查香港马开奖结果查询
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查香港马开奖结果查询来源:火币天下 2019-11-15 11:21:02 A-A+

  

  Our guide to pop and rock shows and the best of live jazz happening this weekend and in the week ahead.

  LIZ COOPER & THE STAMPEDE at Rough Trade (Feb. 27, 9 p.m.). This lilting Nashville rock trio gives new meaning to the label “easy listening” with their tempered, dreamy psychedelia. Gentle grooves and softly arpeggiated guitars take the place of sprawling, climactic jams, yet their songwriting is taut enough that the audience is never in danger of being lulled to sleep. The band has made refining their live show a priority, touring their songs for three years — including as support for Bermuda Triangle, the side project of the Alabama Shakes frontwoman Brittany Howard — before heading into the studio. Their 2018 debut, “Window Flowers,” is summery and bright, well suited to mitigating New York’s winter chill.718-388-4111, roughtradenyc.com

  THE DREAM at the Bowery Ballroom (Feb. 26, 8 p.m.). Praising this producer, singer and songwriter for fidelity to his artistic vision might seem odd. After all, he is responsible for some of the biggest pop hits of the past 15 years, including Rihanna’s “Umbrella” and Beyoncé’s “Single Ladies.” In his work as a solo artist, though, the Dream remains steadfast in his commitment to achingly slow, explicitly bedroom-ready R&B jams. Combining his high, often-AutoTuned voice with layers of synths and understated beats, he has made himself into a new model of R&B maestro. 212-260-4700, boweryballroom.com

  JULIA HOLTER at Warsaw (Feb. 22, 9 p.m.). To call Holter a singer-songwriter feels reductive, given the wide-ranging abstract soundscapes she creates with a nearly endless array of instruments and electronic tools. In her compositions, this California native finds common ground between the baroque and the futuristic, the ancient (her latest album, “Aviary,” includes a musical interpretation of a poem by Sappho) and the modern (another track was inspired by Alice Coltrane’s “Universal Consciousness”). The one thing listeners won’t find in Holter’s music is compromise: It’s about as unusual and boundary pushing as anything labeled pop music can get, and all the more exciting for it. 212-777-6800, warsawconcerts.com

  JOHN MELLENCAMP at the Beacon Theater (Feb. 25-27, 8 p.m.). This legendary rock singer and songwriter is best known for his ability to capture the heartland — as he describes in his biggest hit, “Jack & Diane” — in accessible, catchy songs. But since his 1980s heyday, Mellencamp has shed most of the trappings of commercial rock (including his myriad stage names) in favor of more straightforward blues arrangements courtesy of the super-producer T Bone Burnett. For his latest album, 2018’s “Other People’s Stuff,” Mellencamp produces and performs, revisiting a number of covers he had previously recorded in the rootsy style that is now his signature.212-465-6000, beacontheatre.com

  SON LITTLE at BRIC House Ballroom (Feb. 28, 8 p.m.). The folksy blues put forth by this Philadelphia-based singer-songwriter, who has also written songs for Mavis Staples and collaborated with the Roots, can be intimate, acoustic and mostly unadorned, or up-tempo and groovy, as it is on his most recent album “New Magic.” A deep understanding of classic American roots music ties his records together, lending them old-school credibility even as the occasional unorthodox production choice gives his work a contemporary feel. The Canadian singer-songwriter Melissa Laveaux and the folk singer Christopher Paul Stelling open. 718-683-5600, bricartsmedia.org

  SON LUX at the Appel Room (Feb. 28, 8:30 p.m.). The art music composer Ryan Lott, the experimental drummer and percussionist Ian Chang and the jazz-schooled guitarist Rafiq Bhatia have forged their talents to create airy, unconventional pop under the name Son Lux. Incredibly active as soloists, these artists channel their more esoteric skills into this project, which attracts alternative rock and electronic music audiences as well as aficionados of contemporary composition. In 2018, the trio released their fifth album, “Brighter Wounds,” which puts seemingly incongruous sounds — like screeching, dissonant strings and bluesy guitar riffs — adjacent to one another for a compelling, unpredictable result.212-721-6500, lincolncenter.orgNATALIE WEINER

