Feb. 16-18: One-of-a-kind bebop matriarch Sheila Jordan and vocalist/composer/lyricist/arranger Dominique Eade bring their world-class talent to the Hudson Hall stage.

Feb. 16: The dichotomies of Warmer When It Rains are perfectly illustrated in two contrasting (and stellar) ballads: “Midnight,” an entirely contemporary, hip-hop-inflected bit of production R & B, is all friction; stilted, glitch rhythms; electro-minimalism; and a huge hook. Five tracks later, the finale “So Easy to Love” is an exquisite and utterly naturalistic homage to uptown soul and Motown.

Saturday, Feb. 17: It may have begun as unpretentious novelty, but through hard work and sweat, the Bacon Brothers have evolved into a reliable, road-tested rock ‘n’ roll outfit, live and in the studio, that just happens to feature a movie star. 

Saturday, Feb. 10: Named America’s Best Architect by Time Magazine, which praised him for designing “buildings that satisfy the spirit as well as the eye,” Rhinebeck’s Steven Holl is the subject of a solo exhibition at the Dorsky Museum in New Paltz.

The facts are clear: second season post-Warren Haynes; no Spearhead; lots of indie-rock and pop; no jam, just a mountain bracing for a different clientele from the one who made it big in the first place. It has been underway for a while, however. The screen reads not “Red alert! Identity crisis” but rather, “Transformation complete.” We’ve moved on.

Saturday, Feb. 10: Little Red Wagon is lovely, spirited and reflective. Traditional in instrumentation and in overall sound, and with plenty of rural blues and café folk reference throughout, Little Red Wagon yet delivers a stern warning about doctrinal traditionalism in its lead track.

Friday, Feb. 9: The program takes audiences on an exploration of the music of 1860 to the 1930s for strings, piano and voice, ranging from the spirituals, art songs and poems of Harry T. Burleigh and Laurence Hope to the melodic chords of Samuel Barber and the hit songs of George & Ira Gershwin.

Sunday, Feb. 11: The band plays a jazzy, horn-powered blend of funk, soul and hip-hop, steeped in New Orleans brass and second-line tradition.

Saturday, Feb. 3: Hot wax on a cold night. Rock and soul connoisseur, curator and partymaker: Deejay Jonathan Toubin’s Soul Claps at BSP are the stuff of legend.

“Our job is to be unseen. When people go to a museum or gallery, they want to see the artist’s name on the wall, and it’s not our place to shine. We’re there to serve the artist.”