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SUPERSONIC, HYPNOTIC

An ecstatic array of non-electronic repetition will be explored during “A World in Trance,” four nights of transporting sounds from a half-dozen countries. The powerful Mauritanian griot singer Noura Mint Seymali and her dazzling guitarist husband, Jeiche Ould Chighaly, commence the festivities tonight with Bailo Bah and Sylvain Leroux, who play the pastoral flute music of West Africa’s Fula people. Friday is devoted to virtuosic Sufi praise songs via the dynamic Pakistani qawwali group led by Farid Ayaz and Abu Muhammad. Accompanying himself on sintir, a three-stringed, goatskin-covered bass lute, Marrakesh-born Hassan Hakmoun will perform Gnawa ritual music on Saturday. The spell lifts Sunday following the overtone-rich “throat singing” of Tuva’s Alash, with Ned Rothenberg and Glen Velez improvising transnational trance music on woodwinds and frame drum, respectively.

April 30-May 3, 8 p.m., 2015

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QUEBEC CITY

Quebec guards its French identity faithfully, but its music long ago mixed with styles imported by Scottish and Irish soldiers and settlers who helped Britain establish a permanent foothold in Canada. The two bands the French Connection festival comprises vividly remind listeners of the province’s hybrid character. Le Bruit Court Dans la Ville (The Word Around Town) consists of Lisa Ornstein (fiddle), Normand Miron (button accordion), and André Marchand (guitar), folk veterans who embody Québécois music’s community-enhancing front-porch sound. Dancer-musicologist Pierre Chartrand joins them at tonight’s party. On Saturday, Le Vent du Nord (The Northern Wind), a younger quartet with several fine albums under their collective belt, put on a lively stage show and perform traditional tunes with contemporary verve and originals with timeless verve.

April 10-11, 8 p.m., 2015

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SILENCE IS GOLDEN

Some fans followed Art Blakey just to hear those seismic press rolls — sticks and snare meeting in a tension-building tsunami. There are a handful of modern improv zealots who feel the same about Tyshawn Sorey’s mallets, brushes, and tom-toms. The drummer’s textural gambits are some of the most provocative sounds in NYC clubs these days — especially when he’s waxing seductive and mysterious, as he is on the new Alloy. Informed by Stockhausen’s steely piano pieces as much as they are the wily maneuvers of Andrew Hill and Bill Evans, Sorey’s latest works owe a lot to stealth. Eerie, unsettling, resolute — he has his team of pianist Cory Smythe and bassist Chris Tordini double down on incorporating silence, creating something truly ravishing. Tonight he plays the new pieces at Roulette, the music space that commissioned them.

Wed., Dec. 10, 8 p.m., 2014

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Battle Trance

From punk-jazz scientists Little Women, his solo record Heart Protector to Ancestral Instrument Trio with bassist Trevor Dunn and drummer Ches Smith, saxophone purveyor Travis Laplante has transcended and melted minds through his cosmic craft. For his latest shape-shifting venture into the unknown, Laplante formed Battle Trance, a monumentally unique all-tenor sax quartet whose just-released Palace of Wind shares the like-minded vision of the spiritual regions he’s explored with Little Women. Its three meditative epics dizzy the senses with a therapeutic, classical-imbued drone- jazz, fusing circular breathing and relentlessly intertwining skronk, making for an intensely Zen experience that is both chaotic and cathartic. Prepare to be transported to the otherworld.

Wed., Sept. 24, 8 p.m., 2014

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THE FAMILY STONE

There are jazz fans and then there are jazz fans. The Stones — he Irving, she Stephanie — were the latter. Together, the husband and wife team became New York–famous by attending a mind-boggling number of shows during the past four decades (their first date was a Sonny Rollins gig). From Studio Rivbea to the original Knit to good old Tonic, the Stones were all too often the only customers that left-leaning improvisers could count on when it was time to put asses in the seats. Stone (the only name Irving answered to) passed a decade ago. John Zorn named his thriving bastion of experimentation on the Lower East Side after him. Stephanie followed him on April 10 of this year, and plans for a multi-artist farewell began formulating immediately. The 93-year-old Borough Park native, a singer and pianist, was coaxed back into performing a bit by several of the jazz artists she not only befriended but nurtured in various ways. At the Stephanie Stone Memorial, a wide array of them — Feldman, Courvoisier, Ribot, Shipp, Eskelin, McPhee, Parker and lots more — give thanks, swap stories, and play for their pal one final time.

