t be heard anywhere online but might be the best of all of them. You can listen to everything else here, almost all of it ad-free: it couldn’t hurt to bookmark this page.

Lots of triage was involved. A very ambitious listener with a dayjob that allows for multitasking can hear maybe eight or nine hundred new albums a year, all the way through. An insanely dedicated blogger can hear bits and pieces of maybe five thousand more. That’s about the limit of what one human can do. You may see a few stragglers here which were technically 2018 releases but got overlooked that year. If your favorite album from 2019 isn’t here, that doesn’t mean it isn’t any good…and it might just turn up here next year.

Other than the very top of the list, there’s no hierarchical ranking. Being chosen as the #50 band out of 50 is like getting picked last for kickball, and that’s kind of mean. Besides, if an album is one of the fifty best out of the literally hundreds of thousands released every year, it has to be damn good. Here we go!

Big Lazy – Dear Trouble
The subtlest, most desolate and ultimately most dynamic album from a group synonymous with cinematic noir menace. Guitarist Steve Ulrich’s sense of irony has never been more refined, and the rhythm section of bassist Andrew Hall and drummer Yuval Lion has never been slinkier. Ulrich is the only musician in history who has been on three albums rated #1 for the year here. Listen at youtube

Changing Modes – What September Brings
Best album of the year with lyrics, the New York art-rockers’ finest, most cinematic, and most political release, a savagely lyrical, spot-on reflection on Trump-era narcissism and repression, laced with shapeshifting instrumentals and frontwomen Wendy Griffiths and Grace Pulliam’s disquietingly lush harmonies. Listen at youtube

The Bright Smoke – Gross National Happiness
The title reflects frontwoman/guitarist Mia Wilson’s signature, withering sarcasm. It’s the band’s most savagely political record, a grimly allusive measure of Trump-era inequality, despair and resistance against all that, with a haunting Joy Division undercurrent. Listen at Bandcamp

Karen Dahlstrom – No Man’s Land
The best short album of the year, with metaphorically-loaded, sharply picturesque narratives referencing apocalypse, smalltown anomie, late-night despondency and a ferocious, defiant anthem for the Metoo era from the powerful Bobtown alto singer and Americana songstress. Listen at her music page 

Hearing Things – Here’s Hearing Things
The best debut albun of 2019, by Brooklyn’s funnest dance band, mashes up horror surt, Booker T & the MG’s, twisted go-go music, Afrobeat, Ethiopiques and the Doors, with organ, sax and surf drums. Listen at Bandcamp

The Dream Syndicate – These Times
Steve Wynn‘s iconic, feral, influential psychedelic guitar-duel band’s quietest, most allusively political and arguably most brilliantly lyrical album. Not bad for a group who put out their first record back in the 80s. Listen at youtube

Michael Winograd – Kosher Style
Unsurpassed for his sizzling clarinet chops, Winograd is also a very colorful composer. With sabretoothed chromatics and slashing minor keys, these new klezmer tunes run the gamut from blisteringly fun to mournful to sardonic, and the band is killer. Listen at Bandcamp

Raphael Severe with the Trio Messiaen – Messiaen: Quartet for the End of Time
Here’s another world-class clarinetist and ensemble playing an especially dynamic, inescapably vivid take on one of the most iconic, haunting pieces of classical music ever written (much of it composed in a Nazi prison camp). Riveting as it is, it raises questions as to how fair it is for this blog to rank it alongside the rest of the artists here. Listen at Spotify

Layale Chaker – Inner Rhyme
The brilliant violinist writes vivid, intense, often hauntingly beautiful compositions built around the rhythmic sophistication of classical Arabic poetry, equal parts Lebanese, Egyptian and western classical music, with occasional detours toward jazz or film score atmospherics. Listen at her music page

Los Wembler’s de Iquitos – Vision Del Ayahuasca
With almost all of their original members, this iconic psychedelic cumbia jamband from the heart of the Peruvian Amazon are as wildly trippy and original as they were fifty years ago. Along with Hearing Things‘ debut, this is the best party record of the year. Listen at Bandcamp

Miguel Zenon and the Spektral Quartet – Yo Soy la Tradicion
The formidable alto saxophonist teams up with one of the world’s edgiest string quartets for a mix of acerbic works with an unselfconsciously Bartokian intensity Listen at their music page

Rev. Screaming Fingers – Music for Driving and Film, vol iII (The Desert Years)
Dusky, loping southwestern gothic tableaux, twangy noir Americana, a little horror surf and ominous big-sky themes from these great guitar instrumentalists. Listen at their music page

