#they just put the journey vocals over generic trailer music

[lottieratworld]

any way you want it.

[plutoandmoon]

I like it when you sleep, for you are so beautiful yet so unaware of it / The 1975

I like it when you sleep, for you are so beautiful yet so unaware of it is The 1975’s second studio album. This iconic alternative album was released in 2016 and continuously has over a million streams combined. In addition, the English rock album has received variety of awards from being on the 100 Greatest Albums of the 2010s to reaching the Gold platform in the United States. The 1975 incorporates all sorts of new sounds into this album such as synth-pop, disco, electronic house, and R&B to deliver the overall mood of all 17 songs.

The introduction to the album, “The 1975”, is incredibly beautiful. It sounds like the beginning of a coming of age trailer that captures all the overwhelming emotions of the film and story.

Love Me is quite a legendary song in terms of how catchy the lyrics are and the musical layers of the band. I’m not sure how to properly describe it but it reminds me of a new age of 80s music with the electric guitar, synths, and drums. I do love the use of trumpets too to emphasize certain notes. The guitar solo is the perfect session to have a full jam out in your room. I really love that piano sound in the beginning and end of the song that sounds futuristic.

The beginning of UGH! sounds like an intro to a 2000s coming of age movie. It reminded me a lot of Clueless and Mean Girls. Again super catchy lyrics and melody.

The instrumentals of A Change Of Heart make me think of that slow dancing part of a junior high prom/dance. The way I visualize it is the main couple slow dancing underneath the bright light around their classmates after they just won prom king and queen. I love the electronic vocals and the piano synth used in this song. Again it still has that 80s feel to it that is perfect for this album and band.

I’m not sure why but the guitar rift in She’s American gives me Michael Jackson vibes. This song feels very American for some reason LOL. Again, it makes me visualize a scene in a coming of age movie where the main character is running and feels lost on what to do with her life. Catchy lyrics and melody. Personally don’t think this is their strongest song as it just feels similar to the others above but still a good song.

If I Believe You is very different from the songs we have listened to so far. I love Matty Healy’s vocals in this song so much and the production is literally beautiful. It is a very R&B inspired song with the slower pace tempo, back up vocals, piano, and drums. The 1975 still incorporate their own unique style in the song with the usage of electronic elements with the high hats, reverbs, and futuristic sounds. The middle of this song with the trumpet (3:30) is very jazz inspired. It is a beautiful intermission of the song. It is musically layered filled with so much emotion and sensation. The pizzicato from perhaps violins and harps really up lift this song. It adds an angelic layer to it as Healy continues on with the lyrics “If I am lost / how will i find myself?”. For me, the addition of these instruments makes me feel as I am ascending towards heaven or a higher awakening. One of The 1975’s most underrated songs in their whole career.

Please Be Naked is a perfect transition from If I Believe You because it sounds like the ending of a chapter and an opening to a new one. When looking at it through a coming of age lens, it appears as if the main character has said goodbye to their old past, old version of themselves, and everything that does not serve them. They are coming to terms with the reality of life and looking forwards for a new and higher purpose. Although there are no lyrics to this song, it is keep to pay attention to the instrumentals and the dynamics of each note. You can also hear the sounds of someone walking, closing the door, opening paper, etc that adds layers and meaning to the song. It is not another simple lofi or instrumental piece but rather it is an important one for the album and the 1975’s message. It tells a beautiful story over 4 minutes if you choose to really listen to the main character’s journey.

Once again, the introduction of Lostmyhead sounds like the continuation of the story from If I Believe You and Please Be Naked. The beginning is heavily rock inspired with the overwhelming guitar, piano synth, electric guitar solo, and much other sounds. I believe this is the point in the character’s journey where they are probably overlooking a building or a crowd and thinking to themselves that this is a start of something new. They are going onto this journey and not looking back anymore. I also love the use of string instruments here and how at the end of this song, everything finally drops. It is like we have finally bursted this bubble and allowed everything (emotions, purpose, life, etc) to hit us. You can hear this with the aggressive drum kick, the crescendos of the violins, and how dynamic everything else is. Then the song slowly crescendos and all we are left to hear is the futuristic sounds.

The Ballad of Me and My Brain has a very interesting introduction with the background vocals being manipulated with their dynamic and pitch. This song is heavily influenced by rock and synth pop as Healy’s vocals are more aggressive.

Somebody Else. The most iconic songs in our generation, the 1975’s career, in alternative pop music. Everything about this song is perfect from the lyrics to the musical production to simply everything. This song can put you into two moods: dance or sadness. You can visualize yourself dancing to this at a party/club or blasting this in your car at 2am as you sob. The versatile of this song is something that I believe many over look. Like you cannot just ignore the most help advice ever “Get someone you love / get someone you need / fuck that get money”. 

Loving Someone is another LEGENDARY song from the 1975. I love everything about it from the lyrics, melody, musical production, and the execution of it. The introduction of the song is unlike anything you have heard of. It sounds like Matty Healy is rapping (perhaps) but it sure does have the influence electronic and indie pop. The flow of Matty Healy’s verses is very different from all the rest of the songs on this album. It shows how musical diverse the 1975 is and how they executed this new style perfectly. The ending is cute with the piano (sounds like ones we used to play as a child) and the monologue softly being played.

The self titled album song sounds like another intermission in the band’s album. This instrumental sounds to focus more on futuristic electronic sounds. It could be another story that Healy and the band is explaining to us through a coming of age lens. It sure is more optimistic than the other instrumental songs we have heard from the band in this album. I love how more towards the end, the overall pace and tone of the song is changed up as it has more of a dance feel to. Listening to it more, it sounds more of a song where everything is at a peak and peace. Where you can just jam the fuck out and not care about anything at all.

The Sound sounds like new beginnings. This could be why it is put in towards the end of the album. With the optimistic beat and melody, it could be referring to a new perspective on life. It does sound similar to a few of the 1975’s songs at the start of the album and that is due to the synth pop style the band is famous for. Overall, it is quite a catchy song and a nice one to jump around to.

This Must Be My Dream has a really unique intro. It really gives the song a 80s/90s feel to it. I believe the band uses a dream like bell sound for the melody. This song feels dreamy hence the title of the song. Towards the end of the song where the breakdown begins, it feels like the part where the dream starts to slowly warp and then the main character is reflecting on what just happened.

I believe everyone holds the song, Paris, in a special place in their heart. It is such a cute song with the melody, instrumentals, lyrics, and vocals. I would definitely listen to this song in my own room and sway alone under the flashing lights pretending I’m at a dance with my lover. The chorus after Healy says “How I would love to go to Paris again” is very dreamy with the echo background vocals and the synths. It is quite a slow song though so for me, I feel like 4 minutes and 53 seconds is drag for the song (that is just me because my attention span is short …)

Personally, I find Nana to be boring. Perhaps because of how slow it is but other than that, it seems like a nice song.

She Lays Down is another soft slow song but this time it is just Healy’s vocals with an acoustic guitar. I think it is a nice and beautiful way to end the album. It is a huge contrast to how the 1975 began this 2nd studio album. They began with their intro (The 1975) and Love Me, that immediately set the overall mood and tone of the album. It was very electric and energetic, while She Lays Down is a more mellow and reflectional piece. Overall, this album is a memorable work of art as many associate these songs with their teenage years. Some songs to mention are If I Believe You, Please Be Naked, Somebody Else, and Loving Someone. The 1975 is a powerful band with Healy’s vocals, lyrics, and style. Hopefully they will be able to create more music as similar to the ones in “I like it when you sleep, for you are so beautiful yet so unaware of it”.

[wheatbeats]

I ended up rewatching all of RWBY Volume 3 tonight (sort of by accident honestly) and, as someone who hasn’t rewatched any earlier volumes since Volume 3 finished, here are some assorted thoughts:

I remember a lot of us feeling cautious about the team switching over to Maya for Volume 4 and beyond, but looking back at Volume 3, probably the best that Poser could do, I think it was the right call. The character models, the expressive animation, the BACKGROUNDS, are all so much better now than they used to be. The look of Poser has its charm but I think overall we’re far better off with Maya.

Putting aside the inherent issues of making the only committed revolutionary fighter in the series an abusive murderous ex, the major thorn of Adam’s characterization remains his first interaction with Cinder in episode 7. The rest is decently well laid; from Blake telling the team about how someone close to her changed, to Adam’s reaction to Blake leaving during the events of the Black Trailer (also in episode 7). It’s not pretty or polished but it fits well enough, except for that one scene. It kind of shoots his whole arc in the foot. Also Adam’s voice actor has done a much better job with his nasty, creepy dialogue than he ever has with his noble freedom fighter dialogue and I think that deserves recognition.

Speaking of which as a whole episode 7 is really good the structure and pacing feels really unique for a RWBY episode. I don’t think they made another quite like it until The Lost Fable in S6.

This whole season is really good at moving its camera, and I’m tempted to lay that credit with Monty Oum. There are lots of interesting shots of characters’ legs (that sounds weird but both Cinder and Ironwood have great shots of a room framed between their feet from behind), and I still love how when Qrow is first introduced at the Crow Bar the camera wobbles drunkenly with him when he stands up. It adds a level of engagement that the animation quality might have otherwise robbed.

Speaking of Qrow, this volume is his introduction and it struck me how, even though he’s always been a bit of an immature bastard, in V3 he still very much feels like an adult, and Team RWBY very much feel like children. I’m used to V6 Qrow, who whines like a baby and is generally useless. The dynamic has shifted so much and I think that’s genuinely intentional so good job, CRWBY.

This is a bit of a nitpick but why is Ironwood the one to tell Yang that she’s disqualified after she blasts Mercury’s knee? That’d be like if I cheated at a high school track meet and Obama shows up to kick me out; Ironwood is a head of state from a different country and the headmaster of NEITHER of the schools involved in the fight. Why is he here?

It’s sort of odd watching this season lay groundwork for worldbuilding that’s already been retconned away. Ozpin’s gang leading Pyrrha through the vault for the first time really make it seem like the Maidens are the be-all end-all of magical power in the land, and that their little troupe was made solely to protect them. Now Maidens are just a small cog in the machine, shoved to the back burner in recent episodes in favor of the relics. I know that RWBY’s worldbuilding has almost always been “go off of what we told you last and forget everything before that”, but it feels oddly disconnected to see the ghost of the original plan peeking through in the earlier volumes.

Also it’s really odd seeing Ozpin on screen I kind of forgot that he used to have a body that isn’t Oscar.

There’s a bit of heartache seeing Pyrrha again, once my favorite character. Her journey in this season might still be the best season-long arc RWBY ever told, and while I still yearn for the reality where she lives and we get to see the fallout of everything she went through, her sacrifice in the finale is still one of the most genuine emotional moments in this entire series and I’ll always applaud that.

