The Beat Farmers

Tales Of The New West (Deluxe Reissue)

Blixa, 2021

10/10

Listen to Tales Of The New West (Deluxe Reissue)

The San Diego roots rock legends The Beat Farmers are seeing some much deserved reissue attention here, as their 1985 debut album comes with a 2nd live disc on this installment. Certainly far ahead of their time in the areas of Americana and cow punk, their searing riffs and eccentric moments have clearly aged well on this timeless first record.

Disc 1, the original album in full, leads with the punchy country rock of “Bigger Stones”, where rugged melodies and a sing-along quality make for a perfect starting point, and this continues to the call and response vocals of the gritty “There She Goes Again”, as well as the rhythmic and dance friendly “Reason To Believe”, which is originally a Springsteen tune.

In the middle, the quirky story telling of “California Kid” unfolds with charming guitar acrobatics, while “Never Goin’ Back” recruits a retro-rock feeling with some of the best singing in its rural rock landscape. “Showbiz”, another exceptional track, then gets soulful with spirited harmonica and bright brass in a late period Replacements sort of way.

Near the end, “Selfish Heart” is a charged vintage rocker with crisp drumming amid a more firm rock’n’roll delivery, and “Happy Boy” exits the listen with a playful galloping angle that seems like a cowboy anthem that’s not to be taken too seriously.

The live portion is 21 tracks long, and includes a diverse set where bare moments like “Sunday Morning” and the nearly blues “Trying To Get To You” are met with the bristling pace and swirling guitar work of “You Can’t Judge A Book By Its Cover”. They also include an upbeat interpretation of “I Still Miss Someone”, where bouncy bass, shuffling percussion and expressive singing builds into a busy execution of loose Americana. Apparently this show helped the band score a record deal and that’s not at all surprising considering the memorable performance.

Although they gained a strong cult following, and even appeared on David Letterman in the early ‘90s, The Beat Farmers were largely unsung heroes. Tragically, drummer/singer Country Dick died onstage in 1995, which dissolved the band (although they still perform as The Farmers). For many, this will their first taste of The Beat Farmers, as it should be; this first album truly set the tone for the band’s career, and is a classic in the area of country rock, swamp rock and rootsy sounds with plenty of bite, as they certainly belong in a category with Uncle Tupelo or Whiskeytown.

Travels well with: The Bottle Rockets- Bit Logic; Dave Alvin- From An Old Guitar: Rare And Unreleased Recordings

Robert Pollock

Entertwined

Furious Artisans, 2021

8/10

Listen to Entertwined

An extremely well thought out project, Entertwined brings 5 decades of compositions by Robert Pollock to 1 lengthy listen, as William Anderson, Oren Fader, the Cygnus Ensemble and the New Jersey Percussion Ensemble all help illuminate Pollock’s inimitable vision.

“Romance-Fantasty” starts the listen with playful keys and plucked strings interacting with much warmth and ingenuity as the setting emits both soothing and experimental qualities, and “Cygnature Piece” follows with 2 movements of bright, quivering strings as much cinematic beauty unfolds in unpredictable ways.

The middle of the listen brings us the flowing and intricate guitar work of “Metaphor”, where William Anderson’s skills are both mesmerizing and inspiring, while “Chamber Setting #2” recruits the New Jersey Percussion Ensemble as Peter Jarvis conducts on the charming, strategic and eventually busy display of frisky percussive ideas.

“Metaphor” exits the listen, and this time it’s the vibraphone version, complete with mallet acrobatics that are as impressive as they are memorable on the album’s stand out performance.

A veteran pianist and composer, Pollock’s work has clearly remained consistently creative and well crafted, as this wide peek into his art proves, and the esteemed talent on hand help make this an ideal starting place if you’re new to his work, and certainly an important piece for the longtime fan.

Travels well with: Ken Field- Transmitter; Gina Biver- Nimbus

Afro Yaqui Music Collective

Maroon Futures

Neuma, 2021

9/10

Listen to Maroon Futures

The impetus for the multilingual experimental jazz band Afro Yaqui Music Collective is rooted in the ever changing political climate, and the six tracks here certainly carry on that theme as they discuss the struggles of Maroons, who escaped slavery, and especially Russell Maroon Shoatz, a political prisoner that spent 30 years in solitary confinement.

