Lou Volpe

Before & After

Jazz Guitar, 2020

8/10

Listen to Before & After

The innovative and always impressive guitarist Lou Volpe returns with Before & After, where he’s accompanied by a trio of bassists, i.e. Stephen Banks, Pete Falbo and Motoki Mihara, while Buddy Williams handles drums and Gary Fritz, John Romagnoll and Richie Morales hold down percussion on the bluesy, groove filled effort.

Volpe starts the listen with the varied and modern, Pat Methany influenced “Up The Road”, which leaves an indelible mark, though it isn’t long before dance friendly textures settle in on “Three Rivers”.

Primarily originals, there are two standards included, as Volpe puts his own, contemporary, energetic twist on “Stella By Starlight”, while the sublime “Summertime” is reborn with intricate attention to detail.

Some of the best tracks reside near the end, including the groove heavy “Perseguidor De Suernos (Dream Chaser)”, as well as the title track which finishes the listen with Volpe’s inimitable guitar acrobatics guiding the timeless exit.

Fans of jazz guitar, charming bossa nova and warm blues won’t be disappointed here, as Volpe does what he does best, and it sounds better than ever.

Travels well with: Al Gold- Al Gold’s Paradise ; RJ.. And The Assignment- Hybrid Harmony

People Years

Animalism

Cornelius Chapel, 2020

10/10

Listen to Animalism

A Birmingham, Alabama supergroup of guys who have played in Warm In The Wake, Sea Fix, Cosmonaut On Vacation and Terry Ohms, as People Years the quartet take nods to the early days of alt-rock and more recent dance-rock, as well as more subtle influences in their innovative formula.

“Recognizable Animal” gets the album off to an exciting start of soaring, precise, modern rock, and “False Start” keeps the creativity high with a buzzing display of restrained and melodic sounds that seem pretty comfortable in the mid ‘90s.

With 10 tracks, there isn’t a dud to be found here, as “Not Really Surfing” builds a lush, swirling blend of atmosphere with alt-rock sensibilities, while “Roadkill” shimmers with a post-rock quality that’s instantly charming. “Fall In Line”, one of the most intriguing tracks, then puts an innovative spin on modern pop ideas that’s both glossy and gritty.

Near the end, “Animal Taxxx” presents some spacey, cosmic moments of psychedelia amid the smooth, flowing indie-rock, and “Fear Culture” exits the listen with some strong riffage as classic rock nods enter the adventurous climate.

A record that somehow reminds us of Girls Against Boys, Pavement and Pink Floyd all at the same time, I feel pretty confident saying that Animalism is going to be one of the best albums of 2020.

Travels well with: Terry Ohms- Cold Cold Shoulder; Witch’s Wall- Witch’s Wall

Doppel

Enso

Self-Released, 2020

8/10

Listen to Enso

An Austin, Texas duo who defy classification, Doppel are just as likely to recruit soul and hip-hop as they are jazz and funk in their looping and improvised formula that unfolds with much intrigue on this debut album.

“Not Yet” gets the album off to an interesting start with an accordion and keys working together in the creative rhythm, and “Aftermath” continues the innovative atmosphere with a soulful dip into groove filled textures.

Further along, “Wet Dog” finds all sorts adventurous, funky ideas to reside in, while “Cold Day” unfolds with a snappy, graceful approach as the accordion adds much to the playfulness. “Jilla”, one of the album’s best, then offers flowing melody with intricate piano work with throwback nods to much earlier decades.

Near the end, “Birdnose” benefits greatly from proficient percussion with a hypnotic dynamic that’s almost meditative, and “Turning Point” ends the listen with incredible energy between the drums and keys as the pair display their respective talents.

Certainly one of the most eclectic releases so far this year, Jan Flemming holds down accordion, synth and keys, while Michael Longoria handles drums/percussion, and the chemistry between them is nothing short of alluring as they put a new twist on modern electro-pop with their myriad of influences.