In connection to Pyrrha’s arc, this season has the Perfect amount of Jaune used in the best possible way, and I wish he could always be like this. Jaune in V3 is kinda funny, pretty brave, and very sweet and heartfelt. He and Pyrrha talking alone in episode 8 is still one of my favorite moments of the whole show. Jaune is at his best when he’s a loving and supportive friend, not a hero or a leading man, and I hope the series is finally starting to understand that.

As a whole the entire Battle of Beacon is really fucking impressive. For one thing, it’s LONG, about 45 minutes of one big conflict, and it balances the bits and pieces between Ruby vs. Torchwick, Ozpin and Pyrrha vs. Cinder, and Blake vs. Adam really well. The editing is top notch and the score is incredible, and there are some amazing moments of choreography (Ruby vs. Neo and Torchwick is still one of my favorite fights in the series). The whole thing manages to stay pretty breathless and exciting all the way through and I hope that RoosterTeeth can craft another finale this thrilling for Volume 7 and/or something later.

The end of Heroes and Monsters is harrowing, to put it simply. Seeing Pyrrha screaming in pain in the aura transfer machine, Amber being shot suddenly without warning, Blake getting stabbed, and Yang losing an arm all in quick succession is a huge fucking gut punch, made all the harsher by the music choice (that... music box style music they put on haunts my dreams, damn you Alex Abraham and Jeff Williams). 

It’s sort of refreshing to see Ruby Rose herself in such a central role this season. They got better at putting her in focus in V6 but she’s still sharing the spotlight with a solid 10-12 other major characters. In V3 Ruby spends a lot of time alone, doing important things for the plot. I kind of miss that.

Also, Ruby collapsing into tears and then numb shock when she sees Penny die? Excellent content, it breaks my heart, I wish we could see important emotional moments and reactions like that from Ruby all the time.

Torchwick is fucking incredible and I’m so salty he’s gone. He still has maybe the best vocal performance in the entire series and his monologue right before his death is my pick for the best ever string of dialogue from a series that’s historically had problems writing it. I really hope they pull a Hannibal Choi from Pacific Rim and bring him back later, if only to see how hilariously outclassed he is by the newer, bad-er villains. Normally that sort of thing would bug me from a narrative perspective but I love Torchwick so much that I’m literally begging for him to return. Please RT hear my prayer.

When it Falls is the best OP song and Divide is the best ED song of the series and you absolutely CAN fight me on this maybe I can finally put my music degree to use

[ginger-thunder]

GUESS WHO JUST CRAWLED OUT OF THE PITS OF HEL TO GIVE YOU A SUMMARY AND CRITIQUE OF THOR: RAGNAROK THAT NO ONE ASKED FOR?!

THIS CHICK!

Ok, so since Thor: Ragnarok has been released in the US and you peeps will have had the ample opportunity to see it, I have decided to write my thoughts on the film for all to digest, if so desired. And honestly to help me digest why I don't like it. Please keep in mind I have been mulling this movie over in my mind for more than a week and my position has not changed. Why, you ask? LET ME TELL YOU SOME THINGS.

*SUPER SPOILERS FOR THOR: RAGNAROK (and some Captain America: Civil War and Spider-Man: Homecoming. In fact, let's just call it as all MCU movies except for Guardians of the Galaxy: Volume 2 because I fail as a Marvel fangirl and still haven't taken advantage of the opportunities to see it) UNDER THE CUT AND PROBS IN THE COMMENTS. FOR REALS, DON'T COME CRYING TO ME IF YOU READ PAST THIS AND GET SPOILED BECAUSE I WILL TAKE NONE OF THAT GUFF AND I WILL COME DOWN ON YOU LIKE THE HAMMER OF THOR. THE THUNDER OF MY VENGEANCE WILL ECHO THROUGH SOCIAL MEDIA LIKE THE GUST OF A THOUSAND WINDS. I WILL BE UNTETHERED AND MY RAGE WILL KNOW NO BOUNDS!* 

Hokai. Buckle up, kids, because this word vomit is uncontrollable. Kind of like food poisoning. SOMEONE GET IT OUT OF ME. But legit, this turned almost into a scene-by-scene summary with commentary so I had SOMETHING to channel all of my vitriol into. There will be a TL;DR at the end with a generic list of pros and cons if you don't want to read my Ragnarant. GET IT IT'S FUNNY BECAUSE IT'S ABOUT THOR: RAGNAROK. MAYBE IF I LAUGH ABOUT IT I'LL BE ABLE TO REVIVE THE PARTS OF ME THAT DIED INSIDE WHEN I WATCHED THIS MOVIE.

Full disclosure: I was super stoked to see Thor: Ragnarok. I showed up to attend to the Leicester Square premiere (that didn't happen lololololol) if only to get a chance to see those essential to bringing Thor to life from the comic book page to the silver screen from a distance! The usage of The Immigrant Song in the first trailer I viewed (which subsequently turned out to be the one I watched the most) excited me like you wouldn't believe. The imagery, the music, the vocals, the scenes and dialogue -- I mean holy cow, talk about PERFECTION. This seemed like the ultimate Thor movie tangled with the Norse version of the End of Days and a huge showdown with Hela, the Goddess of Death (In the words of my wise friend Ev, "Hela could punch me in the face and I'd enjoy it." I SHARED THAT SENTIMENT)! Not to mention Thor and his friend (from work) Bruce Banner/The Hulk teaming up with Valkyrie, and doing the same with Loki (whose faked death was obviously discovered in order for this to... you know, make any sense)? I MEAN THIS SEEMED INCREDIBLE. I was also VERY interested in seeing how Thor's relationship with Jane Foster would be addressed, since we were told Jane and Thor were no longer together while the film was still in production. Kind of a crap move to pull that stuff off screen like they did in Civil War with Tony and Pepper (only for them to be reunited in Spider-Man: Homecoming and then seemingly engaged at the end? Like, for real Marvel? Cheap drama, that's what that was -- or maybe you just didn't want to pay for Gwyneth Paltrow to appear in Civil War, whatever), but, you know, things can be addressed fine without showing it. AND, most of all, I wanted to see how Sif figured in the new movie. In case ya'll didn't know, I ADORE SIF AND SHE IS PROBABLY MY FAVORITE MARVEL CHARACTER, MAYBE EVEN MY FAVORITE SUPERHERO. I mean, look at my Sif Dark World memorabilia wardrobe trading card and my Sif phone case, and then there's the fact that I have an original graded 6.5 Journey into Mystery #102 at home which features Sif's first appearance AND IT IS LIKE THE FURTHEST THING FROM WHO SHE ENDED UP BECOMING AND YET STILL I TREASURE IT. And I happen to write for her in text-based roleplaying with Ev, and also for Thor as well, meaning I've put myself in their shoes and channeled their characters in order to write experiences that are genuine and authentic to the characters. It's like method acting, but for sadists because it's only you and maybe a handful of other people enjoying it (if that many). So I am obviously biased. And I legit just wished to see any new footage of Sif onscreen. So I was both excited and anxious, and obviously my opinion would indeed pivot at least somewhat on Sif's appearance in Marvel as well as Thor's character in this new movie.

Cue Saturday, 28th October, 2017.

Ok. So. We start the movie and, breaking tradition with the previous two, there is no Odin narrating a backstory with "mythical" elements that make sense in the context of the Nine Realms for us. That's fine, I'm a big girl and don't need a story from a terrible father-figure with poor depth perception to get into a movie. Instead, it's Thor in chains somewhere that looks like the underworld, thinking out loud... no, wait, he's talking to... a skeleton? And it is at this point that uh... welp, things start going downhill.

Keep in mind, this is less than three minutes into the movie. Like, it might be in the first 30 seconds, I honestly wasn't counting.

Thor treats the skeleton like it is a sentient being. Dude *does* come from a world where aliens and space travel and ~*magic*~ (which is just sophisticated science) exist, but this keeps up even after the skeleton's jaw crumbles and falls off. Uhh... guys. When did Thor become a clueless blond? I totally understand if this is a Castaway Wilson situation, because sometimes you need to interact with something so you don’t go mad in drawn-out periods of isolation. But, if I recall correctly, dude just fell into this pit, and I have a feeling that Thor has seen skeletons before. Does Thor think he's being funny? Who does that benefit? For real? I don't see him laughing.

Then the fire demon Surtur shows up, and Thor calls him a "son of a bitch," granted by making fun of being called "Son of Odin," but uhh... I don't recall Thor really ever cursing before besides a "hell (technically Hel if we want to be that pedantic)" or "damn" here and there. "Son of a bitch" seems a bit out of character, but he has been hanging out on Midgard for a while. So I'll let it slide.

Before Surter gets his cloaca handed to him, he tells Thor that Odin is no longer on Asgard. So, Thor goes to Asgard and we find that Heimdall is a wanted fugitive for a generic reason. Ok, apparently it was for "neglect of duty," which is addressed once, maybe twice, but we never hear of it again and whether there was extenuating circumstances or whatever. Keep in mind Heimdall is the same dude who straight up admitted to treason to Odin's face in order to provide a distraction and buy his friends time to bust Loki out of prison and attempt to save Jane and the Nine Realms. But yeah, let's just have Heimdall get kicked out of his position as Watcher of Worlds for "neglect of duty" and not let him face up to the charges and instead go on the run, because that's totally in character.

What we get in return is Skurge, played by Karl Urban.

Skurge is in the comics as well and is basically a toady for evil. He tries to ingratiate himself with us by showing off two AK-47s that he says he acquired in Texas. Seriously, he says that. And that their names are "Des" and "Troy." Because they destroy things. The rest of his booty that he has pilfered as the new guardian of the Bifrost includes a moped (or it could have been an exercise bike, to be fair) and a Shake Weight, which he jiggles for our pleasure and the pleasure of two attractive ladies instead of, y'know, doing his job. So uh... *he's* neglecting his duty. I'M GONNA TRY TO MOVE ON FROM THIS BECAUSE OTHERWISE WE WILL BE HERE UNTIL THE END OF TIME. So far, it just looks like Skurge is moronic comic relief, as illustrated by Thor arriving and flying off to find "Odin," despite Skurge protesting that Thor needs to be announced, and then beginning to halfheartedly run across the Rainbow Bridge after Thor zooms off. I guess he thinks he can beat Thor? Like, dude. Send a text, YOU’RE ON ASGARD WHERE TECHNOLOGY IS TEN BILLION TIMES MORE ADVANCED THAN ON EARTH EVEN THOUGH THERE IS A MEDIEVAL/RENAISSANCE ~*AESTHETIC*~. AT THE VERY LEAST, SEND A RAVEN OR A PIGEON IF RAVENS ARE TOO FANCY.