Jazz

  BRITTANY ANJOU at Le Poisson Rouge (Feb. 25, 8 p.m.). This pianist just released “Enamigo Reciprokataj,” a debut album with a double meaning: Translated from Esperanto, its title can mean “Reciprocal Love” or “Mutual Breakdown.” It makes sense that Anjou would speak in double-entendre, in a language that’s at once universal and abstruse. The album is full of broadly sourced melodies that are bright and lyrical and quick, and work by their own clever logic. (She has studied jazz in New York, Western classical in Prague, and gyil music in Ghana; she’s currently an artist in residence at Kuwait’s Sheikh Jaber Al-Ahmad Cultural Center opera house.) Anjou celebrates the release of “Enamigo Reciprokataj” with Greg Chudzik on bass and Shirazette Tinnin on drums. The bassist Ari Folman-Cohen will participate as a special guest.212-505-3474, lpr.com

  BRENT BIRCKHEAD at Nublu 151 (Feb. 22, 8 p.m.). When he’s not on the road with Lauryn Hill’s band, this alto saxophonist is often found in the basement of Smalls, partaking of late-night jam sessions with other young jazz improvisers. Struck with bluesy warmth and the relentless swing of Cannonball Adderley, Birckhead’s playing has lately established him as one of the most riveting young improvisers in New York. On his impressive debut album, “Birckhead,” his R&B sojourns and his straight-ahead jazz background come to bear, resulting in a sound that skates the divide between svelte swagger and cutting passion. The record finds the young bandleader meditating on romance, personal growth and the travails of his native Baltimore; he will celebrate its release at Nublu with Corey Wallace on trombone, Marc Cary on piano, Jon Michel on bass and Curtis Nowosad on drums.nublu.net

  PETER EVANS WITH MAZZ SWIFT AND RON STABINSKY at National Sawdust (Feb. 27, 7 p.m.). An unassailable young virtuoso on trumpet, Evans uses extended technique to create some of the most darkly inscrutable music around. At National Sawdust as part of John Zorn’s monthly Commissioning Series, Evans presents two sets of original music: a solo trumpet work, and a series of compositions for violin and piano, performed by Swift and Stabinsky.646-779-8455, nationalsawdust.org

  LOUIS HAYES at the Iridium (Feb. 22, 8 p.m.). This 81-year-old drummer plays straight-ahead jazz with a big, broad swing feel, and a built-in sense of the Afro-Latin underpinnings of jazz rhythm. His mix of nuanced syncopation and raw power helped define some quintessential hard-bop groups of the 1960s, led by figures such as Cannonball Adderley and Oscar Peterson. His most recent album as a leader is “Serenade for Horace,” from 2017, a tribute to the pianist Horace Silver. He appears here with Vincent Herring on alto saxophone, David Hazeltine on piano and Dezron Douglas on bass.212-582-2121, theiridium.com

  IRREVERSIBLE ENTANGLEMENTS, AMINA CLAUDINE MYERS AND NICOLE MITCHELL at Merkin Hall (Feb. 28, 7:30 p.m.). This concert brings together some of the most deeply rooted and wildly inventive storytellers in improvised music. A pianist and vocalist, Myers, 76, was an early member of Chicago’s Association for the Advancement of Creative Musicians; she writes and performs music with hard-bound connections to gospel and blues, and an expansive approach to improvising. Mitchell, a flutist, became the association’s first female chair 10 years ago; her music often deals in grand themes of science fiction and heroism. The group Irreversible Entanglements is a scalding, free-improvising quintet featuring the young performance poet Camae Ayewa (known as Moor Mother in her solo work), who draws connections across epochs of African and American history, making sense of trauma and gathering power to take action today. At this Ecstatic Music Festival show, these three acts will perform together for the first time.212-501-3330, kaufmanmusiccenter.org

  ARUAN ORTIZ AND DON BYRON at Mezzrow (Feb. 27, 8 and 9:30 p.m.). Two ecumenical improvisers with a mix of jazz vocabulary and classical precision, Ortiz, a Cuban-born pianist, and Byron, an American clarinetist, released a powerful album of duets last year, “Random Dances and (A)tonalities.” It included takes on pieces by Duke Ellington, Johann Sebastian Bach and Geri Allen, as well as a few twisty, centrifugal original tunes. At Mezzrow, an intimate basement club, they will play repertoire from that album.646-476-4346, mezzrow.com

