this week in music

SUPER SABADO: CARNAVAL

FREE THIRD SATURDAYS
El Museo del Barrio
1230 Fifth Ave. at 104th St.
Saturday, February 19, free, 11:00 am – 8:30 pm
212-831-7272
www.elmuseo.org

One of our favorite ongoing parties takes place the third Saturday of every month, when El Museo del Barrio welcomes visitors for a free day of art, live performances, and other special events. On February 19, the museum will be celebrating Carnaval with ArtExplorers family tours of the “Voces y Visiones” exhibition of works from the permanent collection, gallery tours of that and the “Luis Camnitzer” retrospective, a Colorín Colorado storytelling presentation of Elisabeth Balaguer’s My Carnival / Mi Carnaval with the Bilingual Birdies, the Say Quesoooo! photo booth, a vejigante cape-making workshop, the live music and dance show “Afro-Caribbean Carnaval: The Legacy Circle, Alma Moyo & Kalunga,” followed by a Q&A with the artists, the Oh, Snap! Young Powerful Voices at Work spoken word workshop with Caridad de la Luz “La Bruja,” and more.

BNLX

BNLX will bring its fuzzy synth pop to Fontana’s on Thursday night and rock the Rock Shop on Friday (Photo by Christian Erickson)

Thursday, February 17, Fontana’s, 105 Eldridge St., 212-334-6740, $7, 8:00
Friday, February 18, Rock Shop, 249 Fourth Ave., 718-230-5740, $10, 8:00
www.myspace.com/bnlxmusic

Whenever a new pop band emerges from the shadows, the music industry rushes to pigeonhole them, but some groups defy categorization. The mysterious BNLX, who surfaced in 2010 in Minneapolis by releasing a quartet of four-track EPs in plain brown cardboard packages, is one such band. Just a look at the songs they covered on BNLX4 makes you scratch your head in wonder: Can’s “Soul Desert,” Rhianna’s “Shut Up and Drive,” Black Flag’s “Rise Above,” and a smokin’ version of fellow Minneapolis native Prince’s “When Doves Cry.” Led by husband-and-wife-team Ed Ackerson and Ashley Ackerson, who run the Minneapolis label Susstones, BNLX plays joyful pop built around groovy synths and fuzzy guitars, evoking such forerunners as X, the B-52s, Norman Greenbaum, and Cracker in such rave-ups as “Do Without,” “Where Is the Love,” and “Frogger.” The impossibly infectious “Blue and Gold” is one of the most beautifully crafted pop songs of 2010; when Ed sings, “I’ve been here before,” you might think you have too, but you haven’t. If John Hughes were still alive and was going to remake The Breakfast Club in London, BNLX could handle the soundtrack all by itself. The quartet, officially billed as e.a., a.a., knobby, and blinky, will be at Fontana’s on February 17 with the Setup and Dream Job and at the Rock Shop in Brooklyn on February 18 with Hard Light, hopefully premiering songs from the upcoming BNLX5.

NEW YORK OPERA SOCIETY: A TRIBUTE TO PAUL ROBESON

The New York Opera Society will pay tribute to the great Paul Robeson on Wednesday night at the World Financial Center

World Financial Center Winter Garden
220 Vesey St.
Wednesday, February 16, free, 7:00
212-417-7050
www.artsworldfinancialcenter.com
www.newyorkoperasociety.com

Describing his first trip to the Soviet Union in 1934, Paul Robeson (1898–1976) noted, “Here I am not a Negro but a human being. Before I came I could hardly believe that such a thing could be. Here, for the first time in my life, I walk in full human dignity.” The Princeton-born Renaissance man was an influential stage and screen actor, bass-baritone singer, civil rights activist, writer, and football star. In honor of Black History Month, the New York Opera Society, led by founder and executive director Jennifer Cho, will perform a musical tribute to Robeson, the son of slaves who went on to appear in such films as The Emperor Jones (Dudley Murphy, 1933), Show Boat (James Whale, 1936), and King Solomon’s Mines (Robert Stevenson, 1937) and played Othello on Broadway opposite Uta Hagen and José Ferrer. The free event, taking place in the World Financial Center Winter Garden, will feature performances of such Robeson classics as “Ol’ Man River,” “Song of the Volga Boatmen,” “All Through the Night,” and Beethoven’s “Ode to Joy,” among other spirituals and songs of freedom.