Back at the palace, a towering statue of Loki has been erected with him wearing his helmet and everything. "Odin" is lounging around being fed grapes as a play is put on about Loki's heroic "death" on Svartalfheim. It's melodramatic tripe, and Matt Damon plays Loki. I KID YOU NOT. I guess it's puntastic because Matt Damon *did* play Loki in Kevin Smith's Dogma, but seriously, Taika Waititi? Until I made that connection, I was just perplexed at why Matt Damon showed up. And Luke Hemsworth plays Thor and Sam Neill plays Odin in the same play. These cameos seem random -- maybe they're ~*deeper*~ than that because, you know ~artistic integrity*~ and whatnot -- but it's kind of fourth-wall breaking. Deadpool does it in a great way, people were upset when Ed Sheeran showed up in Game of Thrones (though I honestly think that wasn't as jarring as whatever *this* was), and with these cameos I feel like it's Taika Waititi literally turning to the audience and going, "You recognize those guys? Maybe it's an inside joke, maybe it's not. Isn't that weird? Yeah, it's a bit weird." But in his Kiwi accent.

LOOOOOOONG story short (too late), Thor unveils Loki as Odin. JUST KIDDING I HAVE THINGS TO SAY ABOUT LOKI POSING AS ODIN. Just some food for thought: 1) Loki wants to be king, he's wanted to BE king for -- who even knows how many years since Asgardians don't age like we do?! And yet in the matter of a few measly Midgardian years, he's already let his imitation of Odin slip to ludicrous levels in which Odin builds a monument to his son that attempted to commit the mass genocide of one planet and race before trying to conquer and rule the other just because the dude "died" a decent death fighting to try and save the Nine Realms (which was really about avenging his mother’s death)? And then has this farcical dramatization put on for the "enjoyment" of the court (if not the planet) of Asgard... and everyone accepts this? "Classic Odin, always giving Loki his due!" NO ONE HAS EVER EVEN VAGUELY THOUGHT THAT. 2) Loki, as Odin, charges Heimdall with that whole "neglect" thing and just lets him become a fugitive? Disregard that it should have been a huge red flag to others (like the Warriors Three and Sif) right off the bat, but wouldn't Loki -- in keeping up his Odin charade (and let's say it as a *convincing* charade when the above was anything *but* convincing), he'd want Heimdall around, he would want Heimdall where he's supposed to be -- where Loki has some semblance of control over Heimdall and wouldn't raise the Watcher's suspicions. Because Heimdall isn't going to tolerate any of that AND DUDE BECOMES SUSPICIOUS AT THE DROP OF A HAT ANYWAY BECAUSE HE SEES *EVERYTHING.* But no, let’s fire him, good plan.

Anywhoozle, Loki apparently stashed Odin in a retirement home in New York City, but its being torn down when the brothers arrive. We find out what happened between Jane and Thor during an interaction with a pair of selfie-seeking Thor fans. It's summed up like this: Jane dumped Thor. Thor dumped Jane. They mutually dumped each other. That's it. Literally it. Forget the fact that two movies (and like at least 1/4 more with her mentions in Avengers and Age of Ultron in which Thor OBVIOUSLY EXPRESSES, AT THE VERY LEAST, FONDNESS FOR HER) have been spent developing the inter-realm attraction and bond between Thor and Jane, not to mention her character development. Nope, no more Jane. For no reason other than one of the Powers that Be™ at Marvel probably just didn't feel like her being around anymore. I have read that Kevin Feige is very cool on Jane Foster, so maybe that’s why she poofed.

After these like three sentences of elimination of a character from the movie, Loki is sucked into a magical anus conjured by none other than Dr. StrangerDangerBatch (I don't care what his real name is, I didn't care for Dr. Strange and wish that Oded Fehr had been cast instead in the title role, but whatevs) and Thor then goes through a bunch of unnecessary instances of Dr. StrangerDangerBatch being a jackass with his magic, but helping Thor locate Odin and extricating Loki from the magical anus before the brothers go to Norway, where Odin is gazing at the ocean from atop a cliff.

Turns out, Odin wants to die and be with Frigga. Also turns out, Odin has a firstborn child he's never told anyone about: Hela, and she's been imprisoned because she is Very Bad™ and Odin's death will release her and there's no time to be a father now, he has to go make out with Frigga! Odin dies and evaporates into sparkles, but before that tells his sons something along the lines of, "Remember, this is home." Thor suddenly becomes an Asgardian cattle prod and gets angry at Loki, telling him Odin's death is his fault. Then Hela shows up.

Hela... is overblown. Really dramatic, really ~*dark*~ and ~*edgy*~. I mean, look at her clothes. They're torn and black and green (so obviously she's been shopping at Hot Topic) -- and I thought black and green was Loki's color scheme??? but what would I know. Hela destroys Mjølnir, Loki shouts for the Bifrost to take them back to Asgard, Hela gets sucked up with the brothers, and Thor and Loki get thrown from the portal and Hela ends up in Asgard, alone. 

Now this is where I truly realized that I did not like this film, and from here on out I was legit waiting for it to end and I honestly teared up a few times coming to grip with the fact that the MCU Thor I loved and cherished was being destroyed for no discernible reason other than to *try* and make things funny. If I hadn't been with the comic book soc and hoping for a glimpse of Sif, I would have peaced out and never looked back.

Remember Volstagg and Fandral? 2/3 of the Warriors Three? Well, whatever, because Hela slaughters them immediately. There is barely even recognition of who they are -- not by characters or anything, or by the viewer. Like I don't even think they got a line in or a moment of people being able to go, "Oh hey, it's --" because that was immediately cut off by, "-- oh, wait, they're dead now." No lingering on this or anything. Spineless Skurge immediately pledges loyalty to Hela because, like I said, he's a toady for evil. I'm condensing what happens next because it really is just a waste of time and posturing. Hela invades the city/palace. Hogun, the remaining 1/3 of the Warriors Three, and the Einherjar (they're the nameless foot soldiers protecting the palace and fighting in battles and such) try to hold her off. She massacres them, but at least Hogun had like a paragraph to say before he became a shishkebab. 

Hela seizes the throne and destroys the facade of a fresco that depicted iconography of the royal family (including Loki???) to reveal underneath a darker mural showing that Hela was used as a weapon by Odin to bring the Nine Realms to heel before she became too insidious and bloodthirsty and had to be imprisoned. The implication of the mural that covered up the previous one is that Odin was ashamed of this and wanted to rewrite the past with the future. And I don't know about ya'll, but when I'm ashamed of something on the internet or elsewhere, I totally don't obliterate it from existence, I just cover it up with stickers so that when my poor decisions do come back to bite me in the butt, my sins can easily be exposed. If I had the power of the All-Father, I would do this even more hardcore with frescoes. Obviously this is classic Odin characterization again and totally something he would do.

Hela and Skurge go to the trophy vault (in which it's revealed that Loki apparently didn't care about the Tesseract once he was king because it's there, glowing and being a cube) and break down into a crypt where the warriors with which Hela originally conquered the Nine Realms are laid to rest. Hela brings them back to life with the Eternal Flame as well as her huge pet wolf Fenris. She also names Skurge her executioner BECAUSE HE'S SKURGE THE EXECUTIONER DO YOU GET IT GUYS WOW WHOEVER WROTE THIS IS A WORD- AND PLOT-SMITH. While this is going on, a ~*shadowy mysterious figure*~ who is obviously Heimdall sneaks into the Bifrost and absconds with Hofund (the sword that acts as a key to the Bifrost and its powers) so that Hela can't leave Asgard. Which, you know, if I were him I would have taken off Hofund with anyway when I got fired/went into exile since he should have known something was up when he was charged with neglect of duty erroneously, but whatevs.

Meanwhile, Thor lands in a dump on a trash planet and is entangled in a net by junk-hunters who intend to eat him. Enter, Valkyrie. Now, Valkyrie has to be hardcore and amazing, right? Nope. We immediately learn not to take her seriously when she falls from the deck of her ship, apparently inebriated and then stumbles to her feet. Because that's a great entrance for a lauded character. Despite this, she defeats the hunters. Thor thinks she's rescuing him when, LOL NOPE, she uses an implant she attaches to his neck to subdue him via electric current and later presents him to Jeff Goldblum. I mean... ~*The Grandmaster.*~ He starts out as a breath of fresh air before ending up Hela annoying (get it?). I guess he's like the stereotype of a used car salesman that's done pretty well for himself? And he calls Asgard "Ass-guard" because I forgot that we're all twelve. Valkyrie (or Scrapper 142, as she is referred to, because we haven't heard her named anything else) sells Thor to enter a gladiator-style combat ring against the Grandmaster's champion and peaces out. Turns out Loki (who now has a navy and yellow color scheme) has been there for weeks (because he was thrown out of the Bifrost portal like thirty seconds before Thor, so that makes sense) and has ingratiated himself with the Grandmaster and won't really do anything to help Thor, and Thor is hauled away after being dubbed "Lord of Thunder" by the Grandmaster and told if he defeats the gladiatorial champion, Thor will win his freedom.

Thor prepares to fight the champion and gets his hair cut by Stan Lee with a monstrous contraption. Here, Thor breaks character again, threatening Stan Lee before whimpering, "Please don't cut my hair." Because the God of Thunder would totally be scared in that situation. He also talks to Valkyrie, recognizing her *as* a valkyrie due to a tattoo on her wrist. Valkyries were Odin's elite female fighters of legend (which clashes with Sif's existence as established in the previous films? But apparently Waititi and the screenwriters dunn kurr) and Valkyrie is dubbed a coward for not caring about what might be happening on Asgard. She couldn't care less.

SPOILER ALERT PER LIKE ALL THE TRAILERS: The Hulk is the Grandmaster's champion, such plot twist, much surprise, wow. Thor tries to reason with Hulk, he even does that ridiculous "Sun is going down" thing from Age of Ultron (at which point I rolled by eyes so hard I almost passed out). When none of this works, Thor becomes an Asgardian cattle prod again and is on the verge of winning when the Grandmaster brings the fight to a halt utilizing Thor's implant. Thor wakes up, and he and the Hulk are now roommates in luxurious quarters, except the Hulk is allowed to leave and Thor gets electrocuted whenever he attempts to do the same. So... Thor can apparently channel lightning for use against his enemies but, like when Darcy used her taser on him in Thor, he can be incapacitated by electricity? This makes sense, let's keep going with that. 