Travels well with: Alfa Mist- Nocturne; Kamaal Williams- The Return

Wayne Alpern

Standard Deviation

Henri Elkan, 2020

9/10

Listen to Standard Deviation

While I generally feel that jazz artists enjoy covering other jazz artists- often ones that inspired them- Wayne Alpern offers a covers album of tunes that everyone has heard, but never quite like this. A composer, arranger and scholar who is well versed in jazz and classical sounds, this is Alpern’s 2nd album, and much like his debut, Skeleton, his sophisticated vision is unparalleled and the delivery flawless.

Alpern starts the listen with an upbeat and glorious version of Michael Jackson’s “Thriller”, which retains all the hallmarks of the original but with Alpern’s keen sense of jazz dynamics. Other massive hits that are redone here include the anthemic “Don’t Stop Believin’”, which unfolds with violin, trombone, saxophone and trumpet all working together, as well as the soft and soulful “My Girl”, where clarinet and violin set the mood well.

A pair of Bob Dylan tunes are included, including the piano heavy “Dear Landlord”, that benefits greatly from John Challoner’s trumpet, while the bouncy bass line of “As I Went Out One Morning” highlights the tune well.

For the fans of modern day pop, Katy Perry’s “Teenage Dream” is present, and displays sweet melodica amid the jazz sensibilities that puts a fresh gloss on a radio standard.

An extremely fun listen that’s both nostalgic and contemporary, if you only pick up one jazz album this year, you’d be wise to make it Standard Deviation.

Travels well with: The Seth Weaver Big Band- Truth; Bob Baldwin- Henna

Jess Jocoy

Such A Long Way

Self-Released, 2020

9/10

Listen to Such A Long Way

A Seattle songstress who now lives in Tennessee, even though this is Jess Jocoy’s first album, she’s been a songwriter in the making her entire life, as her parents shuttled her to singing competitions during her formative years.

The album starts with the gorgeous “Existential Crossroads”, where Jocoy’s poetic delivery suits the warm Americana perfectly, and “The Ballad Of Two Lovers” continues the elegance with a mesmerizing beat as the melodies radiate a breezy quality.

A record that’s all substance and no fluff, “Castles Made Of Sand” embraces a folk spirit in the introspective climate that’s a bit darker in scope, while “She Won’t Be Sad Anymore” flows with timeless instrumentation and a stirring emotional appeal. “Hallelujah” then steps into a more rock’n’roll influenced atmosphere as soaring vocals align with fuller landscape.

Near the end, “Aching To Feel Alive” showcases a moving, uplifting approach, and “Hope (Such A Long Way)”, exits the listen soft, bare and full of subtle power in its forthright execution.

Intimate, heartfelt and full of universal storytelling, thought Jocoy is a youngster, she delivers like an old soul with her thoughtful song craft. If this is the next household name to come out of Nashville it wouldn’t surprise me one bit, cause this debut is nothing short of stunning.

Travels well with: Surrender Hill- A Whole Lot Of Freedom; Lynne Hanson- Just Words

Troy Roberts

Stuff I Heard

Toy Robot, 2020

8/10

Listen to Stuff I Heard

The always impressive Troy Roberts returns with his 12th album as leader, where his saxophone and bass prowess delivers all originals that are heard here for the first time.

“Little Room” starts the listen with glowing saxophone as electric bass adds a bouncy spirit while Jimmy Macbride’s deft drumming anchors the rhythmic opener, and “Harry Brown” follows with a calmer spirit as acoustic bass acrobatics lead into proficient saxophone fun.

Further along, “Prayer Of Hope” recruits a hypnotic yet calming orchestral setting, while “Rejekt” gets playful and exploratory with a lively execution that’s not short on funk filled grooves. “Hightail”, one of the album’s best, then showcases some modern jazz with incredible solos that few could replicate.

Closer to the end, “Aeonian” offers a slow burning 6 minutes of gorgeous interplay in the ballad, and “The Comedian” exits the listen cinematic, with skilled texturing.

Roberts has had an incredible career so far, with 2 Grammy nominations and appearances on nearly 50 albums and counting. With Stuff I Heard Roberts does what he does best, making innovative and challenging music that resonates long after the music stops.