“Nonantzin” starts the listen with soft strings as very expressive vocals from Gizelxanath Rodriguez settle in alongside bright baritone sax, punchy drums and soulful keys in the fusion climate, and “Sister Soul” follows with a trio of vocalists meeting in a spoken word meets world music hybrid that’s both adventurous and empowering.

In the middle, “La Cigarra” is a swift and soaring display of bluesy, jazzy ideas, while “Ya Habibi” recruits hip-hop into its funky bass work, lively rhythms and an infectious beat that’s not short on grooves either.

Near the end, we find the 10 minutes of “We Refuse To Be Used And Abused”, where a 6 minute intro unfolds like a cultured jam band approach as they address workers’ rights, and “Insurrealista” exits the listen with a busy, dreamy landscape of swirling percussion, firm brass and dynamic instrumentation from the many players present.

An ensemble that began when saxophonist Ben Barson moved to Pittsburgh from New York City with his wife, Gizelxanath Rodriguez, the Afro Yaqui Music Collective is a fusion experience like no other, where jazz, funk, blues, hip-hop and rock are met with Latin-American and Afro-Cuban lineage that’s always insightful politically/socially and musically daring, accomplished and consistently flourishing.

Travels well with: Harmony Of Dissonance- Traces Of Croatian Traditional Singing; Kenney Polson- Colors Of Brazil

The Deathray Davies

Time Well Wasted

We Know Better, 2021

9/10

Listen to Time Well Wasted

The Texas outfit The Deathray Davies had a good run in the early 2000’s, with several well received albums of their indie rock formula that embraced garage rock and power-pop, too. After frontman John Dufilho penned 13 tracks that he felt were ideal for the band’s formula, despite all members being involved in various other projects, everyone was more than ready to resurrect The Deathray Davies.

The album gets off to a nostalgic start with the power-pop fun of “Tapping On The X-Ray”, where sturdy riffs and energetic drumming interact in timeless ways, and “Oh Stars” follows with a calmer approach as strategic keys are met with some modern day indie-rock ideas.

Near to the middle, “Close Your Eyes And Floor It” flows with a punchy delivery of charged retro rock, while “Medicine Hat” thumps with firm keys in its very apparent and welcomed influence from their namesake, The Kinks. “Lucas I’m In Room 39”, one of the best tunes present, then offers a fuzzed out and restrained rocker that’s packed with calmer moments of psychedelic ideas.

Landing close to the end, “You And Me Until The End” might be the most forceful song, where rugged melodies and soaring backing vocals take us back to the best moments of the ‘90s, and “Trust Me Tonight” exits the listen with a soft strummer that finishes with playful keys and crisp percussion as the vast talent of the band is on full display.

A decade and a half is a long gap between records, but Dufilho and company pull off an excellent comeback that’s often rooted in the ‘60s, but not without punk, New Wave and Brit-pop nods that pick up right where they left off in 2005. Let’s just hope their next album isn’t forecasted for 2035.

Travels well with: Clifffs- Panic Attack; The Kinks- Lola Versus Powerman And The Moneygoround Part One

Ken Field

Transmitter

Neuma, 2021

8/10

Listen to Transmitter

A long time member of the legendary prog-rock outfit Birdsongs of the Mesozoic, the saxophonist, flautist and composer Ken Field takes this forced time away from the stage for a solo effort, where he collaborates with producer Erdem Helvacioglu on 6 tracks focused around Field’s sax prowess.

“Transoceanic” starts the listen bare with Field’s warm sax emitting much charm and elegance as the opener builds into a dizzying display of layering that’s mesmerizing and quite atmospheric, and “Transcendental” follows with mysterious ambience as brass is manipulated into a blurry, dreamy haze.

