Even if he’d never played a note onstage, Bryan Beninghove would be remembered as a deeply consequential Jersey City musician. As founder of Riverview Jazz and a motivating force behind the Jersey City Jazz Festival, he helped inaugurate an annual party that remains a centerpiece of the arts calendar — an event that has, in a short time, grown big enough to attract world-class talent to its main stages. He’s a genial host and a supportive listener, an educator, a jazz ambassador, and an advisor to the Jersey City Arts Council.

But no matter how many other activities he’s gotten up to, he’s primarily a musician: a multi-instrumentalist with a personal style, and a jazz populist with a great sense of humor and play. His conviviality has always inclined him toward collaboration, and he’ll be back at it this month at a new concert series in which he’ll take the stage with some old friends. Beninghove will bring his saxophone and his melodica to Departed Soles (150 Bay St.) for regular shows on Tuesday nights, including a trio performance on Mar. 5, a show incorporating electronics one week later, and two appearances by Beninghove’s Organ Trio on Mar. 19 and Mar. 26.

Though there’ve been plenty of one-offs and false starts, this’ll be the first standing gig in the Powerhouse Arts District since the late 2017 closure of Transmission, a short-lived club that occupied the southeastern corner of 150 Bay Street. Departed Soles, a craft brewery with a dedicated following and some very large tanks in the back, feels like an appropriate place to raise a ruckus in a neighborhood that could, frankly, use a little more noise. Luckily, Beninghove is a specialist in that. His version of jazz is inclusive, freewheeling, omnivorous, and pleasantly rambunctious. It’ll be good to have him back in regular action.

Some other live shows worth your consideration:   

photo credit: MIKIODO Credit: jennalaurenzo

The Fleetaways @ Fox + Crow (Mar 8)

“I should have been an open book with words to share” concedes Jenna Laurenzo in the third verse of “Goodbye,” the debut single from The Fleetaways, her new folk-rock band. She confesses to her emotional parsimony and wonders why she couldn’t open herself up. No such problems for her on the microphone. “Goodbye” presents Laurenzo, who is also an indie filmmaker, as a clear-voiced, tough-minded presence, remorseful but honest, uninterested in dodging the consequences of her actions. Laurenzo and musical partner Michael Browne have appointed their first mix lavishly, and with an emphasis on sonic drama: a pair of strumming six-strings, fiddle, piano, a clattering kick drum, and tight, glorious vocal harmonies. There’s nothing shy about it. I’d expect something similarly forceful — and similarly audacious — when Laurenzo and Browne take the stage together in the stylish Heights back room designed to accommodate music like this. Local creators and social engineers may be pleased to know that the two Fleetaways met in the elevator of Elevator JC.  Proof that arts incubators work, if you ask me. (Appearing Live in the Parlor at Fox + Crow, 594 Palisade Ave., 9 p.m.; $20; visit www.foxandcrowjc.com.)

Papa Secreto @ The Factory (Mar 9)

His voice is a little too high for him to be a reggaetonero, and it’s way too sweet for him to indulge in the intemperate Latin trap that is a mainstay on urbano playlists. He doesn’t exactly rap, although his delivery can be quite percussive, and you wouldn’t really call him a singer, either.  But when Secreto El Biberon gets going on a track, his intonation is so sleek and his performances are so that he makes genre distinctions feel silly.  The veteran Dominican artist isn’t too far removed from the hybrid hip-hop/pop style popularized by the Bone Thugz in the ‘90s — he’s vaguely mystical, he generates the illusion of perpetual motion, and he’ll never let you see where he stashes his power supply. Notable tracks include the thunderous piano and voice “Real Guerrero” (basically a power ballad), slow-burning recent hit “Agradecido,” and the ridiculously catchy “Papa Dios Me Dijo,” which demonstrates that Papa Secreto can handle Latin percussion just as skillfully as he rides moody club beats. (Appearing at The Factory, 451 Communipaw Ave.; call 201-234-2260 or visit www.thefactoryjc.com.)

Brian Sella @ White Eagle Hall (Mar 22)