Girls on Grass – Dirty Power
Like a female-fronted Dream Syndicate, guitar goddess Barbara Endes’ band rips through paisley underground psychedelia, spaghetti westen themes, snarling new wave and garage rock, with a defiant, politically fearless lyricism Listen at Bandcamp

Russ Tolman – Goodbye El Dorado
Jangly, vividly lyrical western noir rock: disappeances, shattered Hollywood dreams, dead-end kids who don’t have a prayer, and roadtrip anomie from the leader of 80s legends True West. Listen at youtube

Julia Haltigan – Trouble
Turns out that the torchy mistress of Manhattan noir is just as fluent with new wave and vintage CB’s-style powerpop, throughout these tales of nocturnal prowling in the East Village before it was yuppified and whitewashed. Listen at Bandcamp

The Felice Bros. – Undress
This could have been the great lyrical, populist record that Springsgteen made in between Born to Run and Darkness: surreal political broadsides, down-and-out characters and death lingering over everything. Listen at Bandcamp

Jay Vilnai – Thorns All Over
Poet Rachel Abramowitz supplies the lyrics for this haunting, mysterious collection of new murder ballads, over the guitarist/bandleader’s cold starscapes, Lynchian dirges and a relentless, lingering guitar menace. Listen at Bandcamp

Karine Poghosyan – Rachmaninoff & Stravinsky
Nobody plays the Russian Romantics with as much insighful flair as this irrepressible virtuoso. As with Raphael Severe above, it is fair to rate this ravishingly intuitive, picturesque performance of achingly beautiful Rachmaninoff Etude-Tableaux and punishingly difficult Stravinsky piano transcriptions against the current-day artists here? Listen at Spotify

Dina Maccabee – The Sharpening Machine
Epically eclectic, trippy art-rock, chamber pop, pastoral themes and occasional coy new wave from this shapeshifting violinist and songwriter. Listen at Soundcloud

The Sirius Quartet – New World
This adventurous, microtonally-inclined string quartet’s collection of original compositions is a fierce concept album in defiance of the current fascist climate in the US. Listen at Spotify

Yale Strom’s Broken Consort – Shimmering Lights
The un-cheesiest Hanukah instrumental record ever made, the violinist-bandleader’s new arrangements blazing with ferocious solos and bracing Middle Eastern modes. Listen at rockpaperscissors

Eleni Mandell – Wake Up Again
The iconic dark Americana and torch singer’s most hauntingly political album is a series of narratives set behind bars, inspired by her experiences teaching songwriting in the prison-industrial complex. Listen at Bandcamp

Charming Disaster – Spells & Rituals
The constantly shapeshifting murder ballad and dark rock superduo dive further into latin noir, 60s Britrock and even garagey psychedelic sounds, all with their colorfully dark lyricism. Listen at Bandcamp

Noctorum – The Afterlife
Lush, characteristically lyrical, jangly art-rock from iconic twelve-string guitarist Marty Willson-Piper – late of Australian psychedelic legends the Church – with a similarly allstar backing band. Listen at Bandcamp

Laura Carbone – Empty Sea
Bleak, Lynchian panoramas, highway-of-death narratives and some guitarishly snarling gutter blues from one of this era’s great noir singers. Listen at Bandcamp

Unnatural Ways – The Paranoia Party
A grimly surreal, volcanically noisy, rhytmically disorienting concept about contact with aliens from guitarist Ava Mendoza’s searing doom/art-rock power trio. Listen at Bandcamp 

The Maureen Choi Quartet – Theia
Epically twisting, high-voltage, flamenco and Romany-inspired string band music from the violinist and her equally eclectic ensemble Listen at Bandcamp

Budos Band – V
The imaginative Afrobeat and Ethiopiques instrumentalists’ most doom metal-inspired album yet. Listen at Bandcamp

JD Allen – Barracoon
A big comeback of sorts for this era’s most potent tenor saxophonist, scorching his way through a Zora Neale Hurston-inspired mix of ominously modal, tersely evocative protest jazz tunes with a new trio. Listen at youtube

Nancy Braithwaite – To Paradise For Onions: Songs and Chamber Works of Edith Hemenway
The classical clarinetist and her dynamic, nuanced chamber ensemble explore stunningly imagistic, darkly clever, tersely crafted pieces by a now Rhode Island-based, nonagenarian composer whose work has never been released on album before. A major rediscovery. Listen at Spotify