In the middle, “Translucent” is a bright and playful display of soothing song craft, while “Transducer” spends 9+ minutes intriguing us with a nearly haunting quality to its cinematic appeal. “Transparent”, one of the record’s best, then exits the listen with no shortage of beauty as Field manipulates his instrument with much skill and precision.

A very innovative effort, Field’s use of looping, echo. and texturing keeps the listener consistently amazed at the complexity and impact of the arrangements, as he basically forges an entire new subgenre of jazz with his art.

Travels well with: Juan J.G. Escudero- Shapes Of Inner Timespaces; Gina Biver- Nimbus

Ali Can Puskulcu

Gibberish Shreds

New Focus, 2021

8/10

Listen to Gibberish Shreds

A Turkish-American artist with a penchant for violin, voice, electronics and adventurousness, Ali Can Puskulcu pulls off a very atypical debut solo album, where intensity, texturing and structure are all manipulated in his inimitable vision.

“Volume I” starts the listen vocally strong- even bizarre- as wordless voice inflections are both imaginative and unexplainable, as the energetic and swift violin enters 2 minutes in alongside an even more experimental landscape of vocal pitches.

“Volume II” follows, and somehow is even more unusual, as actual words enter the more melodic approach of the violin, and “Volume III” continues with plenty of pre-recorded tracks and samples as vocal scatting and gongs are part of the handling of mood.

The final 2 tracks, “Volume IV” and “Volume V”, shift about in tone, as the former is a darker, futuristic and haunting display, while the latter seems like it’s stuck inside a video game in another dimension with its endless vocal effects and cultivating of an entirely new set of aesthetics.

Somewhere between performance art, avant-garde noise and brilliant gesturing that no one else is going to replicate, Gibberish Shreds is an unclassifiable journey you’re going to be in awe of.

Travels well with: Eric Lyon- Giga Concerto; Douglas Boyce- The Hunt By Night

Steve Gadd Band

At Blue Note Tokyo

BFM, 2021

8/10

Listen to At Blue Note Tokyo

Quite possibly the best session and studio drummer of all time, the legendary Steve Gadd brings David Spinozza, Jimmy Johnson, Kevin Hays and Walt Fowler along for this journey, where 9 tracks are selected over 2 sets played on 1 night at the world renowned Blue Note Tokyo club.

“Where’s Earth” starts the listen with plenty of mystery as Gadd’s proficient drumming anchors the playful bass from Johnson, Hays’ strategic keys and bluesy solos from Spinozza’s guitar, and “Doesn’t She Know By Now” follows with a timeless jazz quality that benefits greatly from Fowler’s soulful trumpet.

Residing near the middle is “One Point Five”, where Gadd’s lone solo lands amid the rhythmic textures and healthy amount of melody, while “Hidden Drive” is not short on grooves and moves with precise interaction on the Spinozza original. “Walk With Me”, a particularly exceptional tune, then finds a funky place to exist where Hays contributes keys and soulful vocals that you can’t help but be in awe of.

The last two tracks don’t disappoint either, as “Rat Race” delivers cautious funk fun and “Watching The River Flow” exits with a frisky, blues version of the Bob Dylan tune that again puts Hays’ strong pipes on display.

If you’re a fan of Gadd, you’ll be happy to know that 3 of the 9 tracks here are originals that have never been released or recorded by this band, and if this is your first experience with the drummer extraordinaire, you’re in luck, cause it’s another very high point in an exceptional catalog of music.

Travels well with: Dan Bonsanti And The 14 Jazz Orchestra- Cartoon Bebop; Jeff Ellwood- The Sounds Around The House

Jon Klages

Fabulous Twilight

Danbury Fair, 2021

9/10

Listen to Fabulous Twilight

A pioneer of the Hoboken Sound and who also played in the legendary power-pop outfit The Individuals before appearing in Richard Lloyd’s Band, Jon Klages knows his way around a tune you won’t forget anytime soon, and this solo album embraces many of the genres that he’s played in his vast career, and some that might surprise you, too.

“Best That We Can” starts the listen with plenty of soul as Klages’ warm vocals and playful guitar glides alongside deft drumming from Pete Thomas in the jazz friendly climate, and “Rosalie” follows with a reflective spirit as Klages hits some pretty high notes in the bluesy meets R&B setting.

