TAMMY FAYE STARLITE at Joe’s Pub (April 11, 9:30 p.m.). The 1978 album “Some Girls” might represent the last time the Rolling Stones were truly dangerous. Its risqué blend of shimmying disco, insinuating R&B, appalling stereotypes and outright nonsense has endured through 40 years. The singer and performance artist Tammy Faye Starlite — known for her inimitable impersonations of Nico and Marianne Faithfull — will sink her teeth into this rich material when she performs the classic LP in full on Wednesday night.
YO LA TENGO at Brooklyn Steel (April 6, 8 p.m.). This long-running trio from New Jersey brought a soft touch to the recording of “There’s a Riot Going On,” the album they released last month. As the New York Times critic Jon Pareles observed in his review, “The music drones and burbles, tinkles and undulates, taking its time and lingering over instrumental stretches.” Yo La Tengo’s shows this year have often shared that subtle, meditative quality, but fans of their louder side shouldn’t worry — recent set lists have made room for plenty of all-out psychedelic conflagrations, too.
DAYMÉ AROCENA at Pioneer Works (April 7, 8 p.m.). The melding of Havana street tradition and religious practice with conservatory training now seems to be commonplace among the youngish Cuban instrumentalists making waves on the international jazz scene. But it’s rarer among vocalists, and this is where Ms. Arocena starts to make things interesting. Her 2017 release, “Cubafonía,” shows her to be a forceful singer and a restless wanderer. Ms. Arocena appears at Pioneer Works in a concert presented with the World Music Institute.
RAFIQ BHATIA at National Sawdust (April 9, 8 p.m.). Mr. Bhatia’s sophomore album, “Breaking English,” is about more than just subverting one kind of language. Musicians can easily understand cadence and harmony — even the decision to use a certain instrument — as forms of linguistic choice. And these are all things that Mr. Bhatia, a guitarist and producer, erases or contravenes in some way on “Breaking English.” If language is a kind of performance, can musicians renegotiate the expectations placed upon them as performers by upsetting their own musical linguistics? Go, and see what you think: Mr. Bhatia celebrates the remarkable album’s release with this concert, where he’ll be backed only by the drummer Ian Chang, plus a fleet of pedals and effects.
ELIANE ELIAS at Birdland (April 10-14, 8:30 and 11 p.m.). A Brazilian pianist of richly shaded harmonies, Ms. Elias is equally influenced by Bill Evans and bossa nova. She is about to release “Music From Man of La Mancha,” which finds her immersed in the songs of an old American Broadway production based on the story of Don Quixote. Recorded in the 1990s but never released until now, the album is full of frothy repartee between Ms. Elias and two rhythm sections: On some tracks, it’s a trio with the drummer Jack DeJohnette and the bassist Eddie Gomez, and elsewhere a quartet with Marc Johnson on bass, Satoshi Takeishi on drums and Manolo Badrena on percussion. At this concert, she’s joined by Mr. Johnson, Mr. Badrena and the young drummer Tiago Michelin.
ERIK FRIEDLANDER at Dixon Place (April 11, 7:30 p.m.). As a cellist, Erik Friedlander is immediately well positioned to stretch and blur the sounds of a typical jazz ensemble. (Not that he plays much with those kinds of bands exactly.) So he’s well suited to the task at hand on “Artemisia,” his new album, which was inspired at first by Pablo Picasso’s “Glass of Absinthe” sculptures, and then by the history of absinthe, a hallucinatory intoxicant. With the help of Uri Caine on piano, Mark Helias on bass and Ches Smith on drums, Mr. Friedlander craftily conjures something like intoxication and euphoria, without any crude parroting. He and the band from the album will perform at Dixon Place’s intimate theater.
‘A TRIPLE BILL OF ADVENTUROUS NEW MUSIC’ at the Cell (April 7, 7 p.m.). The tenor saxophonist James Brandon Lewis and the drummer Chad Taylor both improvise in a way that runs rampant and discursive, but their music stays firmly centered in their bodies. Things never go adrift or become overtly theoretical; this is lived music, physical and direct. The duo just released “Radiant Imprints,” an excellent album documenting their interchange, studded with some personal reworkings of John Coltrane themes. Mr. Lewis and Mr. Taylor appear here on a three-part bill that includes another noteworthy duo — Pheeroan akLaff on drums and Mikan Nitta on the shakuhachi, a Japanese flute — and the Rob Reddy Ensemble, which will play the bandleader’s harmonically adventurous compositions.
RANDY WESTON at Jazz Standard (through April 8, 7:30 and 9:30 p.m.). Mr. Weston, a pianist and National Endowment for the Arts Jazz Master, turns 92 on Friday, when he brings his accomplished African Rhythms Quintet to Jazz Standard, along with the Chinese pipa lute player Min Xiao-Fen and a band of master Gnawa musicians from Morocco. On Saturday, he heads a 10-piece ensemble in a tribute to the military bandleader and African-American musical pioneer James Reese Europe. The run ends on Sunday, with the African Rhythms band joined by special guests Salieu Suso on kora and Cynthia Scott on vocals.
JOHN ZORN’S ‘MASADA’ at Symphony Space (April 12, 8 p.m.). Mr. Zorn, a saxophonist and avant-garde pioneer, is celebrating the release of “The Book Beriah,” the third and final volume of his 613-song epic, “Masada,” based on the Torah’s commandments. “The Book Beriah” is divided among 11 discs, each performed by a different ensemble. This concert features three bands from the new release: Zion80, playing a series of compositions titled “Hod”; Secret Chiefs 3, performing “Malkhut”; and Banquet of the Spirits, led by the percussionist Cyro Baptista, doing “Yesod.”
POP. 1280 AND THE ART GRAY NOIZZ QUINTET at Elsewhere (April 10, 8 p.m.). Since Pop. 1280’s debut album in 2012, “The Horror,” their brand of noise has ripened from full-frontal scum-rock mash-ups to spare synth-pop-tinged dystopian dirges that are no less intense. Speaking of noise, that’s kind of Stu Spasm’s thing — from Lubricated Goat in the late 1980s and Crime Wave in the early aughts to his current project, the Art Gray Noizz Quintet. This elder statesman of clamor hasn’t lost his touch with devilishly groovy tunes like “Won’t Say It” and what should be everyone’s new favorite anthem “Killed by an Idiot.” This fine bill, which also includes Buck Gooter and Decor, should prove to be a potent sonic tonic for any rocker’s ills.