Fabian Almazan – This Land Abounds with Life
A glittering, epically cascading eco-disaster themed concept album from one of this era’s most tunefully virtuosic jazz pianists and his dynamic rhythm section Listen at Bandcamp

Doomstress – Sleep Among the Dead
Pervasive gloom, minor keys, purposeful guitar and unusual elegance from frontwoman Alexis Hollada on the Texas doom metal band’s debut album. Listen at Bandcamp

Bobtown – Chasing the Sun
Bewitching three-part harmonies from Katherine Etzel, Karen Dahlstrom and Jen McDearman and folk noir songwriting that’s just a hair less relentlessly dark than the material that put them on the map. Listen at Bandcamp

Petros Klampanis – Irrationalities
Slinky, brooding, Middle Eastern and Greek-inflected ballads and more kinetic, pulsing material from the eclecic bassist and his excellent trio. Listen at Spotify 

The Well – Death & Consolation
Grim, Sabbathy dirges, paint-peeling Stooges sonics and ornately macabre heavy psychedelia from this Texas band. Listen at Bandcamp

Jason Yeager – New Songs of Resistance
A short parade of first-class pan-latin singers deliver the pianist’s protest jazz reinventions of classic nueva cancion from across the Americas in the 70s, alongside some chillingly lyrical, politically-fueled instrumentals. Listen at Bandcamp

Amy Allison – Pop Tunes & the Setting Sun
A characteristically bittersweet, brilliantly crystallized, lyrical collection of rarities and outtakes by the inimitable Americana singer. Listen at youtube

Soundwalk Collective with Patti Smith – Mummer Love
Rousingly hypnotic North African grooves and immersive atmospherics behind acerbic, often savage poetry by Patti Smith and one of her big influences, Arthur Rimbaud. Listen at Bandcamp

Andplay – Playlist
The meticulously focused, tightly intertwining, colorful violin/viola duo negotiate the dynamic twists and turns of pieces by David Bird, Ashkan Behzadi and Clara Iannotta on their debut ep. Listen at Bandcamp

The Shootouts – Quick Draw
Spot-on, classic 1965-style honkytonk, hard country, Bakersfield twang and a little rockabilly from this slyly aphoristic Akron, Ohio band. Listen at Soundcloud 

The Ragas Live Retrospective
Members of the paradigm-shifting Brooklyn Raga Massive, who put all kinds of radical new spins on classic Indian raga themes, captured live in the studio over more than sixteen hours worth of music. Most of it is sublime; nobody at this blog has listened to the entire record yet. You can start at Bandcamp

Sarah Pagé – Dose Curves
Hypotically shimmery electroacoustic psychedelia and an Indian raga performed on the concert harp. Unselfconsciously magical,  cutting-edge stuff. Listen at Bandcamp 

Zosha Di Castri – Tachitipo
Vocal ensemble Ekmeles, the Jack Quartet, pianist Julia Den Boer, percussion ensemble Yarn/Wire  and a chamber orchestra join the thoughtfully eclectic pianist/composer in a diverse mix of acerbic, socially relevant compositions and art-songs. Listen at Bandcamp

Funkrust Brass Band – Bones & Burning
Sizzling Balkan chromatics, undulating New Orleans grooves and a pretty relentless sense of doom on the theatrical, sprawling brass band’s latest ep. Listen at Bandcamp 

Castle Black – Dead in a Dream
The ferocious female-fronted power trio look back to the most darkly ambitious of the first wave punk bands with their surreal, often haunting latest ep. Listen at Bandcamp 

The Manimals – Multiverse
Crunchy, catchy powerpop and a darkly pervasive Bowie influence on the new album from New York’s’ most entertainingly theatrical band. Listen at Bandcamp 

The Ann Arbor Blues Festival 1969 compilation
Digitized and somewhat sonically tweaked field recordings of icons like Howlin’ Wolf and cult figures like Magic Sam, shredding and wailing in their element onstage, captured by a college kid with a cheap tape recorder. Listen at Bandcamp

Beat Circus – These Wicked Things
One of the first and best of the carnivalesque rock bands of the 90s, back and revitalized with a lavish, darkly picturesque southwestern gothic concept album. Listen at Bandcamp 

The Sometime Boys – The Perfect Home
A characteristically enigmatic mix of distantly Americana-influenced, slinky originals and imaginatively reinvented covers from New York’s most charismatic, kinetically psychedelic band. Listen at Bandcamp

Locobeach – Psychedelic Disco Cumbia
Truth in advertising: trippy chicha, serpentine highway themes and some woozy dub from this tropical supergroup led by members of Los Crema Paraiso and Chicha Libre. Listen at Bandcamp 

Ran Blake & Jeanne Lee – The Newest Sound You Never Heard
Recorded live and in the studio for Belgian radio in 1966 and 1967, these radical reinventions and a handful of originals by the iconic noir pianist and the shatteringly subtle jazz singer rival the brilliance of their iconic 1961 debut. Not streaming anywhere but available on vinyl.