Elsewhere, “Long-Tailed Cat” recruits backing vocals from the Honey Whiskey Trio as frisky piano from Klages adds much to the country and jazz influenced display, while “Red-Dirt Country” is a bare, powerful execution of smooth keys, poetic singing and sparse drumming amid a unique Americana blend. “God Bless The Columbia House Record Club”, which just might be the best song title in recent history, then tells the story of getting 10 CDs for a penny in both calm and swift displays of retro, rural, twinkling song craft.

Approaching the end, “1133 Ave. Of The Americas (For Enoch Light)” offers a dreamy, airy moment where primarily wordless vocals steer the prettiness that pays tribute to Klages’ grandfather, and “Goin’ Home” exits the listen with a piano fueled and nearly gospel finish of sublime beauty.

Klages enlisted a hotshot band whose credits included playing with Elvis Costello and Leonard Cohen, and it helps make for a diverse, genuine and sometimes comical display of veteran talent that will satiate any fans of rich, sophisticated and stylish songwriting.

Travels well with: Daystar- The Complete Recordings; Susan Gibson- The Hard Stuff

Mackenzie Shivers

Rejection Letter

Self-Released, 2021

8/10

Listen to Rejection Letter

A singer, songwriter and pianist, this 3rd album from Mackenzie Shivers had the artist secluding herself in Cape Cod to flesh out a personal record where Yuka Tadano offers bass, Cody Rahn sits behind the drum kit, and string arrangements from Oliver Kraus add much diversity to Rejection Letter.

“Afraid” starts the listen with warm keys as Shivers’ emotive, poetic singing enters the haunting strings and very sophisticated climate, and “The Roses” follows with bare but impactful drumming as a folk influenced setting unfolds with much beauty.

At the halfway point, “Blistered Sun”, a song about touring life ending due to Covid, is a powerful and emotive display of versatile singing amid the piano balladry, while “100 Miles” flows with subdued melodies and some pop sensibilities in a very eloquent, dreamy environment that centers around social injustice and political strife. “Butterscotch”, an album stand out, then blends a firm beat, orchestral strings and mesmerizing song craft that is so well documented, it lingers long after the song ends.

Shivers impresses to the end, as the acoustic guitar and gorgeous singing of “Gold” resides in indie-folk territory, and “Rejection Letter” exits the listen vocally strong and lyrically thoughtful as hypnotic keys and sparse drumming complement the atmospheric finish.

This was Shivers first time penning songs on the guitar, and her cinematic, forthright and electro-acoustic approach allows each track to radiate in its own light with a genuine, timeless and memorable spirit.

Travels well with: Brigitte DeMeyer- Seeker; Lynne Hanson- Just Words

Jack Brandfield

I’ll Never Be The Same

Gut String, 2021

8/10

Listen to I’ll Never Be The Same

Even though he’s a youngster, the tenor sax virtuoso Jack Brandfield delivers like a seasoned vet here, where Randy Napoleon’s guitar and Rodney Whitaker’s bass accompany him across a dozen interpretations of the Great American Songbook.

“Nobody Else But Me” starts the listen with Brandfield’s warm, energetic sax playing as Napoleon’s guitar and Whitaker’s bass complement the elegant and timeless jazz climate superbly, and “Vignette” follows with a light and agile approach where spirited guitar lines are met with flowing brass in a glorious setting.

Landing in the middle, the title track emits a soulful quality amid a romantic mood of sophisticated instrumentation, while “Andorinha” gets even more calm with an emotive approach that’s both stirring and meditative. “Do Nothing Till You Hear From Me”, one of the album’s best, then displays Brandfield’s strong sax skills alongside carefully plucked bass and it results in a tune so well executed, it alone is worth the price of admission.

Closer to the end, the lively “Bossa Nova Ova” radiates all sorts of cultured rhythm in its precise and dance friendly delivery, and “Wildwood” exits the listen with all instruments taking their turn in the spotlight as much grace, playfulness and creativeness is present.