Thor finds out that the Hulk traveled to trash planet in the Quinjet from the end of Age of Ultron and convinces the Hulk to lure Valkyrie to their apartment, where he tries to appeal to her ~*Asgardian patriotism*~ to help him break free and return to and save Asgard. She says no, and gives us an ominous reference to her tragic!past with a line something like, "I fought for the throne once and it burned me. Not doing it again." Luckily, Thor pickpocketed his implant's shocker remote control, removes the implant, and then breaks and jumps out a window. He tries to escape via the Quinjet, but the Hulk follows and destroys it because he doesn't want Thor to leave which, legit, aww. Then Thor plays Natasha's message to Bruce from Age of Ultron, which makes the Hulk go into dormancy and brings Bruce back into being for the first time in apparently two years. Thor and Bruce then try to figure out a Plan B for getting off the planet. I legit loved that the Hulk didn't want to leave, to be honest. It shows the Hulk's complexity and that while he externally gloats that he doesn't need anyone and that he emerges to protect Banner, the Hulk ultimately does have vulnerabilities that are very human-like, despite being touted as a monster.

Loki and Valkyrie are charged with finding and returning Thor and the Hulk by the Grandmaster. Loki then uses magic that has never been referenced or shown to be within his powers before to tap into Valkyrie's memory and we see that Hela slaughtered all of her sisters-in-arms. As recompense, Valkyrie knocks Loki out. Thor somehow contacts Heimdall and the Watcher of Worlds tells Thor that he's saving as many Asgardians as he can from Hela's wrath and giving them refuge in a hidden vault, but that Thor needs to return to Asgard ASAP. Probably because Heimdall can't defeat Hela alone. Because, you know, those three dudes Marvel apparently had no more use for (what were their names? The Wandering Trio?) are dead and Sif apparently doesn't exist anymore. Heimdall advises Thor to return to Asgard using the biggest portal and then peaces out to kill some of Hela's undead goons. 

Valkyrie finds Thor and Bruce and brings them to a subdued Loki, who decides to help them escape with some access codes he stole from the Grandmaster, because of course he did. They’re all on board with leaving to go to Asgard, and Valkyrie breaks out other gladiatorial fighters (Korg and Miek) to start a revolution while Thor and Loki head off to steal the Grandmaster's pleasure ship. Loki tries to betray Thor by sounding the alarm to collect the reward on him, Thor incapacitates him with his former implant, and the God of Thunder, Valkyrie, and Bruce GTFO the planet through a portal called the Devil's Anus. Not even joking. And they also mention that the Grandmaster's ship was used for orgies so, you know, keeping it family friendly. Meanwhile, Korg and Miek arrive and ask Loki if they want to escape with them after they shut off the implant. Loki agrees.

The other three arrive on Asgard just as Hela begins to attack the refugee vault while Heimdall attempts to evacuate the Asgardian civilians. Thor calls Hela back to the throne-room by hitting Gungnir against the ground, and apparently Hela is like, "AW HEL TO THE NO" and abandons that to confront her little brother (I'm still like "wat" that they decided to have Hela be Thor's sister and not Loki's daughter. Same with Fenris. And Sleipnir. Like I guess it’s not as weird as Hela being Loki’s daughter, but whatevs. #RecognizeLokiAsADaddy2K17). Meanwhile, Valkyrie and Bruce load up the Asgardians (who seem rather low in number for the population of a planet. Like, did Heimdall only rescue those in the actual city of Asgard and wish luck to those living outside of it? Did Hela slaughter everyone else? Where are the bodies, why don’t we see them since we’re apparently fine with Hela just slaughtering *named* characters left and right?) and Heimdall before heading to the Bifrost to get everyone off-world, only for Fenris to crash their party. Then Bruce decides to faceplant right onto the Rainbow Bridge in an effort to save them. Ahem, let me correct that: Waititi and the screenwriters decide it would be funny for Bruce -- AS BRUCE, NOT THE HULK -- to jump off the ship to try and stall Fenris only for him to *not* transform into the Hulk and appear to die when he like lands on his head/neck. Because that's funny, right? And it totally contributes to the movie. The Hulk, however, does pull through and begins beating the snot out of Fenris to try and buy the Asgardians some time. However, others in Hela's forces (including Skurge the Turd) show up as reinforcements, but it's ok guys: Loki and his new minions happen to arrive too and join the fray. 

Back in the throne room, Hela strikes Thor and gouges out one of his eyes so he can look like Odin, because of course she did. And she makes a snide comment about it. And guys, the makeup where Thor's eye is supposedly missing is so bad. Like I can tell it's just makeup and see the bulge of Chris Hemsworth's eye underneath the latex or wax or whatever they used. SOMETIMES IT EVEN LOOKS LIKE THEY HIGHLIGHTED IT. Seriously, Marvel, you're owned by Disney. I do stage makeup *for fun* and I could do a better job. Get your crap together before you do terrible juxtapositions between two characters with makeup instead of CGI. And while Thor's getting his butt handed to him, he has a vision where Worst Father Ever™ basically tells him to man up when he despairs and that ~*the strength of Mjølnir has been inside of him all along*~. Also, Odin says something about Thor not being the God of Hammers. Like, here's the thing my dude: He's the God of Thunder, so... big booms. He is not the God of Lightning. And yet he keeps channeling electric current. So -- what was that? What was your point? Whatever, Thor becomes an Asgardian cattle prod and holds off Hela some more, but realizes that she draws strength from Asgard and he can't defeat her.

So let's destroy Asgard, guys.

Thor sends Loki to the trophy vault, AND HE TOTALLY PAUSES WHILE EYEING THE TESSERACT. MY DUDE, IF YOU WERE ODIN FOR OVER TWO YEARS WHY DIDN'T YOU DO THIS BEFOREHAND but apparently resists the seduction of the blue glowing cube (OR MAYBE NOT, WE’LL FIND OUT IN INFINITY WAR I BET). He then takes Surtur's skull from earlier in the movie (OMG YOU GUYS WE'VE COME FULL CIRCLE WHAT A MASTERPIECE OF STORYTELLING) and places it into the Eternal Flame so that Surtur is reborn and immediately gets to work destroying Asgard. Back near the Bifrost, Skurge has of course wussed out and is trying to escape with the Asgardians in like the worst disguise ever: just a cloak, like that's going to hide his stupid face and very obvious scalp tattoos and no one will notice him. WE ARE LINGERING FAR TOO LONG ON THIS WASTE OF SCREENTIME AND THEN WE FIND OUT WHY: Hela, realizing Surtur is laying waste to Asgard, tries to take out the ship with the Asgardian refugees. But suddenly ~*noble*~ and ~*heroic*~ Skurge ~*redeems*~ himself BY PULLING THE AK-47S "DES" AND "TROY" OUT OF HIS BUTT I GUESS??? AND JUST SHOOTING THEM EVERYWHERE BEFORE HE IS THANKFULLY KILLED, but not without ~*redeeming*~ himself.

I can't even with this, you guys. Skurge is a sub-villain. HE HAS ALWAYS BEEN A SUB-VILLAIN (and I say sub-villain because he was extremely crap at being an autonomous and strong villain in general and was usually a tool EMPHASIS ON THE TOOL of better villains than he). "But Megs," you say, "he redeemed himself in the comics!" FRIEND, PLS. IN THE COMICS HE DECIDED THAT INSTEAD OF REDEEMING HIMSELF THROUGH, YOU KNOW, CHANGING HIS LIFE, ACCOUNTING FOR HIS WRONGS, AND WORKING TO BETTER THE LIVES OF OTHER PEOPLE, HE'D KNOCK THOR OUT SO THOR COULDN'T HOLD THE BRIDGE AGAINST HELA AND THEN SACRIFICED HIMSELF TO SAVE THOR AND BALDER AND WAS JUST LIKE A HUGE ATTENTION LEECH BEING LIKE "DRINK TO MY MEMORY, MAN." LEGIT, HE TOLD BALDER TO DO THAT. PICTURE THE WORST FRAT-BRO EVER BUT HE'S ALSO A VIKING (OR AT LEAST A MINNESOTA VIKINGS FAN WITH POOR HYGIENE) AND HE DID ONE GOOD THING IN AN OVERWHELMING CESSPOOL OF BAD DEEDS BECAUSE HE ONLY "SAVED" PEOPLE BY INCAPACITATING THEIR LAST HOPE. THAT IS SKURGE AND HE IS A PIECE OF ABSOLUTE SCUM AND I *HATE* THAT WE LINGERED ON HIM AND HIS OVERDUE DEATH BUT DIDN'T GIVE A SINGLE FrIcKlE fRaCkLe WHEN THE WARRIORS THREE (WHO FEATURED PROMINENTLY IN THE PREVIOUS TWO MOVIES AND ACTUALLY HAD RELATIONSHIPS WITH CHARACTERS AND WEREN'T JUST THERE FOR INEPT AND POOR COMIC RELIEF) WERE SLAUGHTERED.

Ahem. Moving on (I guess).

Surtur destroys Asgard and Hela, but not before Our Heroes™ make it away with the Asgardians safely on board. Thor (while wearing an Odin-like eye-patch that made me want to vomit in my mouth if only so I could experience something more pleasant at the time than sitting through this movie) is crowned king, despite that not being motivation for him like *at all* since the first movie and I would think his character would be more likely to institute democracy or a republic or whatever after the things he's seen. And like apparently there's not even a discussion between Thor and Loki over who would be better suited to rule? SEEMS FAKE, BUT OK. OH, ALSO, Loki's color scheme is back to black and green now. For literally no reason and with literally no explanation. And then it's implied that the Asgardians will go to Midgard/Earth and settle in Norway where Odin said, "Remember, this is home." I MEAN WOW. HOW UNDERSTATED AND AGAIN A MARVEL OF SCREENWRITING. HOW COULD WE EVER BE SO BLESSED TO BE GRACED WITH SUCH GENIUS IN OUR TIME WHEN THE WORLD IS PRACTICALLY ON FIRE, GUYS.

End of movie. I wait for the credit scenes.

First one features Thor and Loki, with Loki wondering if he'll be welcome on Earth. Thor is like, "I'm sure you will." THOR WHERE THE HEL HAVE YOU BEEN DURING/SINCE THE AVENGERS? WHERE WERE YOU WHEN STRANGERDANGERBATCH EXPRESSLY SAID HE WANTED LOKI OFF OF EARTH AND THAT WAS HIS TERM FOR HELPING YOU FIND ODIN? OMG THOR HOW HARD WERE YOU HIT IN THE HEAD WHEN YOUR EYE WAS POPPED OUT HOLY CRAP. And then a bigger ship appears. It's probably Thanos, though what he's going to do with an Infinity Gauntlet missing two stones (the Mind Stone that's part of Vision and the Space Stone that was part of the Tesseract) I'm sure I don't know. And then we see the Grandmaster trying to talk down the slaves that revolted on trash planet. 