Travels well with: R+R= Now- Collagically Speaking; Augie Haas- Dream A Little Dream

Jay Willie & James Montgomery

Cadillac Walk

Zoho, 2020

8/10

Listen to Cadillac Walk

The Detroit legend James Montgomery has had a lengthy and esteemed career in the area of blues dating back to the early ‘70s, and here he’s aligned with Jay Willie’s slide guitar prowess on a 6th record for Zoho, where they rework 9 covers and offer 1 original.

“Three Cool Cats” starts the listen with flowing harmonies courtesy of Kyle Mangold and Willie on the spirited and rhythmic jazz opener, and the title track follows with strong rhythm in the harmonica fueled affair where the intricate guitar work and tumbling percussion excel alongside Lee-Ann Lovelace’s vocal contributions.

In the middle, Montgomery, who is a Detroit native, sings on “Detroit Blues”, where a swampy blues feeling shines bright, while “Give Me One Reason” flows cautiously with plenty of timeless appeal as simulated horns by Paul Opalach leave an impression. The sole original, “Montgomery Boogie”, is an instrumental tune, and soars quickly with intricate musicianship in a display of proficient skill.

At the end, the bristling rhythm section of “Eatin’ Dry Onions” makes this one of the best, and the album finishes on the guitar acrobatics of the mesmerizing “Mean Town Blues”.

An album with a massive amount of energy and soul, Willie and Montgomery sound like they had a lot of fun making this record, and we’ll all have just as much fun listening to it.

Travels well with: J.C. Hopkins Biggish Band- New York Moment; Funk Shui NYC- Shark NATO On A Plane 

Satin Nickel

Shadow Of Doubt

Self-Released, 2020

8/10

Listen to Shadow Of Doubt

Though this is New York City Americana outfit Satin Nickel’s debut album, you certainly wouldn’t know it from their sharp, dynamic songwriting and keen sense of melody that touches on both folk and pop sensibilities, too.

“Train Song” starts the listen with warm acoustic strumming alongside expressive, soaring vocals and gradually builds into a spirited Americana-folk setting, and “Call It” follows with pretty female vocals from Samantha Aneson where an orchestral slant adds much beauty to the lush atmosphere.

Even though there’s just 9 songs, the band make the most of the listen, including the touching balladry of “Last Night”, where Ariana Karp’s cello makes a big impression, while “Just Keep Running” places much detail on mood as dual gender vocals complement the agile introspection amid thriving guitars. “The Ballad Of Yankee Jim”, the most adventurous tune, then takes 7 minutes to explore vivid storytelling that’s playful, sometimes wild and full of organic melodies in the theatrical sort of delivery from Morgan Hollingsworth.

At the end, “Good Love” burns slow with emotive, charming instrumentation, and “Shadow Of Doubt” finishes the listen with a thicker execution of rugged rock where a banjo invades the charged and louder exit.

It’s amazing to think that Satin Nickel have just been together for 3 years, as the artists play off each other with much skill and fluidly. An excellent starting point, Shadow Of Doubt gives us a glimpse of what the quintet are capable of, and I have a feeling there’s going to be much greatness on the horizon.

Travels well with: Lilly Hiatt- Walking Proof; Chris Moyse- Bitter Ballads & Cynical Prayers

John DiMartino

Passion Flower: The Music Of Billy Strayhorn

SSC, 2020

8/10

Listen to Passion Flower: The Music Of Billy Strayhorn

The esteemed pianist John DiMartino is in great company here, as he, Eric Alexander, Boris Kozlov, Lewis Nash and Raul Midon pay homage to Billy Strayhorn with 14 of his classic compositions.

“Johnny Come Lately” starts the listen with upbeat and swift jazz sounds as the brass shines bright, as does the playful percussion, and “Lush Life” follows with graceful piano that follow suit to the sophisticated vocals from Midón.

Elsewhere, Alexander’s tenor sax prowess is on display in the cozy ballad “Chelsea Bridge”, while the soothing lounge sensibilities of “Passion Flower” are as timeless as they are soulful. “Take The A Train”, the album highlight, then finds the outfit engaging in dynamic instrumentation that’s unpredictable and frisky.

