It’s a damn shame that 12-piece jazz-lounge combo Pink Martini didn’t choose to make its Buffalo debut last Tuesday (Valentine’s Day). The group’s music is so naturally romantic and genuinely sweet that a pair of tickets to the show would have easily made for the perfect gift for any music-loving couple. Of course, these days, holidays have a way of extending themselves so there’s no reason that you can’t include the group’s upcoming performance as part of your elongated holiday celebrations. Fronted by the sultry tones of lead vocalist China Forbes and led by classically trained pianist Thomas M. Lauderdale, this group boasts an expansive line-up that includes plenty of percussion and brass instruments. As evidenced on the band’s independently released CD, Hang On Little Tomato (Heinz Records), the group’s sound incorporates elements of swing, calypso and French vocal jazz allowing it to fill the gap in the modern-lounge left vacant by the Squirrel Nut Zippers, Combustible Edison and the late great Juan Garcia Esquivel. If nothing else, the band’s moniker proves apt as Pink Martini’s music can easily create a warm bubbly feeling, encourage a spontaneous fit of dancing and produce the occasional bedspin. Drink up!

Often hailed as one of the preeminent sopranos of the 20th century, Renée Fleming knows how to do two things better than the rest of us: carry a tune and sing in other languages. On Saturday, Fleming, a Grammy-Award winner known for her radiant voice and refined, nuanced style, will use her warmth to melt away the layers of frozen slush that have recently coated the streets of Buffalo. The world-renowned diva, along with the Buffalo Philharmonic Chorus, will perform several works by 19th century Italian composer Giuseppe Verdi, as well as offerings by Mozart, Elgar and Bellini. Not to be outdone, the BPC, led by L. Brett Scott, should undoubtedly provide a worthy partner for Fleming’s captivating vocals. The BPO, under the baton of sterling musical director JoAnn Falletta, will accompany both. Who knows, this concert could provide one heck of an opportunity to get you out of the doghouse with any belated-Valentine. Well, maybe if you throw in some chocolates.

The conventional wisdom that midnight movies had been killed by home video was proven wrong last year in two popular series of midnight features at the Amherst Theatre. These late night screenings proved that the best way to enjoy some movies is with a crowd of like-minded fans at a time when you would normally be drinking or dreaming. Midnight Movie Madness returns to the Amherst this Saturday with “Seven from the ‘70s,” a series of favorites from the decade of bell bottoms and afros (white and black). Opening the series is Martin Scorsese’s 1973 classic Mean Streets, starring Harvey Keitel and Robert DeNiro as low-level members of a Little Italy mob. Upcoming weeks will feature Charlton Heston as The Omega Man (Feb. 25); the Bruce Lee classic Enter the Dragon (March 4); Jon Voight and Burt Reynolds in Deliverence (March 11); DeNiro, Keitel and Scorsese back with Taxi Driver (March 18); 1979’s The Warriors (March 25); and the original Shaft (April 1). For more information visit www.dipsontheatres.com

When your old man is a certified country music star, what are you gonna do? If your plan is to keep playing music, Hank Williams’ descendents seemed to have a good notion to split the difference between C&W and rock n’ roll. Bocephus certainly ain’t the way coolest junior in this biz, however. That title has to go to Bobby Bare Jr. While his denim-clad dad made a name for himself in the ’60s and ’70s with a string of hits, including “How I Got to Memphis” and “Houston,” his namesake has blazed his own way to an acclaimed career that is far left of country’s center. Bobby’s raucous punk-infused outfit, Bare Jr., issued a pair of major label LPs in the late ’90s that pushed the young songwriter out of his father’s shadow and solidified his credibility. While Bare comes from good country music stock, he’s not afraid to stir up the pot a bit. For proof, check out Bare’s barbing at the Nashville establishment on the song “Visit Me In Music City” on 2004’s From The End of Your Leash (Bloodshot). Kid Dakota, Flatbed and Unwelcomed Guests share the stage.

Most audiences will know Cuong Vu from his work from the Pat Metheny Group, where he has spent the last few years contributing his richly sonorous and melodic trumpet playing to the guitarist’s signature sound. That’s only one side to the Vietnam-born, Seattle-raised player, however—he’s also sat in with musicians as diverse as Laurie Anderson, David Bowie, and fellow trumpeter Dave Douglas, and with last year’s release of his own It’s Mostly Residual (ArtistShare), Vu seems poised for much greater recognition. The CD displays Vu’s versatility at the edgy improvisations you’d expect from a member of the downtown New York scene, but it also highlights his gift for unexpectedly gorgeous melodies, rolled out over the lush soundscapes laid down by Stomu Takeishi on electric bass and Ted Poor on drums. (Another famous guitarist, Bill Frisell, sits in on the disc as well.) With Vu increasingly recognized as one of the most distinctive voices on his instrument, and with Residual popping up on critics’ “Best of 2005” lists across the country, the trio’s upcoming performance at the new Hallwalls space may offer Buffalo audiences a chance to say they saw him before he became famous.