Ben Holmes Brings His Darkly Tuneful Naked Lore Project Back to Barbes

Trumpeter Ben Holmes has been a mainstay of the Barbes scene practically since the beginning. With roots in klezmer, Balkan music and postbop jazz, he will often shift between all three idioms in the course of a single song…or even a single solo. Blasting away with endless volleys of notes is not his thing: his full, resonant tone, which comes out especially when he’s on the flugelhorn, pervades his dark chromatics, moments of sardonic humor and unselfconsciously poignant lyricism. Over the years he’s played the Park Slope hotspot with all sorts of bands, from legendary pianist Pete Sokolow’s Tarras Band to the Yiddish Art Trio, and most recently, with Big Lazy.

That iconic noir trio have experimented with horns many times over the years, but Holmes is the one trumpeter who really gets their ilngering menace. He sat in with the band after a more distantly uneasy set with his Naked Lore trio at the end of August and held the crowd rapt with his spacious, enigmatic lines and occasional stalker-from-the-shadows burst. Big Lazy guitarist/frontman Steve Ulrich likes to employ horns to max out the suspense in his crime jazz themes, and Holmes picked up on that in an instant. He also added spicy hints of Ethiopian style to a couple of more recent, rather epic Big Lazy numbers which look back to the group’s days of deep, dark dub exploration in the early zeros. Big Lazy’s next gig is at 8:30 PM this Dec 6 at Bar Lunatico.

Holmes’ set with Naked Lore to open that August Barbes gig was a chance to see how tightly the trio have refined their sound over the past several months. Guitarist Brad Shepik had cut the fret finger on his left hand – and was playing acoustic. Was he going to be able to pull this off? Hell yeah – even when that meant running tricky, syncopated cyclical phrases over and over, as he did on one recent number, or chopping his way through fluttery tremolo-picked passages. Was there any blood? Not sure – Shepik played the set seated next to drummer Shane Shanahan, and the venue was crowded, so it was sometimes hard to see the stage.

What’s become obvious lately is how prolific Holmes has been, and how vast his catalog of unrecorded material is. The best song of the set was a diptich of sorts that he’d begun as an attempt to write a pastoral jazz tune, but then he “Lapsed into freygish mode,” as he put it, drifting into biting Middle Eastern microtones as the melody grew more overcast. Naked Lore are back at Barbes on Dec 8 at 8 PM on a typically excellent if bizarre Saturday night bill. Trombonist Ron Hay’s fascinating Erik Satie Quartet – who reinvent works by Satie and other early 20th century composers as pieces for brass and winds – open the evening at 4 PM; bizarro, unpredictable psychedelic salsa revivalist Zemog El Gallo Bueno plays afterward at 10.

And catching the debut of Holmes’ brand-new trio earlier this month, again at Barbes, was a revelation. The not-so-secret weapon in this band is pianist Carmen Staaf. Among the sort-of-new, “rising star” generation of New York pianists, only Arco Sandoval can match her in terms of consistent edge, imagination and tunefulness. In fact, the best song of the night, built around a clenched-teeth, circling minor-key riff, might have been hers. Holmes’ own picturesque, pensive tunes gave her a springboard for plenty more of that. While Shanahan’s playing with Holmes is spacious, terse and part of a close interweave, this group’s drummer, Jeff Davis romped and thumped behind the kit, raising the energy at the show several notches. They closed with a funky, catchy number of his. Where Naked Lore is all about close attunement and interplay, this group is just the opposite: three very different personalities in contrast. Let’s hope this trio stay together and reach the depths that Naked Lore have been able to sink their chops into.

The Best New York City Concerts of 2017

New York’s best concert of 2017 was Golden Fest, with two nights and about seventy brass and string bands from across the Balkans, the Middle East and the USA on several different stages. Year after year, this annual January extravaganza is unsurpassed in terms of both quality and quantity of talent. This blog managed to catch about fifteen of those acts over that marathon weekend, including but not limited to agelessly soulful Armenian reedman Souren Baronian, rapturous singer Eva Salina  and her whirlwind accordionist Peter Stan, haunting tar lute player Amir Vahab, the searing brass of Zlatne UsteNovi Maleshevski Zurli, Raya Brass Band and Cocek! Brass Band. Golden Fest 2018 is this coming January 12 and 13 at the magnificent Grand Prospect Hall in south Park Slope.