Close to the end, “Absinthe (Lament For An Orchid)” glides with agile melodies in the cautious delivery, and “Lotus Blossom” exits the effort with a key friendly and gorgeous finish.

DiMartino has enjoyed a 40+ career with 15+ recording of his own, and here he offers a tribute record of the highest degree as him and the players perform rich renditions that illuminate Strayhorn’s legacy.

Travels well with: Schapiro 17- New Shoes: Kind Of Blue At 60; Alberto Pibiri- Jazz Legacy

Brian Dunne

Selling Things

Self-Released, 2020

8/10

Listen to Selling Things

The Brooklyn singer-songwriter Brian Dunne returns with his 3rd album, where his vivid storytelling and indie-rock meets folk sensibilities sound better than ever across the heartfelt Selling Things.

Dunne starts the listen with the warm, twinkling beauty of the acoustic picking “Harlem River Drive”, and “Walk Me Home” follows with strong vocals alongside pop melodies in the indie-rock template.

Near the middle, “Chasing Down A Ghost” finds Dunne entering sparse territory with an emotive spirit, while “I Hope I Can Make It To The Show” takes on a confessional tone amid much detail to mood and atmosphere. The title track, one of the album’s best, is then textured beautifully, very much displaying his creative talents.

Close to the end, “Like A Drug” soars bright with expressive singing, and “Getting Wrecked On Election Day” exits the listen with some eloquent reflection.

It’s not hard to think of Dunne as a younger version of Springsteen with some Bob Dylan influence, and his intimate and poetic formula is always sincere, showing much potential for this artist to someday achieve the greatness of the aforementioned legends.

Travels well with: John Craigie- Live Opening For Steinbeck; Stephen Kellogg- Blunderstone Rookery

Cúnao

Rayuela

Ides Of March, 2020

8/10

Listen to Rayuela

A Los Angeles outfit who bring Latin and South American influences to their very diverse formula, Cúnao also recruits African rhythms, Eastern European melodica and plenty of Western rock prowess in the engaging sophomore effort, Rayuela.

“Las Herramientas de Rayanya” starts the listen bare with a mandolin and violin player before building into an ambient, electronica friendly introduction, and “Lluvia” follows with a charming blend of strings, bells and plucked guitar as world folk ideas enter the equation.

With 16 tracks included, there’s a whole lot of diversity to explore, including the dual gender singing, playful Latin flavor of “No Me Alcanza”, as well as the dreamy, emotive “Amada Amiga”. “Fortunato”, the highlight on the first half, then settles into ballad territory with breezy melodies in the agile tune about an immigrant who leaves their home country to provide for their family.

Back half highlights include the bluesy guitar, organ and bass of “Que Que?”, while the carnivalesque “Quita La Mano” escalates into a snappy, playful frenzy of cultured layers that’s not short on grooves.

Late in the disc, “El Camion” flows with a timeless folk quality where vocals from Gabriel Ramirez-Ortiz illuminate the mood, and “A Media Tarde” exits the listen with a brief display of sparse piano beauty.

Even though Cúnao began just to play a birthday party in 2014, this sophomore album proves that their brand of world music is flourishing rapidly and only getting better with time.

Travels well with: Wesli- Rapadou Kreyol; Divahn- Shalhevet

Deltaphonic

The Funk, The Soul & The Holy Groove

Self-Released, 2020

9/10

Listen to The Funk, The Soul & The Holy Groove

This aptly titled 3rd album from Deltaphonic is nothing if not unclassifiable, as Andrew T. Weekes and company bring soul, funk, blues, country and R&B into this very eclectic and exciting listen.

“Liars” gets the album started off to an energetic start with multiple raw vocalists that complement the percussively strong and blues influenced delivery, and “Ghosts” follows with a calmer display of groove friendly restraint.

At the halfway point, “New Mexican Rockstar” brings some Americana spirited rock’n’roll, while “If I Don’t Bleed” builds into an album standout with its multifaceted approach to blues. “Don’t Have To Be Good”, another strong track, then offers the loudest template, where more forceful vocals align with thick southern rock.