An extremely well crafted affair, the absence of drums doesn’t depart from the impact at all, as trio turn in a glowing debut album that hints at Brandfield one day achieving the legacy of those he covers.

Travels well with: David Larsen- The Mulligan Chronicles; Lyle Workman- Uncommon Measures

Haunted Shed

Faltering Light

Strolling Bones, 2021

9/10

Listen to Faltering Light

Athens, Georgia has historically never been short on great music, and this debut album from Haunted Shed continues that tradition as frontman Etienne de Rocher is joined by Dan Nettles (guitar), Joe Rowe (drums) and Jacob Morris (bass, cello) on a very diverse and exciting rock album.

“Archipelago” starts the listen with atmospheric keys as the opener leads into a busy, hazy display of a very absorbing instrumental prowess, and “Collections” follows with a driving pace of alt-rock that brings to mind the best work of Radiohead with its ‘90s appeal.

Further on, “Christmas Store” recruits acoustic guitar as plenty of melody enters the lush and meticulous climate that’s piano friendly, while “Umami Bomb” follows with precise interaction between the keys, drums and guitars as the setting is both cautious and adventurous amid some funk nods. “Innocence Of Man”, the best of the best, then flows with beauty and grace, where expressive singing and moments of charged rock are met with ebbs of sparse intrigue.

Closer to the end, “Button Inside Of My Soul” is a calm track of soulful, elegant songwriting that glows with modern-rock and psyche-pop, and “Hypno” exits the listen with hints towards earlier decades as ambience and dreaminess leave us wanting more time with the record.

Etienne has a lengthy and esteemed career in music that began in the Bay Area in the ‘90s, before moving to Georgia in 2008. Although Haunted Shed began as a spur of the moment band to soundtrack a haunted house for Halloween, since Faltering Light is one of the most interesting and memorable albums in the are of indie-rock in recent years, let’s hope this isn’t a one off effort.

Travels well with: Ron Gallo- Really Nice Guys; Peter Stampfel & The Bottle Caps- Demo ‘84

Allen Ginsberg

At Reed College: The First Recorded Reading Of Howl & Other Poems

Omnivore, 2021

10/10

Listen to At Reed College: The First Recorded Reading Of Howl & Other Poems

A legendary poet and writer who was present at the onset of the beat movement alongside Jack Kerouac and William S. Burroughs, the Ginsberg estate and Omnivore Records team up to go back 65 years to Allen Ginsberg’s reading at Reed College in 1956.

“Epithalamion” starts the listen with Ginsberg’s very distinct delivery and keen attention to linguistics comprising this and the short poems to follow, including the vivid storytelling of “Wild Orphan”, and the timeless beat poetry of “Over Kansas”.

Deeper into this portion of the record, “A Supermarket In California” turns a trip to the grocery store into a fascinating experience that’s even comical, and “The Trembling Of The Lamb” follows with incredible syntax as Ginsberg’s inimitable enunciation and his North Jersey accent have us hanging on every word.

The Howl portion of the listen leads with the brief “Introduction”, which is mostly Ginsberg caught making small talk, before the 13+ minutes of the classic “Howl”, where Ginsberg paints a very articulate portrait in an almost robotic sort of way, where he never stumbles while simultaneously sounding like a sage, a prophet and a madman. The discs ends on “Howl II”, where, abruptly, Ginsberg stops before the end, saying that he doesn’t feel like continuing anymore.

The original tape was handled by Michael Graves, who transferred, restored and mastered the audio so well, that it hardly seems dated, and the accompanying and very detailed liner notes from Dr. Pancho Savery only add to the appeal of the package. Ginsberg passed away 24 year ago, and was still working up until he died; considering how vast his influence was and still is with the younger generation being exposed to his art, we should all be thankful that his work is still available and presented with so much care.