There were four other multiple-night events that deserve a special place on this list. In March, the first-ever collaboration between Lincoln Center and the annual Festival Gnaoua et des Musiques du Monde in Essaouira, Morocco resulted in a trance-inducing series of concerts that began at the Upper West Side cultural mecca, moved to a cozy auditorium at the the New School for an approximation of a Moroccan lila healing ceremony and wound up at Pioneer Works in Red Hook for a collaboration with some New Jork jazz dudes including Marc Cary and Marcus Strickland. Three of the great sintir lute-playing maalems (masters) of mesmerizing gnawa music –Abdeslam AlikkaneHamid El Kasri (who was making his North American debut) and New York-based Hassan Ben Jaafer, who leads Innov Gnawa – got to flex their chops.

The annual Drive East Festival at Dixon Place in August featured a similarly rapturous, weeklong series of Indian classical music and dance performances. Poignantly nuanced singer Indrani Khare and sitarist Kinnar Seen shared one of the midweek bills; theatrical Punjabi folk troupe Rajasthani Caravan headlined the Saturday night show. But the most amazing set of all might have been sarod virtuoso Aashish Khan, with his gracefully flickering, saturnine ragas.

The 2017 Bryant Park Accordion Festival, a weekly series spread out over more than a month in midsummer, featured mini-sets from scores of artists playing everything from klezmer to forro to swing jazz. Balkan and Middle Eastern music in separate corners of the park. Closing night began with some of the world’s greatest Middle Eastern musicians playing a riveting recreation of Ziad Rahbani’s iconic, bittersweet 1975 Bil Afrah suite.

And for the first time ever, this blog was present at every single night of an artist’s monthlong weekly residency at Barbes. Clarinet powerhouse and composer Michael Winograd picked April since there were five Saturdays in the month, where he was joined by a killer cast of musicians including rising star pianist Carmen Staaf for some small-group shows as well as a midmonth big band gig that was the best of them all. New klezmer sounds never sounded so edgy, so purist yet so fresh and wildly fun.

Otherwise, dig in for the longest year-end concert list this blog’s ever put together. It was impossible to whittle it down to any less than a grand total of fifty shows. The real estate speculator blitzkrieg keeps turning neighborhoods to rubble, yet people in this melting pot refuse to stop making great music. The rest of the year’s concerts are listed in chronological order since trying to rank them would be an exercise in futility.

If you don’t see your favorite band or your favorite show here – “What, no Dream Syndicate at Bowery Ballroom, are you guys nuts?” –  it’s a good bet that this blog wasn’t there. If you think this list is epic, just imagine the wishlist that went into it. But it’s one thing to plan on going out every night; it’s another thing to actually do it. Counting all the nights when it actually was possible to get out of the house or the office, there was more than enough good music to somewhat mitigate one of the worst years in memory for the world as a whole.

David Yengbarian, Borbely Mihaly Polygon and Meszecsinka at Drom, 1/5/17
The annual showcases put on by the APAP booking agents’ association can be an insanely good bargain. Cover was ten measly bucks for the dynamic Balkan accordionist, the noir cinematic trio of saxophonist Mihály Borbély, pyrotechnic cimbalom player Miklós Lukács and drummer András Dés, and the wild Hungarian trance-dance band.

LadamaAlash,Eva Salina and Peter Stan, Miramar and Innov Gnawa at Drom, 1/7/17
This APAP evening was even more insanely good – and this isn’t even the whole lineup! Pan-latin, mostly female dance band Ladama made a good opener for the energetically trancey Tuvan throat-singing trio, the stellar Balkan chanteuse and her accomplice on accordion, the hauntingly psychedelic Puerto Rican bolero revivalists and the only sintir lute-driven, mesmerizing traditional Moroccan trance-ritual band in this hemisphere. That group has good management: Innov Gnawa managed to get themselves on more than one bill on this page.

The Pre-War Ponies and Tipsy Oxcart at Barbes, 1/12/17
Singer/uke player Daria Grace’s swing band opened the evening on a lush, elegantly romantic note; the fiery Balkan band ended up charging into the audience as the show hit peak intensity.