Yes, this show is sold out and has been for weeks.  Yes, it’s significant enough and interesting enough that I’m duty bound as a rock critic to write about it anyway.  Brian Sella doesn’t usually turn up onstage without his shadow: drummer Matt Uychich, his partner in The Front Bottoms.  Yet this winter, he’s doing a solo acoustic tour, laying bare a smart, witty, tuneful body of work that exerted influence on fourthwave emo and wise-guy folk-rock in equal measure.  Why now?  Well, why not?  The last two Front Bottoms albums have been staggeringly underrated. In Sickness and in Flames, the band’s 2020 set, was a very sad, very funny look at friendship, heartbreak, romantic commitment, the Northern Lights, and the price of growing up; You Are Who You Hang Out With, the pair’s most recent, testifies to the therapeutic value of self-expression and culminates in a howling track in which Batman (the superhero) is too embarrassed by Sella’s antics to take a photo with him. Then there’s the back catalog — approachable but subtly complicated songs about twin-sized mattresses, buying fireworks, steroids, waking up early to move a buddy’s couch, grandmothers, and a thousand other things that’ll be familiar to any knock-around kid with a North Jersey upbringing.  Maybe Sella would like you to take a closer look at these songs, admire their compositional architecture and delight in their deviations from expectation, and make yourself fully present to a writing voice unlike any other.  And maybe Uychich is just busy this March.  Oh, and in case you’re wondering: the Jeff Rosenstock show is sold out, too. (Appearing at White Eagle Hall, 337 Newark Ave, 8 p.m.; sold out (see what you can do); visit www.whiteeaglehalljc.com.)

Jester of No Court @ The Pink Stop (Mar 24)

Most acoustic-strumming protest singers take the young Bob Dylan as their model. That’s okay; that makes sense; Bob did get off some good ones before he went Nashville. But for the true singing journalist, there’s one antecedent only — Phil Ochs, the original barricade-jumper and unrepentant musical Yippie who lost his voice, and his life, in the ‘70s under mysterious circumstances. For the masked Jersey City singer-agitator Jester of No Court, Phil Ochs is absolutely the guiding light. He’s got a similar urge to editorialize and a similar attraction to current events, and he proceeds with an Ochs-ian faith that a righteous gust of wind (or snatch of song) delivered to the right surface might suffice to make the establishment cardhouse tumble. On Reduce the Size of Government, Jester of No Court’s anarchist-leaning full-length, he updates Ochs’s famous broadside against Mississippi, rewriting it as “Here’s to the State of Tucker Carlson.” Elswehere, he name-checks Nestor Makhno and the Ukrainian Black Army, raises the union flag, and turns Mischief Night into a cover for an uprising. Regardless of your politics, you’ll probably agree that it’s a hoot. That was Phil Ochs’s secret, too. So where is this insurgent shaking up next? How about a photo studio on the Union City border? Hey, the revolution’s gotta start somewhere. (Appearing at the Soul Tribe Spotlight at the Pink Stop, 6 Bleecker St., 7 p.m.; $10 advance, $15 at the door,; visit www.jesterofnocourt.com.)

Glenn Morrow’s Cry for Help @ Pet Shop (Mar 28)

Jersey City airspace is, of course, sacrosanct. But every now and then, we’ll let down our guard, turn off the radar, and open ourselves up to an invasion from the north. Spearheading the Hoboken Expeditionary Force is Glenn Morrow of idiosyncratic Bar/None Records, one of the state’s most respected independent imprints. Morrow has been making adventurous music since the heyday of Maxwell’s; with Cry for Help, his latest outfit, he’s recorded some of his funniest, fieriest, most memorable music. The Cry for Help performance is part of a birthday party for Hoboken writer, personality, and passionate scene-supporter Jack Silbert, who has likely seen more indie rock shows than anybody in the Mile Square — and maybe more than anybody in our town, too. “Hoboken Jack” will be serving as the emcee of his own birthday bash, which is absolutely on brand for him. The organizers of the night are from right here in Jersey City: that’s Look at My Records, promoters, podcasters, and tastemakers. Their participation means there’ll be a motherlode of local musical knowledge in one place, and that place, naturally, is Pet Shop. (Appearing at Pet Shop, 193 Newark Ave., 8 p.m.; free; visit www.lookatmyrecords.com or www.petshopjc.com.)

Hope Center’s Easter @ Hope Center (Mar 31)

It’s always strange when Easter falls in March. It feels a little like we’re jumping the gun on the spring and leaving April bereft of meaningful dates. But as a fan of bunnies, chocolate, and pastels — not to mention rebirth and fresh beginnings — I don’t think Easter can ever arrive too soon. My enthusiasm for the sweetest of the holidays is shared by the ministers of music at Hope Center Tabernacle in the Heights, where dancers, singers, and instrumentalists will present two showings of “What Love Looks Like,” the church’s Easter special. Hope Center has a reputation for strong music, and it’s a good bet that they’ll be saving their best for the biggest day on the calendar. There aren’t too many carols associated with Easter, but the end of the cold season and the beginning of the thaw seems to us to be an excellent reason to break into radiant song. (Appearing at Hope Center Tabernacle, 110 Cambridge Ave., 10:30 a.m. and 12:30 p.m.; $1 - $10; visit www.hopecentertab.org.)

Tris McCall has written about art, architecture, performance, politics, and public culture for many publications, including the Newark Star-Ledger, the Bergen Record, Jersey Beat, the Jersey City Reporter,...