Deeper into the listen, “The Denouement” stirs quietly with cautious organ and emotive vocals, and “See Red” exits the listen with soulful layers of kinetic rhythm and anthemic gospel rock.

A highly unpredictable effort, Deltaphonic cultivate grooves you won’t forget anytime soon, as their strong musicianship and clever wordplay make The Funk, The Soul & The Holy Groove a career highlight, although something tells me the best is yet to come.

Travels well with: John Blues Boyd- What My Eyes Have Seen…; Billy Price- Dog Eat Dog

J.C. Hopkins Biggish Band

New York Moment

Twee-Jazz, 2020

8/10

Listen to New York Moment

Whether you want to call J.C. Hopkins Biggish Band a small big band or a large jazz outfit, there’s no denying that the ensemble know their way around spirited swing sounds and incendiary solos on New York Moment.

“Beguiled” gets the listen started with a shuffling jazz pace of dual gender vocals in the snappy and festive setting as Nico Sarbanes and Joy Hanson lends their pipes, and “One Of Those Days”, with Vanisha Gold, follows with soulful singing in the bouncy and upbeat atmosphere that tips its hat to New Orleans flavor.

In the middle, Shawn Whitehorn’s contributions on “Oh, Kitty!” make the slow burning affair an album highlight with its soft horns, while “Better Git It In Your Soul” gets swift and frisky with Julian Pressley’s alto sax acrobatics. The aptly titled “Sublime Beauty” then enters ballad territory as Gould’s expressive singing guides the pretty execution.

Near the end, Joy Hanson returns on the elegant and hushed “Close Your Eyes” and “The Children Will Lead Us”, with Alicyn Yaffee, exits the listen with plenty of melody amid the pop influenced and blues friendly finish.

Known for their energetic sets at the legendary Minton’s Playhouse, this recording captures their live energy well, while showcasing some fine singers and incredible instrumentation.

Travels well with: Sarah Elgeti Quartet With Friends- Dawn Comes Quietly; Ellen Edwards- A New York Session

Benjamin Schoos

Doubt In My Heart

Freaksville, 2020

8/10

Listen to Doubt In My Heart

This 4th album under his own name has the always creative Belgian Benjamin Schoos bringing in many guests to help flesh out the warm synth-pop of these 9 originals.

“Traces Of Our Thoughts”, with Marker Starling, who makes 3 appearances here, starts the listen soulful and pop friendly with a mix of piano amid elegant strings, and “Shoes” follows with Nicholas Krgovich’s breathy, expressive vocals guiding the dreamy ‘70s setting.

Elsewhere, “All Night Every Night” benefits greatly from Dent May’s contributions in the sunny, soulful pop landscape, while “Melody Souvenir” relies heavily on keys as Alex Gavaghan provides much melody in the retro atmosphere.

Near the end, the percussively strong “Power To Amaze” moves closer to psychedelic territory as Robert Sotelo helps cultivate a very cozy delivery, and “I’m Disappearing (Syd)” exits with ambient, psyche-rock where Schoos provides excellent drumming.

Sung entirely in English, Schoos has crafted a universal pop album here, that’s both glorious and introspective, and often points towards the past while still maintaining a very modern playfulness.

Travels well with: Josy & Pony- Eponyme; Camilla Sparksss- Brutal Remix

Enrique Haneine

Unlayered

Elegant Walk, 2020

9/10

Listen to Unlayered

The composer, pianist, drummer, improviser and educator Enrique Haneine has a diverse past, which includes being raised in Mexico where he studied jazz and classical music. Now residing in New York City, the renaissance man brings jazz, Latin influences and even middle eastern ideas to Unlayered.

“Behind The Missing Whisper” starts the listen with trumpet and saxophone working together dynamically in the cautious opener, and “Luculent Jiggle” follows with a festive and upbeat display of playful jazz that’s not short on grooves.