Shilpa Ananth, Rini and Humeysha at Drom, 1/29/17
A diverse triplebill of Indian-influenced sounds, from psychedelic soul, to towering cinematic art-rock and spacerock.

Dave Fiuczynski’s Kif at Drom, 2/3/17
The legendary jamband leader’s microtonal guitar trio were as otherworldly as their albums – and funny too.

The Super Bolus at Footlight Bar, 2/5/17
With half the nation supposedly glued to a soporific pre-Super Bowl gabfest, a posse of A-list Brooklyn improvisers from the Gold Bolus  circle including but not limited to singers Anne Rhodes  and Anais Maviel, trumpeter Daniel Levine, saxophonists Angela Morris and Erin Rogers, vibraphonist Sam Sowyrda, bassist Lisa Dowling and oboeist Dave Kadden paired off for all kinds of strange and beguiling sounds. Kadden’s rampaging microtonal assault was the high point, in fact the most intense solo performance at any show on this list other than Amir ElSaffar’s Soho set in January.

The Musical Chairs String Quartet at the Staten Island Museum, 2/11/17
An unlikely spot to see a riveting performance of Shostakovich’s macabre, anti-fascist String Quartet No. 7 and two world premieres of fantastic quartets by Andrew Rosciszewski.

Laurie AndersonChristian McBride and Rubin Kodheli at the Town Hall, 2/23/17
Avant garde violin icon joins forces with renowned jazz bassist and protean cello wizard for a night of sometimes lively, sometimes raptly sepulchral improvisation, with Anderson’s signature political relevance

Rachelle Garniez at Barbes, 3/2/17
She may be the foremost songwriter working right now, and treated an intimate crowd to a typically eclectic, intensely lyrical set of noir cabaret, Renaissance rock, latin-tinged parlor pop and pricelessly funny between-song banter.

Ballake Sissoko and Vincent Segal at the French Institute, 3/3/17
The Malian kora player and French cellist teamed up for a magical duo performance staged by the World Music Institute that blended phantasmic, cinematic themes, jaunty West African melodies and the baroque. More than one audience member was brought to tears.

Girls on Grass at Halyards, 3/23/17
Guitarist Barbara Endes’ psychedelic janglerock band sounded like the Dream Syndicate with a woman out front – that good, that anthemic, that catchy.

Steve Ulrich and Mamie Minch, and Pierre de Gaillande’s Bad Reputation at Barbes, 3/25/17
Minch’s playful live movie score and Big Lazy mastermind Ulrich’s noir cinematics followed by the former Snow bandleader’s hilarious, brilliant English language parlor pop versions of Georges Brassens classics.

Changing Modes at Webster Hall, 3/26/17
The album release show by New York’s most smartly lyrical, unpredictable, keyboard-driven art-rock band was as protean and poignant as the record.

Miqayel Voskanyan at Drom, 4/5/17
Speaking of protean, the Armenian tar lute virtuoso and his quartet shifted between Near Eastern art-rock, folk-rock, Balkan turbo-folk and Romany dance music.

Meklit at Lincoln Center, 4/6/17
And while we’re still on the protean tip, how about the charismatic, fearlessly populist Ethio-jazz soulstress and her amazing band airing out new tunes from her kinetic, eclectic new album?

Easy Dreams and Karla Rose at 11th Street Bar, 4/11/17
Further proof that some of the best shows sometimes happen way under the radar. Rose, arguably the most captivating and versatile singer in all of New York and a haunting tunesmith as well, took a turn behind the drums in a mini-set by the uneasily jangly indie band, then picked up her guitar and haunted the crowd with her own brooding, film noir-influenced soul and psychedelic rock.

Gato Loco at Barbes, 4/20/17
This was more of a show for the drinkers than the stoners, a toweringly crescendoing mix of slinky noir instrumentals, psycho guitar-driven mambos and bouncy, carnivalesque themes.

Michael WinogradKill Henry Sugar and Las Rubias Del Norte at Barbes, 4/22/17
Goosebump-inducing klezmer clarinetist and his quartet, artfully lyrical, sardonic Americana rock duo and a farewell show (for now, at least) by keyboardist Alyssa Lamb and singer Emily Hurst’s hauntingly harmony-driven pan-American noir band.

Miklos Lukacs’ Cimbalom Unlimited at Drom, 5/22/17
Lukacs’ second appearance on this list was as a bandleader, playing fiery, relentlessly crescendoing themes, fingers flying across his magically rippling Hungarian dulcimer.