Sif never shows up and no one even says her name or vaguely references her (except for someone playing her in that travesty of a play screaming for help, which I legit forgot about until it was mentioned in something I read). It's like Sif never mattered. And that's it. Two hours and ten minutes of my life that I'll never get back.

TL;DR: I'm all for injecting humor into movies. I am one of the silliest billies you will ever meet. However, when adding humor sacrifices the integrity of both the characters and the plot... I'd rather the screenwriters not. This is what I got in Thor. Thor, once valiant and noble (and let's be honest, not the brightest) now has been reduced to a moronic, foolish meathead who isn't brave when faced with a haircut. Loki is extremely shortchanged and underutilized -- the character development he'd exhibited throughout the previous three MCU films he featured in is forgotten in favor of him being a cowardly twit whose color scheme alters throughout the movie for like legit no reason. Not to mention showing him as extremely sloppy in his illusions, not like in the previous movies. Hela is superfluous and annoying. Skurge is an actual piece of fecal matter that I do not adhere one iota of positivity to for what should seem like obvious reasons. Heimdall's new hair is awesome and he at least adheres to the integrity of his character, yet he is also ridiculously underused. Valkyrie I'm very neutral towards because like... there's no reason for me to really like her or favor her in place of the female characters that had already been developed and then were omitted? Great, she's an alcoholic trying to get over a trauma, and eventually she kind of does (yeah, that's not a trope)? But I feel like we didn't really get a window into who she is as a character. Like there is no reason for us to like her. She's kind of suffering from Hawkeye Syndrome, where yeah, he's there, but we're not really given any development with him like we are with the other characters. The plot was whatever, there were conflicting parts and focus on characters that we definitely do not care about no matter how much Waititi tried to ingratiate their infantile personalities with us, the ending where they're now on like a Mass Effect: Andromeda Ark for Asgardian refugees is lame, so is Thor's eye-patch and his new status as refugee king (I mean, even though he spent like the last one-and-a-half Thor movies asserting he didn't want to be king and now gracefully accepts this responsibility like it was his plan all along), and I'm not even excited for Infinity War now, to be honest. Like, I hope Chris Evans' beard is awesome. That is legit my only hope. 

PROS Taika Waititi wearing rompers while doing press for this Loki being pulled out of StrangerDangerBatch's wormhole and yelling, "I have been falling... FOR THIRTY MINUTES!" Thor and Valkyrie not being shoehorned into a romance, THANK YOU SWEET BABY VELOCIRAPTOR JESUS. Stan Lee's cameo if only because he is Stan Lee. After much thought, I will concede that Thor talking about kid!Loki tricking kid!Thor while masquerading as a snake and then stabbing him was pretty awesome. Us seeing a human and vulnerable side to the Hulk when he chases after Thor. Aw, guys. Tender.

CONS The existence of the Valkyries seemingly conflicting with Thor's line in "Thor" to Sif: "And who proved wrong all who scoffed at the idea that a young maiden could be one of the fiercest warriors this realm has ever known?" I mean, if the Valkyries existed, why would anyone scoff at such a notion? So yay, conflicting lore. No mention of reason behind Sif’s disappearance WHATSOEVER, not even in the very lazy way they dealt with Jane missing. Like, I guess there was a reference to her in the play where her actress screamed for help and ran off NEVER TO BE SEEN AGAIN but I literally forgot about that until someone else referenced it weeks later. The Warriors Three dying for apparently no reason except to show that Hela means Srs Bsnss™, despite the fact that she's, y'know, the Goddess of Death and that seems pretty serious already. Literally everything else not mentioned on the pros list.

My rating: 1/10, because I did laugh a couple times without immediately feeling exasperated afterward. Uhhh... That's really all I have to say. I'm not planning to buy it on DVD/Digital when it's released, and honestly have no real intent to ever view it a second time. To me, it doesn’t exist and it isn’t canon. It’s like crap fanfiction.

Don't bring me or my children into this ever again, Feige and Waititi (SPOILER ALERT: I'm pretty sure they don't care about my request).

If you disagree, let's discuss it! Or, you know: FIGHT ME.

[mindframe64-blog]

Blues and Jazz in New York City This Weekend - January 25-January 27 - City Guide NY

Photo: Nick Amoscato/Flickr 

NYC is filled with blues and jazz clubs, and City Guide's got all the best weekend shows in one place. Get your groove at some of New York City's most famed establishments, including the likes of Blue Note Jazz Club, the Jazz Standard, the Village Vanguard and Terra Blues.

Gatsby in Paris French chansons & jazz standards from the 20s to the 40s Feat.Chloé Perrier & French Heart Band - Club Bonafide January 25, 2019 - New York

Gatsby in Paris: French Chansons & Jazz Standards From the '20s to the '40s, featuring enchanting French singer Chloé Perrier and her new band, the French Heart Jazz Band. This irrepressibly charming show is a mix of French chansons and American jazz standards from the '20s to the '40s with a continental flare. Chloé sings an intriguing mix of jazz, chanson, Brazilian and occasionally Romany-tinged numbers in French, as well as in English. The group is known for its reinvention of the old chestnut "My Heart Belongs to Daddy" as a bolero-tinged Twin Peaks theme, an obscure '20s hot jazz tune that Perrier had found in a history book, and the classic "La Vie en Rose." Come to Club Bonafide in New York City and listen as exes get dissed and relationships gone wrong are dissected and remembered through glasses that aren't exactly rose-colored.

La Vie En Rose: An Elegant & Tasteful Blend Of American Jazz, French Chanson & Pop Music. Feat. Violette - Club Bonafide January 25, 2019 - New York

Jazz-influenced French indie singer/songwriter Violette comes to Club Bonafide in New York City. Born in Paris and raised in a small village on an island off the French Atlantic Coast, and now making her home in Brooklyn, Violette has clearly been influenced by such French luminaries as Jacques Brel and Edith Piaf, but Ella Fitzgerald, Stevie Wonder and Michael Jackson have also had a hand in the development of her sophisticated pop sound. Her most recent album, 2014's Falling Strong, showcases a collection of originals that, although rooted in jazz, reflect the young artist's eclectic range of influences from pop to rock and R&B. Upbeat and sassy, sensual and intimate, her soulful voice immerses you in emotion. Violette Raised in Ars-en-Re, a small village on an island off the French Atlantic Coast, and now making her home in Brooklyn, NY, singer-songwriter Violette began her musical journey at an early age, taking up the piano at five and later learning percussion while studying at the Conservatory. Her musical endeavors were clearly colored by influences from such French luminaries as Jacques Brel and Edith Piaf but quickly found her tastes and palette ranging much farther th... (read more)

Chris Bergson Band - 55 Bar January 25, 2019 - New York

Chris Bergson...Guitar & Vocals Craig Dreyer...Tenor Saxophone & Organ Matt Raymond...Bass Adrian Harpham...Drums

Kendra Shank - 55 Bar January 25, 2019 - New York

Kendra Shank...Voice Pete McCann...Guitar Drew Gress...Bass

Kacey Musgraves & Natalie Prass in New York - Beacon Theater January 25, 2019 - New York

Kacey Lee Musgraves (born August 21, 1988)[2][3][4][5] is an American country music singer and songwriter. She self-released three albums[6][7] before appearing on the fifth season of the USA Network's singing competition Nashville Star in 2007, where she placed seventh. In 2008, Kacey recorded two singles for Triple Pop in Austin, Texas[8]. She later signed to Mercury Nashville in 2012 and released two critically acclaimed albums on the label, Same Trailer Different Park (2013) and Pageant Material (2015).[9][10] Her first Christmas-themed album, A Very Kacey Christmas, was released on October 28, 2016.[11] Her third studio album, Golden Hour, was released on March 30, 2018, to widespread critical acclaim.[12]

Belén Cusi - The Groove January 25, 2019 - New York

Belén Cusi is a Latin-American singer from Argentina. Her music can be described as a cross between Norah Jones and Buena Vista Social Club. Expect an eclectic, intimate set of english & spanish tunes from this exciting performer, including her latest single, "Closer."

G. Love & Special Sauce: The Sauce Tour - A Celebration Of 25 Years - Irving Plaza January 25, 2019 - New York

Garrett "G.Love" Dutton, Jeffrey "The Houseman" Clemens and Jimmy "Jazz" Prescott are celebrating their 25th year as touring and recording artists. With over 15 records released, this pioneering band has been an influence to artists such as Jack White, Jack Johnson, The Avett Brothers, Slightly Stoopid and many more. With their signature blend of Delta Blues, Hip Hop, Funk, Rock and Roll and Jazz, The Special Sauce have literally created their own funky stew of American music. Expect a high energy mashup of funky beats and songs written from the front porch to get the world smiling and dancing to the positive message of Love and the Blues.

Move Forward Music Presents: Braxton Cook - Baby's All Right January 25, 2019 - Brooklyn

This event is 21 and over

Erica Buettner - Pete's Candy Store January 25, 2019 - Brooklyn

Erica Buettner is a poetic singer-songwriter who moved to Europe at the age of 20 and spent the following years winding her way through Paris all the way to the shores of Portugal before returning to New York in 2016. After surviving triple negative breast cancer and putting her music career on hold, Erica's long-awaited second album, The Book Of Waves was just released. Come celebrate and pick up your copy!

The Danny Mixon Trio - The Sound Bite January 25, 2019 - New York

Danny Mixon is a prolific piano virtuoso who has performed in the U. S. and internationally. He began piano lessons at the age of 13 and never looked back! His exceptional talent has paved the way for him to work with such legendary performers as Lionel Hampton, Joe Williams, and Frank Foster, and he continues to be in Frank Foster's Loud Minority Big Band and his Non-Electric Company. Danny was honored to have participated in the first Newport Jazz Festival at Sea on the Queen Elizabeth 2. Danny's greatest joy is performing, composing, and arranging for his own group "The Danny Mixon Trio or Quartet," and has recently completed his new CD entitled "The Danny Mixon Trio Live at the Rubin Museum." He has also performed, toured and/or recorded with Yusef Lateef, Savion Glover, Pharoah Sanders, Dee Dee Bridgewater, Stanley Turrentine, Eubie Blake, Noel Pointer, Marlena Shaw, Houston Person, Dakota Staton, Ben Vereen,

The Dog's Bollocks - The Bitter End January 25, 2019 - New York,

Emily Cavanagh Coach Z South Second Tatiana Lima The Justin Timberlake Experience

Bordombo Duo - Terraza 7 January 25, 2019 - Elmhurst

Featuring: Andres Fonseca Alfonso / Percussion Nicolas Castañeda Lozano / Harp Bordombo Duo is a musical project based on the creation of contemporary sounds mixed with Colombian folk music and presented ambiguously through a non-common instrumentation: Drums (Andres Fonseca) & Harp (Nicolas Castaneda). Originally founded in Boston on 2015. Bordombo Duo is actively playing shows on the east coast. Primarily Boston and NYC while planning to record their debut album to be released in 2019.

