SLOW DANCER at Mercury Lounge (Sept. 18, 6:30 p.m.). True to his chosen stage name, the Australian singer-songwriter Simon Okely makes music that often feels fit for a romantic spin around the room at a late-night wedding party. On his releases as Slow Dancer, including the excellent “In a Mood,” from this year, Mr. Okely draws on pop, soul and soft-rock traditions to offer a warm, inviting sound that’s all his own. The tender indie-rock act Petal, from Scranton, Pa., opens.
THE WAR ON DRUGS at Terminal 5 (Sept. 19, 8 p.m.). Subtly layered guitars and keyboards, sky-high solos and earnest, searching lyrics are the stock-in-trade of Adam Granduciel, the leader of the War on Drugs. Since he perfected this approach in 2014 with “Lost in the Dream,” the band’s third studio album, the War on Drugs has soared in popularity. “A Deeper Understanding,” released last month, is the group’s first LP on a major label; Mr. Granduciel and his band mates will mark its arrival with a night at this spacious Manhattan venue.
AVISHAI COHEN QUARTET at Le Poisson Rouge (Sep. 20, 10:30 p.m.). Ink-blotted and brooding, Mr. Cohen’s latest release for ECM Records, “Cross My Palm With Silver,” has an immanent seductiveness. It has restless and shapely rhythms to match its introspective pull. He’ll likely play selections from that album, which came out in the spring, at Le Poisson Rouge, where he’s joined by Gadi Lehavi on piano, Barak Mori on bass and Marcus Gilmore on drums.
CHICK COREA AND STEVE GADD BAND at the Blue Note (Sept. 19-23, 26-30; 8 and 10:30 p.m.). Mr. Corea, one of jazz’s most influential pianists and keyboardists, featured Mr. Gadd’s drumming on a few albums in the 1970s, including the classic fusion excursion “My Spanish Heart.” (Mr. Gadd was also in Mr. Corea’s storied band Return to Forever for a spell, though he never recorded with it.) The two have reunited sporadically in recent years, and here they’ll play a two-week run with the support of some fabulous sidemen: Steve Wilson on saxophone and flute, Lionel Loueke on guitar, Carlitos Del Puerto on bass and Luisito Quintero on percussion.
BARRY HARRIS TRIO at the Village Vanguard (Sept. 19-24, 8:30 and 10:30 p.m.). Uninhibited but serious, loose-limbed but nimble, Mr. Harris came to New York in the early 1960s as part of bebop’s second generation. Now he’s one of the last remaining patriarchs of a musical movement that began as an assault on sacred cows and became a canonical form. Mr. Harris, 87, appears with a trio featuring the bassist Ray Drummond and the drummer Leroy Williams, his most consistent associate.
MIMI JONES CELEBRATES BERTHA HOPE at the Bronx Music Heritage Center (Sept. 16, 7 p.m.). Ms. Hope, a hard-bop pianist and educator, has long honored the legacy of her husband, Elmo Hope, a significant pianist in the 1950s and ’60s (he died in 1967). Here, Ms. Hope, 80, gets her own tribute: Ms. Jones, a bassist, will screen “Seeking Hope,” a documentary about Ms. Hope that she directed; with her band, she will also perform from the pianist’s repertoire. Ms. Hope will answer audience questions afterward. 347-708-7591, thisisbronxmusic.org
CHRIS LIGHTCAP’S SUPERBIGMOUTH at ShapeShifter Lab (Sept. 21, 8:15 p.m.). Mr. Lightcap has the classic problem of a great bassist: He’s forever on somebody else’s gig, rarely finding time for his own ensembles. That’s our loss. In Bigmouth, his primary concern, he plays original tunes with roundly sculpted melodies and knotty rhythms beneath — somewhere between baroque pop and contemporary jazz, with a spritz of soul harmony. For this concert he unites the members of Bigmouth with those of Superette, his other reliable combo, in the debut of SuperBigmouth. Altogether, the hybrid features Craig Taborn on keyboards, Tony Malaby and Chris Cheek on tenor saxophone, Jonathan Goldberger and Curtis Hasselbring on guitar and Gerald Cleaver and Dan Rieser on drums.
EDDIE PALMIERI SALSA ORCHESTRA AND THE DEL CARIBE LATIN JAZZ ALL-STARS at the Lehman Center for the Performing Arts (Sept. 16, 7:30 p.m.). A legend of salsa and Latin jazz-rock fusion, Mr. Palmieri 80, has never let up on his dissonant, endlessly mercurial improvisation style; this large band, which plays a relatively traditional brand of New York Latin dance music, matches his fire while keeping things fluid enough for dancers. (At the Lehman Center, you’ll have to shake a leg in the aisles.) Also on the bill are the Del Caribe Latin Jazz All-Stars, featuring the pianist Emilio Morales, the tres guitarist Nelson González and percussionist Johnny Rodriguez, known as Dandy. Giovanni Hidalgo will appear with the All-Stars as a special guest.
ANTONIO SANCHEZ GROUP at Jazz Standard (Sept. 15-17). Later this month, Mr. Sanchez will release “Bad Hombre,” an album of liquid electronics and ebullient drumming; it refers equally to post-rock and ambient techno experimentalism. When he gets going, Mr. Sanchez’s drumming is an emulsion of low surge and high patter, distinctive enough that you might be able to recognize it from the “Birdman” film score, which he recorded. Both that soundtrack and his new album are solo affairs, but for this engagement he will play two sets each night with a quartet: Chris Potter and Donny McCaslin — two of today’s great tenor saxophonists — plus the bassist Matt Brewer.
SARA SERPA’S ‘RECOGNITION’ at the Drawing Center (Sept. 16, 7:30 p.m.). Ms. Serpa is a lithe singer who never seems limited by the specificity of her phrasing and ideas. She appears here with an intriguing pair of accompanists — the harpist Zeena Parkins and the tenor saxophonist Mark Turner — for the premiere of a newly commissioned work, “Recognition,” which interrogates the colonial history of her native Portugal. The piece, which pairs projected images with improvised music, is presented here as part of the Stone’s series of six concerts at the Drawing Center.
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