Rahim AlHaj at Lincoln Center, 5/25/17
The Iraqi oud virtuoso, joined by Iranian santoor player Sourena Sefati and Palestinian percussionist Issa Malluf, played the most haunting and understatedly relevant small-group New York show in a year when anti-Muslim bigotry reached a new low.

Sara SerpaSofia Rei and Aubrey Johnson in the West Village, 6/2/17
Three of the most distinctive, individualistic voices in all of music – the intense, noir-inspired Serpa, the irrepressibly fun Rei and the enigmatically lustrous Johnson – shared a characteristically eclectic bill of a-cappella songs and improvisations in a storefront church space. Unexpected venue, magical show.

Hearing Things at Barbes, 6/3/17
Brooklyn’s funnest band – JP Schlegelmilch on organ, Matt Bauder on sax and Vinnie Sperrazza on drums – are a cross between the Doors, the Ventures and maybe WIBG. The result: a brand new style. Psychedelic surf noir jazz dance music!

The Barbes Benefit at Drom, 6/9/17
Brooklyn’s best venue was in trouble. Some of New York’s best bands joined forces for a wildly successful fundraiser to make sure it’s here for another five years. On the bill: thunderous Brazilian drum troupe Maracatu NY, noir icons the Jazz Passengers, Romany song maven Sanda Weigl, a subset of the haunting, soaring all-female Mariachi Flor de Toloache; charismatic singer Carolina Oliveros’ Afro-Colombian trance-dance choir Bulla en el Barrio , the similar but lower-register Innov Gnawa; one-off Balkan brass supergroup Fanfare Brooklyn – and Lynchian guitar-bass-drums trio Big Lazy .

Michael Winograd and Ben Holmes, Sean Cronin and Dolunay at Barbes, 6/10/17
The clarinetist and his trumpeter compadre opened an eclectic early-summer evening with a quartet show and lots of darkly chromatic new tunes, followed by the similarly eclectic guitarist and his purist band playing Hank Williams covers, and then riveting singer Jenny Luna’s haunting, oud-infused Turkish band

Amir ElSaffar’s Two Rivers Ensemble Outdoors in the Financial District, 6/16/17
The paradigm-shifting trumpeter/santoorist/singer and his big band played a titanic set of Middle Eastern jazz from his latest album. His show at the Fridman Gallery in SoHo back in January, which he began with a distantly harrowing solo trumpet improvisation, was much more quietly transcendent.

Rose Thomas Bannister and Goddess at Corkscrew Wines, 6/21/17
A witchy, psychedelic twinbill in a comfortable Fort Greene back courtyard with the lyrically ferocious, Shakespeare-influenced chanteuse and the theatrical psych-folk band. Backed by lead guitar monster Bob Bannister, she was also awfully good there a couple of months later on a doublebill with oldtime Americana singer Stephanie Jenkins.

Lara St. John at the Naumburg Bandshell in Central Park, 6/27/17
In front of an impressively game pickup group, the violin virtuoso treated the crowd to a kinetic Jessie Montgomery piece, a lyrical take of Vaughan Williams’ The Lark Ascending and a harrowing world premiere by Matthew Hindson, Maralinga, a narrative of terror in the wake of a 1950s Australian nuclear disaster. After that, Stravinsky was anticlimactic.

Orkesta Mendoza and Lila Downs at Prospect Park Bandshell, 6/29/17
The slinky psychedelic cumbia and noir mambo band set the stage for an epic set of classic mariachi and fearlessly political ballads by the iconic Mexican-American singer and her titanic band, joined on several numbers by Mariachi Flor de Toloache. The afterparty down the hill at Barbes, with wild Veracruz-style folk-punks Radio Jarocho, was pretty intense too.

The Mary​ ​Halvorson Octet at the Village Vanguard, 7/18/17
The world’s best jazz guitarist not named Bill Frisell or Marc Ribot and her lush, enveloping ensemble – featuring brilliant pedal steel player Susan Alcorn – aired out a lot of dynamic, uneasy new material.

Rev. Billy & the Church of  Stop Shopping Choir and Sexmob at Prospect Park Bandshell, 7/27/17
A brand-new set of original apocalyptic, anti-fascist and anti-racist original gospel tunes by the firebrand activist and his gargantuan choir, followed by the cinematic jazz quartet playing a darkly undulating, colorful live score to the 1920s Italian silent film Maciste All’Infierno.

The Trio Joubran at the Lincoln Center Festival, 7/29/17
The three Palestinian oud-playing brothers charmed and haunted the crowd with a dynamic tribute to their late collaborator, iconic poet Mahmoud Darwish.