Travels well with: Jaki Shelton Green- The River Speaks Of Thirst; Sunny War- Shell Of A Girl

Eric Lyon

Giga Concerto

New Focus, 2021

9/10

Listen to Giga Concerto

The acclaimed composer Eric Lyon is aligned with the violin duo String Noise, i.e. Pauline Kim Harris and Conrad Harris, as well as Deerhoof drummer Greg Saunier and the International Contemporary Ensemble for this very imaginative interpretation of four of Brahms’ op. 105 songs for violin duo and drumset and Lyon’s Giga Concerto.

“Giga Concerto I” starts the listen with dancing strings, firm percussion and an overall quivering, exciting landscape of adventurous, baroque sounds, and “Wie Melodien Zieht Es Mir” follows with a quick blast of imaginative indie-rock meet orchestral ideas that are both chaotic and cautious.

Closer to the middle, “Giga Concerto III” presents a tense display of powerful, even ominous musicianship that flows with a cinematic appeal, while “KLAGE” makes great use of creative textures, precise violin and marching band style drumming. “Giga Concerto IV”, one of the album’s best, then leads calm and meditative before bursting into avant-garde, energetic dynamics that manipulates tone and pitch flawlessly.

Residing near the end, “VERRAT”, one of the busiest tracks, pairs Saunier’s inimitable drumming with String Noise’s fascinating violin work in a fury of alternative, classical song craft, and “Giga Concerto VI” exits the listen with dizzying string acrobatics that unfold in an almost sci-fi sort of way amid unpredictable songwriting.

You’re not going to hear anything quite like this anywhere else, as Lyon’s highly imaginative vision and String Noise’s unmistakable talent shines in this post-minimalist, collage driven and atypically rhythmic effort that is a source of constant surprises amid unclassifiable sounds you can’t help but be enamored with.

Travels well with: Douglas Boyce- The Hunt By Night; DUO Stephanie & Saar- Cavatine

The Alex Leach Band

I’m The Happiest When I’m Moving

Mountain Home, 2021

8/10

Listen to I’m The Happiest When I’m Moving

The Alex Leach Band don’t disappoint on this debut album, where the frontman and guitarist Alex Leach is joined by JT Coleman (bass), Brandon Masur (banjo), and Joshua Gooding (mandolin), as well as his wife, Miranda, as they deliver some very modern and creative bluegrass.

“Take The Long Way Home” starts the listen with melodic, swift bluegrass fun where Leach’s soaring vocals and the lively banjo from Masur make an immediate impression, and “The Turntable” follows with fluent mandolin from Gooding alongside Leach’s expressive pipes.

In the middle, the soft and sweet “Take Me Back” is a duet with Miranda, whose pretty vocals add even more beauty to the ballad, while “Golden Rule” flows quickly with Leach’s precise rhythm guitar and Coleman’s plucked bass working together with much impact. “October Fall”, the album highlight, then displays much chemistry between banjo and mandolin amid the folk influenced climate.

Near the end, “Mandy Mae” soars with a timeless rural appeal that’s both graceful and adventurous, and “I Can’t Live This Way” exits the listen with one of the fastest tunes, as string acrobatics and warm vocal harmonies finish on a glorious display of their inimitable talent.

Although they’ve only been a band for 2 years, Leach and company clearly place their hat in the ring as one of the most exciting contemporary bluegrass outfits that exists today, and this excellent first record is a sign of more greatness on the horizon.

Travels well with: Steve Gulley & Tim Stafford- Still Here; Thomm Jutz- To Live In Two Worlds Volume Two

AJ Fullerton

The Forgiver And The Runaway

VizzTone, 2021

9/10

Listen to The Forgiver And The Runaway

A rising artist from Colorado, AJ Fullerton uses the best elements of blues and roots to fuel his remarkable song craft that draws parallels to Patrick Sweany, North Mississippi All Stars and even Albert Collins on this first album for the VizzTone label.

“Remind Me Who I Am Again” starts the listen with warm keys as a gospel slant enters the soulful climate that embraces rootsy sounds, too, and “Healing Takes Time” follows with an expressive bluesy quality where Fullerton’s wise vocals are met with spirited guitar work and crisp percussion.