In the middle, “Dance Of Endless Encounter” brings a percussively strong track to the affair with plenty of clarinet prowess from Christof Knoche in the middle eastern setting, while “Seldom Disguise” is both frisky and restrained with textured beauty. “Illustrious Bickering”, an album highlight, then moves fluidly, as each instrument is showcased sublimely in its precise delivery.

Close to the end, “What Of What We Are” recruits memorable rhythm you won’t forget anytime soon, and “Once” exits the listen slow, with an emotive appeal that’s timeless in its execution.

Textured and layered superbly, Haneine proves just why he’s been the recipient of so many awards and the winner of competitions, and this unique modern jazz record will likely gain him some more accolades, too.

Travels well with: The Tnek Jazz Quintet- Plays The Music Of Sam Jones; Paul Shaw Quintet- Moment Of Clarity

Witch's Wall

Witch’s Wall

Cornelius Chapel, 2020

9/10

Listen to Witch’s Wall

An extremely atypical outfit spearheaded by David Smith, the Alabamans Witch’s Wall put a dreamy, psyche-influenced spin on their brand of throwback indie-rock sounds that also embraces some punk ideas, too.

“Mooncold” starts the listen with a curious blend of psychedelia and pop as harmonic vocals and a hazy atmosphere add a bit of mystery to the engaging opener, and “Field Walk” continues the creative environment with a shimmering blend of driving indie-rock where synth adds much to the appeal.

Even though there’s just 8 tracks, each one stands out with its own diverse approach, including the dynamic and pretty “Heaven’s Break”, as well as the math rock approach of the complicated “Sensation”, which alone is worth the price of admission.

Deeper into the affair, “Feeling Of Relief” pushes and pulls with angular tension, while “Out Of Reach” exits with the sort of nostalgic ‘90s jangle that would make Stephen Malkmus jealous.

A record that’s not quite as ominous as the cover art and band name might make you think, Witch’s Wall have more in common with artists like Grizzly Bear and The Sea And Cake, and their traces of surf and jazz sensibilities only add to the enjoyment of this exceptional record.

Travels well with: Terry Ohms- Cold Cold Shoulder; Jaco- You Know

A Choir Of Ghosts

An Ounce Of Gold

Greywood, 2020

8/10

Listen to An Ounce Of Gold

The songwriting moniker of Sweden’s James Auger, as A Choir Of Ghosts the troubadour channels the spirit of Kurt Cobain as well as the vivid storytelling of Tallest Man On Earth for this very well crafted debut album.

After the ambient and cinematic “Intro” sets the mood, “Sinner In Rapture” follows with smooth, expressive vocals from Auger that soar alongside the majestic instrumentation that recruits both synth and percussion strategically.

Deeper tracks like the highly melodic “An Ounce Of Gold” present strong indie-folk prowess complete with a violin, while “Southwest Of The Moon” trims the volume back to a bare, acoustic and heartfelt strummer. “The Water” is the closest Auger will get to balladry as the true scope of his pipes guide the folksy sparseness.

Near the end, “Human” stays soft and agile with its eloquent, emotive song craft, and “The Taste Of Smoke” exits on a high note, as poetic wordplay runs parallel to the sophisticated instrumentation.

An autobiographical effort where James wrote and performed all the tracks, the Canadian producer Terry Benn helped bring these stories to life, and did a hell of a job illuminating the massive skill from Auger. An excellent starting point, A Choir Of Ghosts is certainly worth keeping an eye on.

Travels well with: Ben Howard- Noonday Dream; Damien Jurado- In The Shape Of A Storm

Ezra Bell

… This Way To Oblivion

Dutch, 2020

9/10

Listen to … This Way To Oblivion

The Portland folk-pop ensemble Ezra Bell return with a brief but exciting album where their multifaceted approach unfolds with both meticulous and frisky tunes, all of which are atypical but easy to embrace.

“I Love You Too” starts the listen with warm guitar alongside the distinct vocals from Benjamin Wuamett as the opener builds into a full indie-rock meets chamber rock experience, and “Shhh, The Dog Is Sleeping” follows with a quirky approach as playful percussion and horns highlight the setting.