Big Lazy at Barbes, 8/4/17
Guitarist Steve Ulrich’s cinematic noir trio made it onto the bill on more than one of the year’s best concerts, but their best single show – this blog was in the house at many of them – might have been this wildly jam-oriented night, two creepy sets at the band’s Park Slope home base. How did it feel afterward? “Free,” grinned drummer Yuval Lion.

Kill Henry Sugar and Anbessa Orchestra at Barbes, 8/11/17
Guitarist Erik Della Penna and drummer Dean Sharenow’s Americana lit-rock band have a ton of new material up their sleeves, and aired it out here before the wild Israeli Ethiopian dance band took the intensity to redline with a ferocious, psychedelic couple of sets.

Castle Black at the Well, 8/25/17
Guitarist Leigh Celent’s power trio have grown from a haphazardly promising band into a dark, fearsome monster: not even the sonic interference from the adjacent labyrinth of rehearsal rooms could silence this beast.

Melissa & the Mannequins at LIC Bar, 9/3/17
Put up a good youtube video and the crowd will come. With their killer chops and songs, New York’s best new band switched from jangly new wave to psychedelic soul and tantalizing hints of noir.

Bobtown at the Brooklyn Americana Festival, 9/23/17
Plaintive Anglo-American folk maven Jan Bell books this annual event: it would have been a lot of fun to have been able to catch more of it. With their gleaming four-part harmonies and songs about ghosts and other dead people, New York’s finest folk noir band were at the top of their game.

Greek Judas and the NY Fowl Harmonic at Hank’s, 9/28/17
Volcanic twin-guitar heavy metal versions of Greek songs from the 1920s and 30s about smoking hash, smuggling drugs and outrunning the cops, followed by Gato Loco bass sax monster Stefan Zeniuk’s carnivalesque punk-mambo group.

Seungmin Cha and Ned Rothenberg in Tribeca, 10/1/17
A riveting, intense, enveloping electroacoustic jazz loft set by the paradigm-shifting avant garde Korean daegeum flute player with the downtown multi-reed virtuoso.

The 24-Hour Raga-Thon at the Rubin Museum of Art, 10/22/17
This blog was only around for the wee-hours part that started about three in the morning: prime time for haunting, rarely heard morning ragas reinvented by an adventurous cast of Indian musicians including but not limited to saxophonist Aakash Mittal, guitarist Rez Abbasi, sarodist Camila Celin , trumpeter Aaron Shragge, bansuri flutist Eric Fraser and santoor sorceress Deepal Chodhari. 

Tom Csatari’s Uncivilized Playing Twin Peaks at Barbes, 10/29/17
Brooklyn’s best and most individualistic jazz guitarist led his fearlessly adventurous group through some careening and some absolutely chilling versions of iconic David Lynch tv and film scores.

Edna Vazquez at Lincoln Center, 11/2/17
You could call this charismatic guitarist/singer’s music “noiriachi” – haunting, kinetic, fearlessly relevant dark mariachi rock.

La Mar Enfortuna at the Jewish Museum, 11/9/17
Elysian Fields guitarist Oren Bloedow’s lush, luscious twelve-string jangle and his bandmate, singer Jennifer Charles’ multilingual reinventions of ancient Ladino songs and themes from across the Sephardic diaspora ran the gamut from haunting to even more so.

The ClaudettesBrian Carpenter and the Confessions and Big Lazy at Drom, 11/10/17
The piano-driven Chicago group have reinvented themselves as a catchy blue-eyed soul band; Carpenter, a connoisseur of oldtimey swing jazz, mined a deep noir rock vein, capped off by NYC’s finest noir cinematic instrumentalists.

The Navatman Music Collective at Symphony Space, 11/19/17
This hemisphere’s only Indian carnatic choir sang and played a mammoth, shapeshifting set of reinvented classical themes from across the centuries.

The Greenwich Village Orchestra in the Lincoln Center complex, 12/2/17
A poignant, violin-fueled take of Rachmaninoff’s Vocalise and Michael Daugherty’s timpani concerto Raise the Roof set the stage for a withering performance of Shostakovich’s classic antifascist Symphony No. 10. Anybody who thinks classical music isn’t relevant wasn’t there.

The Todd Marcus Orchestra at Smalls, 12/3/17
The bass clarinetist/bandleader led his brilliant eight-piece group through his brand-new, catchy, picturesque Middle Eastern jazz suite.