Further down the line, “Say You’ll Stay” is a louder, rugged blues rocker that’s both charged and emotive and benefits from Jake Friel’s harmonica, while “The Forgiver & The Runaway” glides with much atmosphere to the mysterious landscape. “Miss Cherry Red”, a late album highlight, then blends piano, harmonica and fuzzy guitars into a playful album highlight that’s as timeless as it is memorable.

Close to the end, “Homesick” shuffles with a cozy Americana flavor where Fullerton’s vivid storytelling is met with strategic pedal steel, and “Hooks In The Water” exits the listen calm, agile and poetic with an almost folk quality to his very gripping songwriting.

Fullerton is already a well known name in his home state, where his slide guitar work, acoustic show and solo performances have netted him plenty of awards, and with albums as strong as The Forgiver And The Runaway, his name is quickly and justifiably becoming synonymous with first rate blues.

Travels well with: Patrick Sweany- Close To The Floor; North Mississippi Allstars- Up And Rolling

Lauren White And The Quinn Johnson Trio

Ever Since The World Ended

Café Pacific, 2021

8/10

Listen to Ever Since The World Ended

Although it wasn’t exactly intentional, this 5th album from the vocalist Lauren White carries themes of isolation and loneliness, giving it a Covid-esque feel as the esteemed talent on hand help her swing, get bluesy and quite emotive across these 8 tracks.

White leads with the upbeat and dance friendly “If You Never Fall In Love With Me”, where her strong range glides alongside frisky percussion from Ray Brinker and warm keys from Quinn Johnson, and “Just The Two Of Us” follows with an emotive spirit, where Kevin Winward’s fluent percussion helps illuminate the classic.

“Alone Together” lands in the middle, and brings a powerful ballad as White’s expressive pipes flow amid the poetic landscape, while “Remembering The Rain” recruits Alex Budman’s dreamy flute and Grant Geissman’s strategic guitar on a melodic and playful album highlight.

The final two tracks offer us the swinging fun of “Take Love Easy”, where Trey Henry’s bass and Brinker’s drums interact in exciting ways, and “Shattered” exits the listen bare and eloquent, where a timeless jazz presence helps solidifies the record as classic material.

White’s had an impressive career in acting, too, making her way onto daytime soap operas as well as Broadway. However, her incredible voice and strong attention to detail is what she’s best known for, as evidenced by this top notch listen.

Travels well with: Roseanna Vitro- Listen Here; Mike Scott- Collecting Things

Sarah Jerrom

Dream Logic

Three Pines, 2021

9/10

Listen to Dream Logic

The exceptional vocalist and pianist Sarah Jerrom might base her song craft in jazz, but she also flirts with folk, pop and chamber sounds as Harley Card, Rob McBride, Jeff Luciani, and Joe Lapinski accompany her on this eclectic journey.

“Snowblind” starts the listen on a very high note, as soothing, wordless vocals lead into dizzying percussion from Luciani as Jerrom’s expressive pipes are met with Card’s backing vocals in the dreamy jazz climate, and “Accolade Parade” follows with both busy and bare moments as Jerrom’s strong piano work is met with precise bass and guitar from Card and McBride.

There’s 13 tracks here, and not a dull moment to be found, including the soft and intimate “Things That Came Out Of The Sea”, while “Illusions” embraces folk ideas in its chamber filled climate. “Sleeping Buffalo Rises”, an especially glowing tune, then displays playful scatting as warm guitar lines and the dynamic rhythm section impress and inspire.

Deeper yet, “Wheel Remember” emits much beauty as absorbing, cautious songwriting unfolds in 5 minutes of frisky bass plucking and atmospheric drumming, and “Tiny Lights” exits the listen with Jerrom’s versatile pipes on display amid a moving and fascinating finish.

An album that was recorded across 2 sessions in 2018 and 2019, and that began with the vision of an EP, thankfully Jerrom and company decided to extend the effort, cause this just might be your favorite jazz rooted record of 2021.

Travels well with: Tunetown- Entering Utopia; Mike Freedman- Into The Daybreak

Semir Sammy Hasić

No More War It’s Time For Love

Navona, 2021

8/10

Listen to No More War It’s Time For Love

The composer and accordionist Semir Sammy Hasić highlights the battle of Vukovar here, where he simulates the act of war with manipulation of rhythm, timbre, harmonies and dissonance as he brings in a small army of musicians on strings, keys, brass and woodwinds.