La Cumbiamba NY – Gaitas y Tambores - Terraza 7 January 25, 2019 - Elmhurst

La Cumbiamba NY is bringing the joyful celebration that characterizes this amazing band for you to enjoy to the fullest! As the result of being a New York born and based group, where interactions and continuous contact with musicians from different places around the world generate new possibilities. The group takes coastal music as a departing point and source of work not only because of the musical background of some of the members, but because coastal traditions in Colombia, as in other regions of the Caribbean, are inexhaustible fountains. Don't miss this wonderful performance! Performing: María Alejandra Jimenez/ Voice. Andres Fonseca / Tambora. Julian Gomez / Llamador & coros. Chris Rodriguez / Percussion. Martin Vejarano/ Gaita hembra. Sebastian Angel / Gaita macho.

Focus Festival 2019: On The Air - The Juilliard School January 25, 2019 - New York

A Salute to 75 Years of International Radio Commissioning New Juilliard Ensemble Joel Sachs, Founding Director and Conductor Nicolette Mavroleon, Soprano

The Birdland Big Band - Birdland Jazz Club January 25, 2019 - New York

Every Friday, and for two headlining weeks a year, the "BBB" roars into action playing a thrilling and original mix of jazz, funk, Brazilian, Latin and world music for sold-out audiences. Featured weekly guest artists drop-in from television bands (David Letterman, Saturday Night Live) and pop music touring bands (Rob Thomas, Rod Stewart). Come see for yourself why Time Out New York called the BBB, "a completely unique experience... there isn't another band like this anywhere," and yelp.com proclaims, "if you hear one band in NYC make sure this is it... and prepare to be blown away!"

Jessica Jones Quartet Continuum Album Release Concert - The Jazz Gallery January 25, 2019 - New York

Jessica Jones -tenor sax Tony Jones -tenor sax Stomu Takeishi -bass Kenny Wollesen -drums

Piano Jazz Series: Bruce Barth Trio - Zinc Bar January 25, 2019 - New York

One of the best pianists in town, period."—The Village Voice Acclaimed jazz pianist Bruce Barth brings his trio to the Zinc Bar for a splendid evening of jazz piano on Friday, January 25. He's supported by bassist Dave Baron and drummer Pete Van Nostrand. Jazz pianist and composer Bruce Barth has been sharing his music with listeners the world over for more than two decades. Deeply rooted in the jazz tradition, his music reflects both the depth and breadth of his life and musical experiences. In addition to traveling widely performing his own music, he has also performed with revered jazz masters, as well as collaborated with leading musicians of his own generation. And most notably, his performances feature material from his large book of very powerful and imaginative original compositions, written in a voice that is both deeply personal and expressive. In a recent review in the Newark Star-Ledger, Zan Stewart writes "No one sounds quite like Barth. His solos are characterized by robust swing, his ability to tell a story, and by his rich, beguiling sound." Bruce has performed on over one hundred recordings and movie soundtracks, including ten as a leader. He is equally at home ... (read more)

Ken Fowser Quintet - The Django January 25, 2019 - New York

Ken Fowser Quintet

Talavya - Flushing Town Hall January 25, 2019 - Flushing

Global ambassadors for Indian percussion, contemporary classical tabla ensemble Talavya is a leading example of tradition and modernity coming together seamlessly. Created by Indian rhythm maestro Pandit Divyang Vakil, the Indian tabla comes to the center stage. The ensemble revels in the tablas' hidden potency as a rhythmic and melodic instrument capable of expressing just about anything. "Fabulous technical expertise, excellent showmanship, and an engaging personality brought scores of new fans to tabla music." - CHICO WORLD MUSIC FESTIVAL

Jd Allen 'After-Hours' - Smalls Live January 25, 2019 - New York City

JD ALLEN tenor sax Hailed by the New York Times as "a tenor saxophonist with an enigmatic, elegant and hard-driving style," J.D. Allen is one of the most thoughtful jazz saxophonists on

Broadway Brassy and the Brass Knuckles - Fine & Rare January 25, 2019 - New York

Live performance by Broadway Brassy and the Brass Knuckles

Tyrone Govan and Top Secret R&B Band - Paris Blues Through January 25, 2019 - New York

Tyrone Govan and Top Secret R&B Band

Life of a Legend: Carmen de Lavallade - Dizzy's Club Coca Cola Through January 25, 2019 - New York

A singular icon graces The Appel Room in this special Life of a Legend performance. Dancer, actor, and choreographer Carmen de Lavallade has a unique gift for movement, and her groundbreaking dance concepts have inspired artists and audiences for generations. Tonight we celebrate de Lavallade's love of both dance and jazz, revisiting some of the iconic dance works she performed with jazz musicians. Though she has long been a star on Broadway and in Hollywood, Shakespearean theater, and many genres of dance—including ballets choreographed for her by the likes of Lester Horton, Agnes de Mille, and Geoffrey Holder—her roots in jazz run especially deep. She improvised dances with Duke Ellington, Benny Goodman, Bill Evans, and Jane Ira Boom. She brought Louis Armstrong and Duke Ellington to tears in 1960 with her embodiment of Billie Holiday in "Portrait of Billie"—a piece that de Lavallade performed with a friend whom she brought to the dance world: Alvin Ailey. De Lavallade's artistry goes so much deeper than technical mastery; she approaches dance as an act of storytelling, a transfixing form of communication that she still achieves with grace at age 87. De Lavallade was named ... (read more)

French Jazz & Tango Celebrating Piaf, Brel, Aznavour & Piazzolla - Club Bonafide January 26, 2019 - New York

Celebrating Piaf, Brel, Aznavour & Piazzolla Few things are more distinctly French that the music of Edith Piaf, Jacques Brel and Charles Aznavour. These and other Gallic icons are the focus of From Paris With Love, a musical homage to the City of Lights from the duo Yael & Gabriel. Yael Dray-Barel is a French/Israeli singer/songwriter influenced by rock and gypsy jazz, and her songs often incorporate the five languages she speaks. Argentinian guitarist Gabriel Hermida infuses his compositions with the essence of classical tango, flamenco and contemporary jazz. Together, the pair will salute such timeless French songs as "La Vie en Rose," "Non, Je Ne Regrette Rien" and "Hymne a L'Amour, along with work from Argentine composer Astor Piazzolla, at Club Bonafide in New York City

Martin Nevein Quintet - The Jazz Gallery January 26, 2019 - New York

Martin Nevin -bass + compositions Kyle Wilson -tenor saxophone Christopher Hoffman -cello Ari Chersky -guitar Craig Weinrib -drums

Angel Williams - Jules Bistro January 26, 2019 - New York

Angel Williams

Angel Williams - Jules Bistro January 26, 2019 - New York

Angel Williams

Wadada Leo Smith: America's National Parks - Dizzy's Club Coca Cola January 26, 2019 - New York

For one night only, witness the live New York debut of Wadada Leo Smith's America's National Parks. When Smith recorded this visionary suite in 2016, it was voted Album of the Year by DownBeat magazine (Smith also won Artist of the Year and Trumpeter of the Year), and it was selected as a top-ten album of the year by the New York Times and NPR. Though the music alone is worthy of its critical acclaim, nothing compares to the live, multimedia concert experience of America's National Parks. Visual projections blend real-time footage of the five-piece band with moving images of each song's subject, marrying improvised music with historic photography in a powerful and collaborative vision. If you've ever wanted to dip your toes into the more avant-garde side of jazz, experiencing this show in person would be a compelling way to start. Topics range from established, natural national parks (Yellowstone, Yosemite) to pointed subjects of historical and cultural significance ("New Orleans: The National Cultural Park USA 1718," "Eileen Jackson Southern, 1920–2002: A Literary National Park"). It's a thought-provoking and entirely wordless journey that conveys both the grandeur and sense... (read more)

Jazz Vocalist TAEKO - The Sound Bite January 26, 2019 - New York

Japanese native, TAEKO moved to New York City from Shiga, Japan in the late 90's and quickly garnered the nickname "Songbird" from the NYC Jazz elite. With a never-ending stream of musical ideas and a fluid delivery that shows years of dedication in studying her craft, little is left to doubt how TAEKO has built a dedicated fan base in both the U.S. and overseas. She has graced the stages of some of the most heralded Jazz clubs on the East Coast, including Birdland, Smalls Jazz Club, The Kitano, the Zinc Bar, Minton's Playhouse, and the Blue Note. Additionally, she has been featured at such prominent U.S. festivals as the Cape May Jazz Festival, the Women in Jazz Festival in New York City, the United Philadelphia Jazz Festival, the North East Florida Jazz Festival, and Newburgh Jazz Series, in addition to her performances at numerous Jazz festivals in Japan.

Cait and the Critters - The Flatiron Room January 26, 2019 - New York

Performance by Cait and the Critters

Broadway Brassy and the Brass Knuckles - The Flatiron Room January 26, 2019 - New York

Performance by Broadway Brassy and the Brass Knuckles Broadway Brassy and The Brass Knuckles

Acoustic Open Mic Hosted By Evan Kremin - The Bitter End January 26, 2019 - New York,

sign up begins at 12:30pm) Singers/Songwriters, Comics, Poets Acoustic Guitar & Piano available All Are Welcome Happy Hour Prices All Day Long ---plus---- Grace Bergere (7pm) ORISSA The Ninth Autumn State Andrew Nappo & The Disappointments Lou's Lips Maquina Mono

Martin Nevin - The Jazz Gallery January 26, 2019 - New York

Martin Nevin -bass + compositions Kyle Wilson -tenor saxophone Christopher Hoffman -cello Ari Chersky -guitar Craig Weinrib -drums

The Ultimate Elvis Tribute Artist Spectacular – 84th Birthday Celebration - St. George Theatre January 26, 2019 - Staten Island

Shawn was a featured performer on the Late Show with David Letterman performing to over 5 million viewers with the entire CBS Orchestra on Network Television and in 2016 will portray Elvis in the new HBO series called Vinyl produced by Martin Scorsese and Mick Jagger.Celebrating the 84th Birthday of Elvis Presley, The Ultimate Elvis Tribute Artist Spectacular is the most successful touring Elvis tribute show in the world. It is an amazing era-by-era tribute to the King of Rock-N-Roll starring the best Elvis tribute artists in the world – Shawn Klush and Cody Ray Slaughter.