  KAMASI WASHINGTON at the Apollo Theater (Feb. 23, 8 p.m.). Over the past four years, Washington has made greater inroads into the mainstream than any jazz musician of his generation. He’s done it by threading together opposing traditions from his native Los Angeles, each with its own surprising resonance today: grooving, dance-inflected jazz-funk from the 1970s and ’80s, and the looser, more expressionistic music of avant-garde artists such as Horace Tapscott and Bobby Bradford. At the Apollo, leading a 10-piece iteration of his band, the Next Step, Washington will play selections from his hit albums, “The Epic” (2015) and “Heaven and Earth” (2018).212-531-5305, apollotheater.orgGIOVANNI RUSSONELLO

  REMEMBERING JONAS: A TRIBUTE TO JONAS MEKAS at City Winery (Feb. 21, 8 p.m.). If you desire another opportunity to honor Mekas’s life, Patti Smith, John Zorn, Lee Renaldo, Richard Barone, David Amram and Glenn Mercer are getting together to give you a musical one. Along with the film critic Amy Taubin and other special guests, these musicians are gathering tonight to pay homage to the pioneering filmmaker through song and spoken word. Proceeds will benefit Anthology Film Archives, Mekas’s dream home for avant-garde cinema that he made real with the help of Jerome Hill, P. Adams Sitney, Peter Kubelka and Stan Brakhage in 1970. 212-608-0555, citywinery.comDANIELLE DOWLING

B:

  

  查香港马开奖结果查询【生】【命】【平】【淡】【的】【说】【着】,【语】【气】【中】【没】【有】【任】【何】【的】【起】【伏】。 【但】【是】,【在】【每】【个】【人】【脑】【子】【里】【的】【炸】【响】,【比】【白】【熊】【和】【超】【人】【在】【耳】【边】【对】【上】【一】【拳】,【比】【这】【哥】【谭】【市】【之】【中】【所】【有】【的】【爆】【炸】,【所】【有】【的】【呐】【喊】,【嘶】【鸣】,【哀】【求】,【枪】【声】【叫】【喊】【声】【加】【在】【一】【起】【都】【要】【恐】【怖】【上】【千】【百】【倍】。 【所】【以】,【在】【场】【的】【所】【有】【人】【都】【一】【动】【不】【动】,【他】【们】【的】【震】【惊】【让】【脑】【子】【嗡】【嗡】【作】【响】,【没】【有】【人】【说】【话】,【没】【有】【任】【何】【人】【做】【任】【何】【事】

【当】【简】【灵】【跟】【苏】【君】【琰】【双】【双】【上】【热】【搜】【时】,【在】【津】【南】【市】,【城】【东】【郊】【外】【一】【处】【极】【致】【奢】【华】【的】【别】【墅】【中】,【有】【一】【个】‘【重】【要】【人】【物】’【正】【神】【情】【专】【注】【地】【观】【看】【着】【简】【灵】【跟】【苏】【君】【琰】【的】【视】【频】,【而】【且】‘TA’【还】【时】【不】【时】【轮】【番】【切】【换】【快】【进】,【后】【退】,【暂】【停】【跟】【循】【环】【播】【放】【的】【按】【键】,【无】【人】【知】【道】【这】【人】【为】【何】【会】【出】【现】【如】【此】【诡】【异】【的】【举】【动】,【更】【不】【知】【道】‘TA’【到】【底】【想】【从】【视】【频】【中】【找】【到】【什】【么】…… 【这】【人】

【托】【密】【勒】【闭】【上】【双】【眼】,【双】【手】【垂】【直】【于】【身】【体】。 【他】【均】【匀】【的】【呼】【吸】【着】【混】【杂】【焦】【糊】【味】,【灼】【热】【蒸】【汽】,【冷】【冽】【寒】【风】【的】【空】【气】。 【拉】【穆】【尔】【远】【远】【看】【到】【托】【密】【勒】【闭】【眼】,【站】【立】【不】【动】,【心】【中】【窃】【喜】:“【那】【个】【小】【子】【看】【样】【子】【是】【放】【弃】【挣】【扎】【了】,【托】【密】【勒】,【等】【你】【死】【了】,【我】【就】【能】【堂】【而】【皇】【之】【的】【指】【挥】【布】【拉】【达】【城】【部】【队】!” 【十】【几】【个】【士】【兵】【举】【着】【铁】【剑】,【跑】【过】【去】【准】【备】【刺】【向】【托】【密】【勒】【的】【喉】【咙】。