Fri., June 27, 6 p.m., 2014

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‘Vision Festival’

The breadth of free improv never fails to amaze at the annual jazz festival, which touts a vibe of committed inquiry in the name of experimental music. This time around veteran multi-instrumentalist Charles Gayle is celebrated, performing his oft-stormy excursions with a dancer and leading a tentet of horns, strings and rhythm. Another veteran, Peter Brötzmann, rocks his amazingly agile and purposefully manic trio this year as well. But the five-night affair makes plenty of room from younger players who refine the avant lingo and broker new sounds – don’t miss guitarist Mary Halvorson connecting with steel guitarist Susan Alcorn. From Tarbaby’s tense freebop to Angelica Sanchez & Omar Tamez’s dreamy duets, the landscape will be in flux. Pick hit: the voice/percussion confluence of Fay Victor and Tyshawn Sorey.

June 11-15, 7 p.m., 2014

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Frederic Rzewski

The 76-year-old Belgium-based contemporary-music giant will perform a pair of half-hour works for solo piano – one new, the other a classic. The glimmering and gorgeous Dreams, Part 1 (2012-13) was inspired by Akira Kurosawa’s film of the same title. Four Pieces (1977) is an epic reinterpretation of Rzewski’s earlier The People United Will Never Be Defeated!, 32 variations on Sergio Ortega’s famous resistance anthem.

Thu., May 29, 8 p.m., 2014

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Callithumpian Consort

Works by microtonal magus Alvin Lucier are the focus of this New England Conservatory ensemble’s two-night stand at Brooklyn’s finest experimental-music hall. This evening marks the local premiere of Lucier’s glacial, spatial Braid along with Fideliotrio, Two Circles, and Slices; Christian Wolff’s miniscule Microexercises; and Tristan Murail’s Lachrymae.

Fri., March 28, 8 p.m.; Sat., March 29, 8 p.m., 2014

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TECH GUY

Elliott Sharp’s big new SysOrk exemplify the serendipitous rigor nurtured by a 
composer-performer who’s been testing the limits of technology and improvisation for more than four decades. Titled after Sir Francis Bacon’s 16th-century “miscellany of topics” ranging from hydroponics to the New Atlantis, the world premiere of Sylva Sylvarum blends Sharp’s enthusiasm for 
algorithmic composition and physics-inspired “conduction” with his more recent interest in projected graphic scoring: 
Imagine Terry Riley, John Cage, and Butch 
Morris uploaded and jamming in a simulacrum of the original Knitting Factory. 
SysOrk also perform the 2011 work Flexagons by Sharp, who won the 2015 Berlin Prize in music composition and who joins the 13-piece ensemble on guitar and bass 
clarinet.

Thu., March 13, 8 p.m., 2014

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Cloud Becomes Your Hand

Brooklyn’s own Cloud Becomes Your Hand hatched in 2010 as bedroom-recorded, sound doodling neophytes but have since morphed into a sprawling amalgam of alien musics, and on Rocks or Cakes (Northern Spy), its communal oddballery is in full hallucinogenic effect. It’s near impossible to fathom CBYH are able to pull off such luminous psychedelia fervor, jagged prog weirdness ‘n’ folk fuckery, gorgeous harmonics and quirky chants, synth burps, bleats and gurgle shifts within the same tune but this collective does just that while staying true to its quirky melodic disposition. In CBYH’s rainbow-streaked otherworld, there’s Jim O’Rourk’ian six-string fingering Americana, Oneida-like outer space jammage and Syd Barrett-esque warped pop-centrics. Cloud Becomes Your Hand’s collage of soundage will fill undoubtedly shine in the glorious Roulette space this evening.

Sun., March 2, 8 p.m., 2014