Source: The New York Times.
KRIS DAVIS at the Stone (Feb. 7-12, 9 p.m.). Ms. Davis’s piano playing can seem to submerge you in its sound, though her style is more solid than liquid. Last year, the astonishing pianist released “Duopoly,” a collection of duets with a variety of improvisers. This week, starting on Wednesday, she’ll continue the project, engaging a different duo partner each night. (She opens the run on Tuesday with a trio performance.) Ms. Davis will be joined by the vocalist Jen Shyu, the bassist Michael Formanek, the guitarist Julian Lage, the drummer Johnathan Blake and finally the saxophonist Ingrid Laubrock. 212-473-0043, thestonenyc.com
MARIKA HUGHES at Barbès (Feb. 4, 6 p.m.). An ecumenical cellist and vocalist, Ms. Hughes ranges deftly into chamber music, indie rock, R&B and avant-garde improvising. She boasts a husky tone and a pensive touch on the cello, favoring wide arcs of melody that often allude to the blues. For this performance, Ms. Hughes revisits the repertoire from her 2011 album, “Afterlife Music Radio,” a solo cello recording on which she plays compositions written specifically for her by musician friends. The show begins her monthlong residency of Saturday-evening gigs at Barbès; the other weeks, Ms. Hughes will appear with small ensembles.
MATTHEW SHIPP TRIO at the Cutting Room (Feb. 9, 7:30 p.m.). Last week the avant-garde pianist Matthew Shipp released “Piano Song,” a trio recording that works as a panorama of his wide-ranging creative spirit. There are passages of off-kilter swing; crunchy backbeats; and spark plug, atonal improvising — all guided by Mr. Shipp’s gangly improvisational flow. Now 56, he says that “Piano Song” will be his last studio album with his current label, Thirsty Ear, and this show is meant to commemorate the occasion. It features the personnel from the record: Michael Bisio on bass, and Newman Taylor Baker on drums. 212-691-1900, thecuttingroomnyc.com
McCOY TYNER at the Blue Note (Feb. 6-7, 8 and 10:30 p.m.). One of the most influential living jazz pianists, Mr. Tyner, 78, emerged from Philadelphia in the early 1960s as a charter member of the John Coltrane Quartet. With a darkly combustive left hand and open-ended chord voicings in the right, he helped to define the group’s classic sound while paving the way for the boundless abandon of Coltrane’s later period (if not its atonality). But Mr. Tyner’s legacy must also include his sensitive playing on ballads, and his strengths as a composer and bandleader. He appears here with the saxophonist Gary Bartz, the bassist Gerald Cannon and the drummer Francisco Mela.