Dan Aran Band - The Django January 26, 2019 - New York

Dan Aran Band

Fleur Seule Latin Big Band - The Django January 26, 2019 - New York

Fleur Seule Latin Big Band

Smalls Showcase: Detroit Brotherhood - Smalls Live January 26, 2019 - New York City

NICK MASTERS piano KASAN BELGRAVE alto sax NOLAN YOUNG tenor sax ADAM OLSZEWSKI bass KAYVON GORDON drums

Philip Dizack Quintet - Smalls Live January 26, 2019 - New York City

PHILIP DIZACK trumpet BARRY STEPHENSON bass IMMANUEL WILKINS alto sax     Immanuel Wilkins is an American Saxophonist, Composer, Arranger, and Band Leader. While growing up in the Philadelphia area, he played in his church and programs dedicated to Micah Thomas photo MICAH THOMAS piano KWEKU SUMBRY drums

Jon Beshay 'After-Hours' - Smalls Live January 26, 2019 - New York City

JON BESHAY tenor sax "I play music because I like to listen to music, and when I'm playing I'm in charge of what I'm hearing." Davis Whitfield photo DAVIS WHITFIELD piano As the son of two musicians, Davis Whitfield's early years were filled with music. He began playing the guitar at age 5, and moved to Jersey City, New GEORGE DELANCEY bass A native of Cambridge, OH, and a student of such prestigious programs as the Columbus Youth Jazz Orchestra and the Michigan State University Jazz Studies Program, CURTIS NOWOSAD drums CURTIS NOWOSAD is a New York-based drummer, composer and bandleader. A native of Winnipeg, Manitoba, Canada, Nowosad has distinguished himself touring coast-to-coast with his quintet, and performing

Jazz Brunch: Live Jazz Trio - Fine & Rare January 26, 2019 - New York

Enjoy our new brunch menu, an array of crafted cocktails & spirits and a live jazz performance.

The Natalie Dietz Trio - Fine & Rare January 26, 2019 - New York

Live performance by The Natalie Dietz Trio

Melvin Vines & The Harlem Jazz Machine - Paris Blues Through January 26, 2019 - New York

Melvin Vines & The Harlem Jazz Machine

Mike Dirubbo Quartet - Smalls Live Through January 26, 2019 - New York City

MIKE DIRUBBO alto sax "Something about the sound Mike DiRubbo elicits from the alto saxophone - deep, dark, immense, with a machete edge that denotes a ready-for-anything urban sensibility - immediately DAVIS WHITFIELD piano As the son of two musicians, Davis Whitfield's early years were filled with music. He began playing the guitar at age 5, and moved to Jersey City, New PAUL GILL bass Bassist Paul Gill is veteran of the New York jazz scene and is recognized for his buoyant, swinging bass lines and virtuosic arco solos. KUSH ABADEY drums Kush has performed and/or recorded with many notables including Ravi Coltrane, Chris Potter, Nicholas Payton, JD Allen, David Weiss, Andrew White, Gilad Hekselman, Azar Lawrence, Terrance Blanchard, Frank

Vijay Iyer Sextet - Jazz Standard Through January 26, 2019 - New York

DownBeat's "Jazz Artist of the Year" for two years running and a 2013 recipient of a MacArthur Foundation fellowship, Vijay Iyer is among the most freely creative and forward–thinking musicians of our time. This week at Jazz Standard, the pianist, composer and bandleader will present a series of special projects that together will comprise a high point in New York's musical year. Jazz Standard welcomes the "Jazz Band of the Year," so named in the 22nd annual Jazz Journalists Asso­ciation Jazz Awards. Far From Over is the Vijay Iyer Sextet's latest release on ECM Records. "If you're looking for the shape of jazz to come, here it is...the sturdiness of its design and the passion of its execu­tion make Far From Over 2017's jazz album to beat." (Hank Shteamer, Rolling Stone) Vijay Iyer – piano, Fender Rhodes Graham Haynes – cornet, flugelhorn, electronics Steve Lehman – alto saxophone Mark Shim – tenor saxophone Nick Dunston – bass Jeremy Dutton – drums

Ingrid Jensen Quintet - Birdland Theater Through January 26, 2019 - New York

Born in Vancouver and raised in Nanaimo, British Columbia, Ingrid Jensen has been hailed as one of the most gifted trumpeters of her generation. After graduating from Berklee College of Music in 1989, she went on to record three highly acclaimed CDs for the ENJA record label, soon becoming one of the most in-demand trumpet players on the global jazz scene. After a teaching stint in Europe in her early twenties – as the youngest professor in the history of the Bruckner Conservatory in Linz, Austria - Ingrid settled in New York City in the mid-1990s where she joined the innovative jazz orchestras of Maria Schneider (1994-2012) and Darcy James Argue (2002-present). More recently, Ingrid has been performing with the Grammy-winning Terri-Lyne Carrington and her Mosaic Project. Ingrid is a featured soloist on the Christine Jensen Jazz Orchestra's Juno-award-winning album, Treelines (2011), and its successor, Habitat (2013). She has performed with a multi-generational cast of jazz legends ranging from Clark Terry to Esperanza Spalding; Ingrid has also performed alongside British R&B artist Corrine Bailey Rae on Saturday Night Live, and recorded with Canadian pop icon Sarah McLachlan... (read more)

Ann Hampton Callaway - Birdland Through January 26, 2019 - New York

Tony nominee Ann Hampton Callaway, one of the leading pop/jazz singers of our time, has created an exciting night of songs and stories in celebration of one of America's most beloved artists, Linda Ronstadt. On the heels on Ann's symphonic/PAC triumph, The Streisand Songbook, this show celebrates the many faces of love in Ronstadt's iconic songs from her Stone Poney Days like "Different Drum" and "Long Long Time" to pop/rock classics like "You're No Good," and "Desperado" to unforgettable classics from her three Nelson Riddle albums like "What's New" and "Am I Blue," to her iconic duets which Callaway will perform with her brilliant MD, Billy Stritch. Adding to the electrifying sound is Martin Wind on bass, Tim Horner on drums, and Linda's long time guitarist and arranger, Bob Mann. Romantic, rousing, and joyous, The Linda Ronstadt Songbook promises to be the perfect night of music.

The Kat Vokes Trio - Fine & Rare January 27, 2019 - New York

Live performance by The Kat Vokes Trio

David O'rourke, Jim Ridl & Lorin Cohen - Mezzrow Jazz Club January 27, 2019 - New York

The wonderful David O'Rourke has invited his trio featuring Jim Ridl on piano and Lorin Cohen on bass, join them for an evening of trio.

Tangos From Gardel To Piazzolla - Club Bonafide January 27, 2019 - New York

The illegitimate son of a French laundress in turn-of-the-century Buenos Aires, Carlos Gardel would ultimately rise to fame as one of the greatest tango singers of all time. Now the legendary tango star gets a rousing musical tribute by popular musical duo Yael & Gabriel at Club Bonafide in NYC. Yael Dray-Barel is a French-Israeli singer-songwriter influenced by rock and gypsy jazz, and her songs often incorporate the five languages she speaks. Argentinian guitarist Gabriel Hermida infuses his compositions with the essence of classical tango, flamenco and contemporary jazz. At this special concert, the pair will pay tribute to the bossa nova legend and put a spotlight on Hermida's countryman Ástor Piazzolla, who's credited with adding a touch of jazz and classical to tango, forging a new style called nuevo tango.

From Paris With Love The Famous Voices Of Edith Piaf, Jacques Brel & Charlez Aznavour - Club Bonafide January 27, 2019 - New York

The Famous Voices of Edith Piaf, Jacques Brel & Charlez Aznavour You can search atop the Eiffel Tower while eating a baguette and still fail to find anything more French than the famous voice's of Edith Piaf,Jacques Brel,Charlez Aznavour,Georges Brassens & Many More .French singer Yael Dray and Argentinian guitarist Gabriel Hermida pay homage to France's national Gretest Singers, with their musical tribute " From Paris With Love" Yael Dray-Barel and Argentinian guitarist Gabriel Hermida combine their musical styles to summon the spirit of Edith Piaf with stirring renditions of the star's greatest hits, including "La Vie en Rose," "Non, Je Ne Regrette," "Milord," and "Hymne a L'amour." & Many More .Join jazz duo Yael and Gabriel as they transport you to the City of Lights with a Sunday brunch in celebration of Paris' most captivating chanteuse at New York's Club Bonafide.

The Slipper Room Show: Slippery Sundays Burlesque - The Slipper Room January 27, 2019 - New York

Muffy Styler, Tiger Bay, Michael Karas, Alexander Boyce, Zero Boy, Gigi Bon Bon, Velvetina Taylor This event is 21 and over

Sunday Brunch French Cabaret with Margot Sergent and Yael Dray - Jules Bistro January 27, 2019 - New York

Margot Sergent is a classically-trained harp player and singer and has performed in orchestras, chamber groups, and as a soloist in France for ten years. In 2015, Margot moved to New York City from Paris where she was performing in several prominent jazz clubs such as 38 Riv, Club Rayé, and Baiser Salé, as well as other publicly sponsored musical events, such as Fête de la musique (the most important national event about music in France) and Dialogue on Humanity in Lyon (conferences withleading intellectuals, writers and poets of France and all the continents on the sustainable alternatives for the future in economy, education, health). Margot has toured with two high-profile big bands: a Brazilian jazz band with the notable bandleader Mônica Passos, where she had the honor to collaborate with legendary saxophonist Archie Shepp, and also a band led by French singer-songwriter Nolwen LeRoy, the best selling artist in France in 2011.

Sunday Jazz with Renaud Penant & Friends - Jules Bistro January 27, 2019 - New York

Sunday Jazz with Renaud Penant & Friends

Jazz for Kids - Jazz Standard January 27, 2019 - New York

The Jazz Standard Youth Orchestra is a performance driven program that gives talented and dedicated young jazz musicians the opportunity to perform regularly in one of New York City's leading jazz clubs often with guest artists from the New York scene. The visiting guests give a workshop to the band members in addition to providing the experience of playing with the top musicians on the scene. On Sundays during the school year, the students rehearse and workshop in the room before opening the doors at 1:00pm and giving a concert that is free and open to the public at 2:00pm.

Sunday Evening Jazz w/ Guitarist Jamie Fox - The Sound Bite January 27, 2019 - New York

Jamie Fox, originally from California, has performed world-wide, in concert and on television, including the Montreaux Jazz Festival. He has taught students of all ages for the last 20 years and is on the faculty of The New School, Trinity School, and Steiner School. A semifinalist in the Thelonious Monk International Jazz competition in 1995, he has worked with artists as diverse as Brother Jack Mc Duff, Dr. John, Ernie Watts, Gene Harris, Tiger Okoshi, Carla Thomas, Otis Clay and The Shirelles. He played lead guitar and served as Musical Director for the Joan Baez World Tour (1989-1991), filming a popular PBS television special with Baez and Jackson Browne. Fox was lead guitarist for Blood, Sweat, & Tears (1998-2000), touring the USA and Canada. The New York Times referred to him as "an unflappable melodist". He currently performs with Jen Chapin, Stephan Crump's Rosetta Trio, Tin Roof Trio and many others in and around New York City. Jamie has recorded two CD's of his original compositions.