TWI-NY TALK: KENNY WHITE

Kenny White will be playing a Saturday-night residency at the Café Carlyle

Café Carlyle
35 East 76th St. at Madison Ave.
Saturdays, February 19 – March 12, general seating $40, bar $30, 10:45
212-744-1600
www.myspace.com/kennywhitemusic
www.thecarlyle.com

In the liner notes to his fourth full-length solo album, 2010’s COMFORT IN THE STATIC, Kenny White explains, “There are days when you play the lead character in your life, but as an observer.” Although he was referring specifically to “Out of My Element,” the first song written but last recorded for the disc, he could have been talking about his professional career. He started writing songs when he was eight and has spent much of his life as a writer and producer of pop tunes and commercials for other artists, ranging from Gladys Knight, Linda Ronstadt, and Dwight Yoakam to Shawn Colvin, Marc Cohn, and Peter Wolf. He released his first solo album, UNINVITED GUEST, in 2001, and followed that up with 2005’s SYMPHONY IN 16 BARS and 2006’s NEVER LIKE THIS. On February 19, he’ll begin a four-week Saturday-night residency at the Café Carlyle, where he’ll play his ironic, cynical, highly engaging songs at a venue where performers such as Barbara Cook, Barbara Carroll, the late Bobby Short, and Woody Allen & the Eddy Davis New Orleans Jazz Band usually rely on familiar standards. But White will be in good company on those nights, following Judy Collins, who will be at the Carlyle February 15 – March 12, playing Tuesdays through Saturdays with musical director Russell Walden; Collins is the founder of Wildfllower Records, White’s label since 2005. White discussed Collins, the Carlyle, playing out of his element, and Palookaville in our latest twi-ny talk.

twi-ny: Last summer you played one of Levon Helm’s Midnight Rambles. What was that experience like?

Kenny White: Any time you can get to share a stage with one of the architects of rock & roll, it’s a memorable occasion. The event itself shows that the magnetic pull of intimate, organic soul music is still plenty powerful, despite obituaries to the contrary. And to be a part of that experience . . . that’s just icing on the cake. Right down to singing the first verse of “The Weight” directly in front of the man who gave the song its heart. Then the added bonus of having Donald Fagen on the other side of the stage. A deeply fulfilling evening for me and my band.

twi-ny: The Café Carlyle on the Upper East Side is very different from the Midnight Ramble in Woodstock. How do you think your unique brand of ironic, cynical songwriting, particularly on COMFORT IN THE STATIC, will go over in a venue used to more traditional cabaret and jazz?

Kenny White will be featuring songs from his latest album, 2010's COMFORT IN THE STATIC, at the Carlyle

Kenny White: I guess we’re going to find out! My songs, even though not widely known, seem to resonate with folks who are looking for lyrics to which they can relate. People who have been around the block once or twice can be satisfied with “unrequited love” or “poor me” songs for just so long. The Café Carlyle has long been a watering hole for the worldly and discerning. And I believe what they’re looking for does not need to be defined by musical genre. If it’s good, they’ll like it. If it’s not . . . Palookaville!

twi-ny: Since 2005, you’ve been part of the Judy Collins Wildflower family, which also includes such artists as Amy Speace, Wes Charlton, and Ralston Bowles. What has that meant to your career?

Kenny White: It means a support system for what could otherwise be a very isolated line of work. Wildflower Records was established by an artist, which, right away, gives it a head start. All the above artists are in touch with each other and are always mutually encouraging and inspiring. And Judy, along with [label president] Katherine DePaul, has an innate understanding of the temperament of the artist. Especially one that started out a couple of minutes past what might be considered the “video friendly” hour.

LOU REED AND LAURIE ANDERSON VALENTINE’S DAY DUO

Laurie Anderson and Lou Reed will team up for a special Valentine’s performance February 15 at the Stone (Photo by Guido Harari)

The Stone
Ave. C at Second St.
Tuesday, February 15, $40, 8:00
www.thestonenyc.com

Together since 1995, Laurie Anderson and the ubiquitous Lou Reed finally tied the knot in April 2008. During their domestic partnership, they have collaborated on record, but they rarely have performed live as a duo. This month they have been curating the calendar at the Stone, with free open houses every Sunday. On February 15, the longtime couple will take the stage for two special shows, at 8:00 and 10:00, with Buke and Gass (Arone Dyer and Aron Sanchez) opening up. Admission is forty bucks, and if you’re wondering why it isn’t sold out, that’s because the Stone sells no tickets in advance, only at the door the night of the performance. But get ready for some very long lines. Anderson will be back February 23 playing with guitar legend Fred Frith; other highlights through the month include Marc Ribot on February 17, Rob Wasserman on February 18, A. M. Homes on February 22, Greg Cohen on February 24, and Ryuichi Sakamoto on February 26.