  11【月】9【日】【下】【午】,【由】【一】【点】【资】【讯】【廊】【坊】【运】【营】【中】【心】、【廊】【坊】【艺】【春】【文】【化】【传】【媒】【有】【限】【公】【司】【主】【办】【的】“【联】【袂】【共】【美】、【携】【手】【争】【辉】”【廊】【坊】【合】【伙】【人】【暨】【全】【国】【第】799【期】【廊】【坊】【站】【总】【裁】【见】【面】【会】【在】【壹】【佰】【剧】【院】【盛】【大】【举】【行】。查香港马开奖结果查询“【后】【面】【的】【事】【就】【是】【黑】【暗】【公】【会】【的】【商】【业】【机】【密】【了】。”【认】【真】【想】【象】【了】【一】【下】【那】【种】【怪】【异】【的】【形】【象】,【乌】【鸦】【摇】【了】【摇】【头】,【把】【脑】【子】【里】【那】【些】【长】【长】【的】【身】【体】【嘴】【里】【还】【吐】【着】【信】【子】【的】【诡】【异】【形】【象】【抛】【开】,“【灭】【绝】【弹】【的】【存】【放】【位】【置】【是】【电】【子】【之】【都】【一】【个】【叛】【军】【的】【秘】【密】【武】【器】【库】,【他】【们】【兼】【营】【军】【火】【生】【意】,【在】【电】【子】【之】【都】【有】【好】【几】【个】【库】【房】,【存】【放】【了】【大】【量】【武】【器】,【不】【过】【像】【灭】【绝】【弹】【那】【样】【的】【危】【险】【物】【品】,【成】【品】

  【这】【些】【人】【的】【选】【择】,【都】【很】【明】【智】。 【村】【长】【是】【个】【标】【杆】,【他】【怎】【么】【选】【择】,【诚】【然】【会】【影】【响】【很】【多】【人】【的】【判】【断】。 【甚】【至】【很】【多】【人】【为】【了】【偷】【懒】,【盲】【目】【的】【信】【任】【村】【长】。 【也】【就】【是】【他】【怎】【么】【选】【择】,【别】【人】【就】【怎】【么】【选】【择】,【恐】【怕】【不】【会】【有】【什】【么】【大】【事】【出】【现】。 【但】【更】【多】【的】【人】,【甚】【至】【可】【以】【说】【是】【绝】【大】【多】【数】【的】【主】【流】【人】【群】,【他】【们】【都】【不】【会】【这】【样】【做】。 【无】【论】【这】【个】【世】【界】【上】【有】【多】【少】【人】【说】

  “【放】【开】【我】!【放】【开】【我】!”【小】【托】【尔】【奋】【力】【挣】【扎】,【涨】【红】【了】【脸】,【但】【却】【无】【济】【于】【事】,【像】【是】【被】【提】【着】【的】【鱼】,【只】【能】【晃】【来】【晃】【去】。 “【嗡】【嗡】【嗡】【嗡】?”【石】【鲁】【特】【把】【他】【拎】【到】【眼】【前】。 【小】【托】【尔】【继】【续】【大】【喊】【道】:“【放】【开】【我】,【你】【这】【个】【石】【头】【怪】,【我】【可】【是】【奥】【丁】【之】【子】,【战】【无】【不】【胜】【的】【托】【尔】!” “【嗡】【嗡】【嗡】【嗡】……” 【石】【鲁】【特】【的】“【嗡】【嗡】【语】”,【罗】【维】【尚】【且】【听】【不】【太】【懂】,【小】【托】

  【她】【极】【其】【不】【自】【然】【的】【扯】【了】【下】【嘴】【角】,【然】【后】【说】:“【怎】【么】【会】,【米】【娅】,【我】【没】【事】,【就】【是】【最】【近】【有】【点】【累】【了】,【所】【以】【精】【神】【不】【佳】。” 【粗】【心】【的】【米】【娅】【也】【没】【有】【多】【想】,【只】【是】【安】【慰】【何】【挽】【歌】:“【那】【好】【吧】,【你】【可】【要】【好】【好】【照】【顾】【自】【己】【啊】,【对】【了】,【要】【是】【你】【那】【个】【黑】【心】【的】【老】【板】【又】【欺】【负】【你】,【你】【告】【诉】【我】,【我】【去】【收】【拾】【他】!” 【她】【笑】【了】【笑】,【没】【做】【声】,【有】【此】【好】【友】,【真】【是】【三】【生】【有】【幸】【啊】!

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