Kate Curran Trio - The Flatiron Room January 27, 2019 - New York

Live jazz performance by the Kate Curran Trio

The afro latin jazz orchestra - Birdland jazz club January 27, 2019 - New York

Grammy Award winning pianist, composer and educator Arturo O'Farrill -- leader of the "first family of Afro-Cuban Jazz" (NY Times) -- was born in Mexico and grew up in New York City. Son of the late, great composer Chico O'Farrill, Arturo was Educated at Manhattan School of Music, Brooklyn College Conservatory and the Aaron Copland School of Music at Queens College. He played piano in Carla Bley's Big Band from 1979 through 1983 and earned a reputation as a soloist in groups led by Dizzy Gillespie, Steve Turre, Freddy Cole, Lester Bowie, Wynton Marsalis and Harry Belafonte. The Afro Latin Jazz Orchestra is the resident large format ensemble of the nonprofit Afro Latin Jazz Alliance (ALJA) founded by Arturo O'Farrill in 2007 and dedicated to preserving the music and heritage of big band Latin jazz, supporting its performance for new audiences, and educating young people in the understanding and performance of this important cultural treasure. For more information about the orchestra and other ALJA initiatives, please visit us at www.afrolatinjazz.org

iSchool - The Bitter End January 27, 2019 - New York,

Jake Friedman & Friends (DCM) ----plus---- The Bitter End Allstar Jam With Mark Greenberg

Terraza Sunday's Jazz Jam - Terraza 7 January 27, 2019 - Elmhurst

John Benitez / Bass. A Latin Jazz, Brazilian/Straight ahead Jazz Jam Session. This is a weekly Jam Session in Queens, NY, where local musicians are able to play and create music in a collective and harmonious way. Musicians welcome and everyone else who wants to enjoy some quality music on Sunday nights. Come support live music and our community!

George Gee Orchestra - Birdland January 27, 2019 - New York

George Gee Orchestra

Vijay Iyer's Ritual Ensemble - Jazz Standard January 27, 2019 - New York

The Ritual Ensemble blends the improvisatory traditions of jazz with those of Indian classical music, with the singular voice of Ganavya Doraiswamy at the forefront. "Ganavya creates a lush twine out of American and South Asian traditions, and on Aikyam: Onnu, this vocalist and scholar's majestic debut album, the upshot feels more like an expansive invitation than any definable hybrid…No matter the lan­guage or the content, Ganavya's voice is a thick ephemera, like smoke as dark as ink, just coming off the fire." (Jon Pareles, New York Times, 5.4.2018) DownBeat's "Jazz Artist of the Year" for two years running and a 2013 recipient of a MacArthur Foundation fellowship, Vijay Iyer is among the most freely creative and forward–thinking musicians of our time. This week at Jazz Standard, the pianist, composer and bandleader will present a series of special projects that together will comprise a high point in New York's musical year. Vijay Iyer – piano Yosvany Terry – saxophones Ganavya Doraiswamy – voice Rajna Swaminathan – Indian percussion (mrudangam)

The Justin Rothberg Group - Funk - Silvana January 27, 2019 - New York

We try to explore a variety of different styles of music. While the group is firmly dedicated to jazz, we try to stay as open minded as possible. Songs are influenced by hiphop, funk, dub reggae, Latin, world music, and anything else the band has been listening to. To keep the music from sounding stiff, everyone tries to trust each other's musical taste. Even though I write all of the tunes, it's still a very open vibe on stage. No matter what song the band is playing, we're always open to experimentation.

Christopher Mcbride - Minton's Playhouse January 27, 2019 - New York,

Singer Meets Saxophonist During performances, quiet policy is enforced

Vocal Masterclass with Marion Cowings - Smalls Live January 27, 2019 - New York City

The Marion Cowings Jazz Vocal Workshop is a weekly session that gives vocalists a forum to develop the elements that define a jazz vocal performance. Vocalists at ALL levels, beginners to working pros, are encouraged to participate in this upbeat environment. Bring your questions! The format is simple: Vocalists come prepared with a song they already know, along with two copies of the sheet music. We usually begin with a group warm-up and/or discussion. You'll perform your selection and get comments and advice on how you present yourself and your material. We work with a variety of professional jazz accompanists, pianist or guitarist, bass, drums etc. MARION COWINGS vocalist Jazz singer Marion Cowings is a native New Yorker. His smooth baritone voice and considerable range has been delighting audiences around the world for decades.

Ben Zweig Trio 'After-Hours' - Smalls Live January 27, 2019 - New York City

BEN ZWEIG drums Jazz drummer and educator, Ben Zweig, “is able to combine history with the current musical environment, making it sound fresh” (Don Sickler, Grammy winning producer). After moving to NYC

Jc Stylles/Steve Nelson Hutcherson Project - Smalls Live January 27, 2019 - New York City

JC STYLLES guitar New York based Jazz Guitarist JC Stylles (aka Jason Campbell) first touched a guitar around 7 years of age, and was introduced to the world of jazz STEVE NELSON guitar JON DAVIS piano Pianist, composer, Jon Davis has been performing and touring with many of the finest jazz musicians around world for more than twenty five years. GEORGE DELANCEY bass A native of Cambridge, OH, and a student of such prestigious programs as the Columbus Youth Jazz Orchestra and the Michigan State University Jazz Studies Program, BYRON LANDHAM drums In the '90s, Byron "Wookie" Landham came to be recognized as one of the top jazz drummers in Philadelphia, where he has been employed by well-known hard bop

Jazz Brunch: Live Jazz Trio - Fine & Rare January 27, 2019 - New York

Enjoy our new brunch menu, an array of crafted cocktails & spirits and a live jazz performance.

People's Music Network Winter Concert - People's Voice Cafe Through January 27, 2019 - New York

This special concert in main sanctuary upstairs marks the beginning of the People's Music Network 2019 Winter Gathering in New York City, January 25-27. The concert features Francisco Herrera (PMN Artist-in-Residence), MacDougal Street Rent Party, Brooklyn Women's Chorus, Raymond Nat Turner, Jeremy Aaron, Lindsey Wilson, Dilson Hernandez, and Filthy Rotten System – all singing out for freedom, peace, human rights, social and economic justice, environmental protection, and more.

Donny Mccaslin - Village Vanguard Through January 27, 2019 - New York

Donny McCaslin (tenor sax) Jason Lindner (piano) Nate Wood (bass) Mark Giuliana (drums) The group has a bedrock relationship with groove, but also a genius for permutation: Mr. Guiliana chops up the beat in deft, destabilizing ways, and Mr. Lindner, favoring a Wurlitzer electric piano with pedal effects, brings welcome grit and woozy atmosphere. Mr. McCaslin seems to have direct access to emotional expression in his playing, as if it were a valve he could open at will. He's exceptionally sure-footed with his phrasing, almost never caught off balance, but he knows how to convey risk or fury through the compressed force of his tone.

Melvin Vines & The Harlem Jazz Machine - Paris Blues Through January 28, 2019 - New York

Melvin Vines & The Harlem Jazz Machine

La Banda Ramirez - Paris Blues Through January 28, 2019 - New York

La Banda Ramirez

Guest Band - Paris Blues Through January 28, 2019 - New York

Guest Band

Gretchen Parlato - Jazz Standard Through January 30, 2019 - New York

In the ten years since her arrival in New York City, Gretchen Parlato has emerged as one of the most in­ventive and mesmerizing vocalists of her generation. She has introduced a musical sea–change, making the power of subtlety front and center in jazz through her artful communion of space, texture and a genre–bending repertoire. All of us at Jazz Standard are pleased to welcome back this gifted artist, leading an outstanding new band to present the songs from her much–anticipated new CD flor. "A singer with a deep, almost magical connection to the music." (Herbie Hancock) "In an inconspicuous way, Gretchen Parlato knows how to play the same instrument that Frank Sinatra played. There's no one out there like Gretchen." (Wayne Shorter) Gretchen Parlato – voice Marcel Camargo – guitar Artyom Manukian – cello Léo Costa – drums, percussion

Jimmy Cobb's 90th Birthday Celebration - Jazz Standard Through February 03, 2019 - New York

A superb, mostly self–taught musician, drummer Jimmy Cobb is the elder statesman of the incredible Miles Davis bands of the 1950s and early '60s. Jimmy's inspirational work with Miles, John Coltrane, and Cannonball Adderley spanned the years 1957–1963, and included the 1959 masterpiece Kind of Blue, still the best–selling jazz album in history; he also played on the Miles Davis albums Sketches of Spain, Someday My Prince Will Come, and Live at Carnegie Hall, to name a few. After leaving the Davis group, Jimmy continued to work with Wynton Kelly and Paul Chambers behind such leaders as Wes Montgomery, Kenny Burrell, and J.J. Johnson before joining Sarah Vaughan's trio for a nine–year run. Cobb made his recording debut as a leader in 2002 with Yesterdays, with contributions from Michal Brecker, Roy Hargrove, and Jon Faddis; his 2014 live album, The Original Mob, featured pianist Brad Mehldau and guitarist Peter Bernstein. "His time feel hasn't changed substantially in 50 years, which would be a problem if he weren't fully in command of its great undercurrent. So while his playing can suggest its own tribute, it also continues to be a living language…For someone like Jimmy Cobb, jazz ... (read more)

69th Street Band - Paris Blues Through February 17, 2019 - New York

69th Street Band

Tobin's Run on 51: Village Vibes & Chasin' the Trane - Irish Arts Center Through November 29, 2019 - New York

FEATURING Christine Tobin, vocals Phil Robson, guitar Tim Armacost, saxophone Peter Brendler, double bass Ingrid Jensen, trumpet Jimmy Macbride, drums David O'Rourke, guitar Village Vibes & Chasin' the Trane In the 50s and 60s, a counterculture grew throughout the States, and the iconic Greenwich Village of New York City became the center of a revolution that was happening in jazz music with artists such as John Coltrane, Miles Davis, Ornette Coleman, and many others. This Tobin's Run celebrates their pioneering spirit, alongside songs from great vocal artists of the day, Abbey Lincoln and Sarah Vaughan. The evening will also feature film clips of musicians and Village clubs from the era.

Source: https://www.cityguideny.com/article/Blues-and-Jazz-in-New-York-City-This-Weekend-January-25-January-27