“War Rhapsody” starts the listen with the sounds of birds and helicopters as strings, brass and accordion enter a very emotive and cautious beginning that later on bursts with dramatic beauty, and “Waltz For Orphans” follows with playful accordion that you could certainly dance to.

Arriving near the middle, “My Tears” benefits much from Ivan Buic’s dreamy flute as well as Antonio Haller’s well timed percussion, while “Scheherazade 1001 Nights” is an energetic and unpredictable display of orchestral and chamber ideas. “Tornado”, one of the album’s best, then leads with carnival-esque music as the aptly titled track attacks with a flurry of brass, strings and accordion acrobatics.

Further still, “Improvisations For Freedom” glides amid a stylish, rhythmic and dynamic execution that easily makes this the stand out track, and, interestingly enough, “Covid 19” exits the listen on a silent track.

Despite the tough subject matter present, there’s certainly much melody to be found across the listen, as Hasić calls for countries to put an end to the all too prevalent racism and violence that exists today. Let’s hope that his art can help inch us towards a world of love, empathy and hope, cause we need it now more than ever.

Travels well with: Carl Vollrath- Transit Voices; Various Artists- Lock & Key Vol. II

Trio Casals

Moto Eterno

Navona, 2021

9/10

Listen to Moto Eterno

The Trio Casals, i.e. Alexadr Kislitsyn (violin), Ovidiu Marinescu (cello) and Anna Kislitsyna (piano), showcase 10 international composers on this ongoing series where their spellbinding chemistry and inventive approach to their respective instruments ensures maximum intrigue for the listener.

“Sarajevo Cellist” starts the listen with swift, mesmerizing keys and quivering cello as they interact with both mystery and allure for nearly 8 minutes, and “Glimmer” follows with a playful, orchestral approach that alternates between a quick, bouncy pace and calm ebbs of beauty.

Sandwiched in the middle are the 3 movements of “Three Caprices”, where tense violin is met with an exciting, unpredictable quality that’s also capable of soft, moody moments, while “Beauty From Forgetfulness” tugs on the heartstrings with its introspective and dreamy atmosphere. Further still, “Crooked Lake” moves lowly, and with bare but impactful, even heartbreaking sparseness.

Near the end, “Heliotrope” amazes us with its piano acrobatics amid strategic strings, and “Monday Morning” exits the listen upbeat and with meticulous contributions from all 3 players on a tune that could soundtrack an action movie.

A highly unpredictable listen, expect moments of meditative, even calming instrumentation as well as busy, even forceful bouts, as the 3 players display an imaginative and exhilarating performance.

Travels well with: The Lowell Chamber Orchestra- The Suite; John Mark McEncroe- Fanfare Suite

Dave Camwell

Second Wind

Navona, 2019

8/10

Listen to Second Wind

The saxophone extraordinaire Dave Camwell treats us to 3 centuries of spirited sax sounds on these classic interpretations, and he’s brought along an all star cast to help flesh out Second Wind.

“Partita N.3, BMV 1006” starts the listen with saxophone and piano dancing around each other with swift grace, and this continues to the equally playful yet soothing “Sonata N.3, BMV 1005”, as well as “Epitaphe De Jean Harlow”, where flutes also come into the sublime instrumentation that unfolds with much soulfulness.

Back half highlights include “Concerto After Mendelssohn For Tenor Saxophone And Wind Ensemble" as The Alberta Winds help cultivate an orchestral backdrop with their glorious presence, and at the end “Concerto For Flute, Alto Saxophone And Symphonic Band” allows the Troy University Symphony Band to shine on the dreamy, mesmerizing delivery.

Also an educator, Camwell, not so surprisingly, brings flawless arrangements here, where classical and jazz ideas come together with meticulousness and timelessness.

Travels well with: Apollo Chamber Players- Within Earth; Society Of Composers, Inc- Flux