THANK YOU

You’ll thank us for recommending you check out Baltimore trio at Death by Audio tonight

Death by Audio
49 South Second St., Brooklyn
Saturday, February 12, $7, 8:00
www.myspace.com/deathbyaudioshows
www.facebook.com/pages/Thank-You

The Baltimore trio of Jeffrey McGrath, Michael Bouyoucas, and Emmanuel Nicolaidis, who make up Thank You, get credit for each playing “everything” on the group’s third album, GOLDEN WORRY (Thrill Jockey, January 2011). The follow-up to 2007’s WORLD CITY and 2008’s TERRIBLE TWO, their latest release contains six tracks that weave and wind their way through a multitude of sounds, with McGrath primarily on guitar, Bouyoucas on bass and organ, and Nicolaidis on drums, with lots of other instruments and vocalizations thrown into the massive mix. GOLDEN WORRY blasts off with the powerful “1-2-3 Bad,” which shoots out in all directions at a fast and furious pace, followed by the more melodic, steady, almost New Agey — um, make that spacey — “Birth Reunion,” which features a fab, freaky finale that works as a great lead-in for the full-force funk attack that kicks off “Pathetic Magic,” which was part of a 2009 twelve-inch with GOLDEN WORRY’s chant-filled “Strange All,” which really gives newcomer Nicolaidis a chance to strut his stuff, taking over for original Thank You drummer Elke Wardlaw, and works well with the great squealing on “Continental Divide” and some high flying on the closer, “Can’t/Can,” so there are no worries that Thank You is worth thanking again for another compelling disc. Yes, that sentence left us breathless too, but from what we’ve heard, that’s what Thank You’s live shows will do to you as well. They’ll be at Death by Audio tonight with Math the Band, Ed Schrader, and labelmate Dustin Wong, who also knows how to weave and wind his way through awesome sounds.

THE MUSIC OF NEIL YOUNG AT CARNEGIE HALL

Carnegie Hall
Stern Auditorium / Perelman Stage
881 Seventh Ave. at West 57th St.
Thursday, February 10, $45-$250, 8:00
www.neilyoungcarnegie.com

Music impresario Michael Dorf’s annual benefit honoring rock-and-roll icons this year turns to Canadian Hall of Famer Neil Young, after previously paying tribute to such megastars as Bruce Springsteen, Bob Dylan, the Who, R.E.M., Elton John, and others. Dorf, the Knitting Factory guru who now runs City Winery, has once again put together a stellar lineup of musicians to play songs from throughout Young’s long, diverse career, which took off when Young was part of Buffalo Springfield and Crosby, Stills, Nash, and Young in the mid-to-late 1960s, then exploded with the success of his early-’70s solo albums, AFTER THE GOLD RUSH and HARVEST. The ridiculously prolific anticorporate rocker has released more than thirty studio albums and eight live records (in addition to those with the Springfield and CSNY), ranging from acoustic folk and country to rockabilly and grunge, from electronic noise and the blues to environmental activism and antiwar screeds. The tribute, taking place at Carnegie Hall on February 10, raises funds for such music and arts programs for underprivileged youth as Fixing Instruments for Kids in Schools, Church Street School for Music & Art, the Pinwheel Project, Music Unites, the American Symphony Orchestra, and Young Audiences New York. The impressive roster of performers includes Patti Smith & Jesse Smith, the Roots, Nada Surf, Cowboy Junkies, Juliana Hatfield & Evan Dando, Bettye LaVette, Shawn Colvin, Bebel Gilberto, Aaron Neville, the Wood Brothers, Keller Williams, Joan Osborne, Jakob Dylan, J Mascis, Glen Hansard, Mason Jennings, DeVotchKa, Ben Ottewell, Pete Yorn, Joe Purdy, and house bandleader Larry Campbell, who will be hosting a sold-out live rehearsal of the show tonight at City Winery. In past “Music of” shows, the Boss and members of R.E.M. participated in their own tributes, so there’s always a chance that car and train enthusiast Young might be on hand, although we wouldn’t bet on it.