Further along, the bright keys of “Tanner Thorne” help make this one of the album’s best, and the diverse instrumentation certainly doesn’t hurt either, while “Sherrie Sue” puts female vocals in front, though the bulk of the tune is instrumental and experimental, though never esoteric in its unconventional nature. “Raise Your Hand If You Slept In Your Clothes” then recruits an old time feel that sounds like it could soundtrack a speak easy as jazz and gospel nods are in attendance.

Before they exit, “5th And James” brings a busy display of lush song craft, and “Stipulations Don’t Suit You” finishes the listen with a glorious execution of keys, horns and dynamic interaction between the very skilled musicians.

It’s hard not to think of luminaries like The Decemberists and Mumford & Sons when listening to Ezra Bell, though the sextet certainly are forging a path entirely their own, and it’s one that gets better with each subsequent album.

Travels well with: Animal Years- Far From Home; Neighbor Lady- Maybe Later

Surrender Hill

A Whole Lot Of Freedom

Blue Belly, 2020

8/10

Listen to A Whole Lot Of Freedom

The former solo artists Robin Dean Salmon and Afton Seekins came together as Surrender Hill, where their warm and elegant brand of Americana shines bright with diverse backgrounds from them both on this 4th album.

“A Whole Lot Of Freedom” starts the listen with fluid guitars and vocals from both members as the tune shifts to a more bare approach of country rock, and “Turn This Train Around” follows with folk qualities as Salmon’s smooth vocals dominate the cautious landscape.

With 18 tunes present, there’s a lot to absorb here, but the duo keep things varied with the pretty singing from Seekins on the lush “Broken Down Car”, while “Chase Me Down” brings more classic country ideas to the introspective delivery. “Spend On Love”, one of the stand out tunes, then displays their precise and universal song craft with mass appeal.

Near the end, the harmonica friendly “Waiting On A Dream” finds a dreamy place to reside, and “Badge Of A Punk Rock Band” revolves around Salmon’s previous punk days as the music flows with timeless roots rock. The record ends with “The Ballad Of Rebel Wingfield”, a soft and harmonic finish that complements the well executed effort perfectly.

A listen that touches on all the things we love about rootsy, Americana sounds, the soaring harmonies, grittier moments and all sort of eloquent songwriting here makes A Whole Lot Of Freedom another glowing record in the Surrender Hill catalog.

Travels well with: Wyatt Edmondson- If I Don’t Try; Lynne Hanson- Just Words

Ronnie Wood

Mad Lad: A Live Tribute To Chuck Berry

BMG, 2019

8/10

Listen to Mad Lad: A Live Tribute To Chuck Berry

Recorded live at Wimborne’s Tivoli Theater in 2018, Ronnie Wood takes a break from his many artistic endeavors to focus on music for this tribute album where Ben Waters lends a hand on keys, and Imelda May’s pipes make appearances across the 11 covers.

“Tribute To Chuck Berry” starts the album with soulful rock’n’roll, and, of course, spirited guitar work in a tune that discusses Berry’s remarkable life, and “Talking About You” follows with saxophones and keys complementing the upbeat atmosphere.

Deeper into the set, “Almost Grown” recruits backing female vocals on the swinging fun that will certainly get your body moving, while “Back In The USA” turns the volume down a bit with a smooth rocker where piano solos are key.

Near the end, “Little Queenie” offers the quintessential Berry tune that’s melodic, gritty and timeless, and the legendary “Rock N Roll Music” has Imelda May taking vocal duties with her sweet, expressive pipes adding new flavor to the classic. Naturally, “Johnny B Goode” ends the listen with fluid brass and flawless rhythm that does justice to Berry’s most known tune.

The first in his plan to do three similar albums, Wood chose Berry for this initial effort not only because he’s a fan, but because Wood and Berry toured together and he wanted to pay tribute as Berry as he recently passed away.

An incredible project here, it will be exciting to see who Wood pays tribute to on the next one.

Travels well with: The Rolling Stones- Some Girls; The Jeff Beck Group- Jeff Beck Group