Dan Rose

Last Night

Ride Symbol, 2021

8/10

Listen to Last Night

The esteemed guitarist Dan Rose takes on an impressive project here, where he brings his impressive talent to 13 classic tunes from artists like Duke Ellington, Henry Mancini, and Johnny Green, among many others.

“Body And Soul” starts the listen with warm, agile guitar in the emotive and reflective classic, and “Darn That Dream” follows with much beauty and grace in the cautious, melodic setting.

Residing near the middle, “Tenderly” flows with sublime finger acrobatics that are nothing short of captivating, while “What’s New” is a glorious and shimmering display of timeless guitar skill. “If I Loved You”, one of the album’s best, then indeed gets romantic, as soulful and cascading beauty enter the landscape.

Close to the end, “Last Night When We Were Young” finds a dreamy place to reside in its mesmerizing execution, and “Medley” exits the listen with several tracks meshed together in an exceptional and commanding finish to the solo guitar effort.

Heavy on balladry and melodic soloing, Rose tweaks these love songs with much effective, subtle techniques that result in interpretations that illuminate these classics in an entirely new light- and one you’ll want to revisit again.

Travels well with: Reza Khan- Imaginary Road; Dave Stryker- Baker’s Circle

Nainnoh

Nainnoh

Self-Released, 2021

9/10

Listen to Nainnoh

A very innovative artist who now resides in New York City, Nainnoh (pronounced nine-oh) meshes dream-pop, psychedelic stabs and plenty of cultural ideas into this stunning debut album that embraces both organic and electronic textures that often swirl with an adventurous vision.

“Cambium Rings” starts the listen with a hazy, dreamy setting as soothing vocals guide the psychedelic influenced pop fun, and “Colors” follows with strong percussion as expressive singing and an atypical version of indie-rock make a strong impression.

Deeper still, “Threads” brings a haunting quality with plenty of creative song craft as electro-pop ideas meet folk nods, while “Seasons” moves with plenty of melody where intricate guitar work and playful drumming highlight the mood well. “Break Apart”, one of the album standouts, then buzzes with rich textures that possess both beauty and mystery, as Nainnoh’s Eastern Europe roots are present.

Near the end, “Vital Illusions” leads bare and emotive before building into a lush and pop friendly display of ardent skill, and “Velvet Mode” exits the listen with much ambience and cinematic nods that enter a poetic finish to a very well thought out first album.

It’s no surprise that this album took 7 years to make, as its lush, artistic and meticulous presence clearly required much work. A talent who will likely remind you of many legends, ultimately Nainnoh is on a path all her own, and this first effort hints at the exceptional journey it is.

Travels well with: CF Watkins- Babygirl; Sarah Morris- All Mine

Hiatus

Distancer

Self-Released, 2021

8/10

Listen to Distancer

The London based, British-Iranian artist Hiatus returns with another batch of beat heavy and meticulous produced tracks, where a poetic quality enters his electronic-pop prowess that’s as exciting as ever on Distancer.

The title track leads with soulful, soothing electro-pop that’s beat friendly and recruits subtle but effective synth, and “Arrival” follows with warm storytelling from Eva Scarlett Wang against a light and dreamy backdrop.

Further along, “Realism” floats gently amid plenty of creative atmosphere, while “Shadowless” brings in Malahat for a precisely layered, club soundtrack where wordless vocals flow alongside ambience and viola from Nick Murray. “People In Buildings”, an extremely well done track, then glides with a hypnotic, sophisticated and contagious energy where kamancheh from Faraz Eshghi Sahraei won’t go unappreciated.

Deeper still, “Mercy” offers a busy and dynamic display of melody, fuzz and electronic manipulation, not too mention proficient electric guitar from Matt Falloon, and “Human”, which features Bahram Shahrad (the father of Hiatus), whose raspy spoken word leaves an indelible mark on the fascinating finish.

Undoubtedly his most Iranian record to date, thanks to his recent friendship and collaboration with Faraz Eshgi Sahraei and his wife, Malahat, Hiatus shifts his tone from melancholy to awe and hope, much of which is fueled by Hiatus’ life experience that he parlays into exception art here.

Travels well with: Wassailer- I, The Bastard; Still Corners- The Last Exit

Zoe Fitzgerald Carter

Waterlines

Self-Released, 2021

9/10

Listen to Waterlines

A Bay Area artist who was previously an author, Zoe FitzGerald Carter tells her stories in song on this debut solo record, where luminaries like Dawn Richardson ( 4 Non Blondes), Julie Wolf (Ani Difranco), Erik Jekabson (John Mayer) and Michael Papenburg, among others, are along for the eclectic and well thought out 10 original tracks.

“Better Things To Do” opens the listen with Carter’s smooth pipes and agile guitar work, as Richardson’s fluid drumming and Wolf’s organ prowess add much to the warm climate, and “Below The Waterline” follows with gentle Americana as Carter’s vivid storytelling unfolds with an eloquent quality and Mark Schapiro’s subtle but effective harmonica won’t go unnoticed either.

Landing near the middle, “Owl In Kensington” offers much intimacy in its gorgeous display of folk-influenced song craft, while “On The Raft” recruits a haunting spirit and a cinematic backdrop to a very articulate and vocally diverse album highlight. “Like A Drum” then takes a sharp turn into Latin territory, where Jekabson’s fluent trumpet makes an impression.

Near to the end, “One Too Many Days In Nashville” enters a dance friendly setting where the country traditions of Nashville are certainly present amid the twang friendly atmosphere, and “I Wanna Be A Teenage Boy” exits the listen with an upbeat funk rock flavor, as Pam Delgago’s backing vocals complement the feminist anthem.

Carter’s roots are firmly planted in folk and Americana, and she proves here that she’s well versed in Latin, funk, jazz, country and rock, too. A record that appears to have been as fun to make as it is to listen to, you can think of Waterlines as a series of 4 minute novellas from the creative and timeless vision that’s applied to all of Carter’s artistic endeavors.

Travels well with: Sunny War- Simple Syrup; Claire Kelly- The Scenic Route

Jackson Scribner

Jackson Scribner

State Fair/We Know Better, 2021

8/10

Listen to Jackson Scribner

Although he’s just a youngster, the Dallas artist Jackson Scribner delivers like an old soul on this debut album, where help from Jeff Ryan (The War On Drugs), John Dufilho (The Deathray Davies), and Jerome Brock (Cryptolog) illuminate his honest and raw formula.

“Family Gatherings” starts the listen with warm, bare acoustic guitar and brushed drumming as Scribner’s unique, expressive vocals guide the indie-folk landscape, and the upbeat “Sixteen” follows with a playful spirit as the glowing pedal steel adds much to the reflective climate.

Halfway through, “3AM” flows with a poetic quality as a timeless Americana influence is full of emotive songwriting, while “Take Me To Your Water” displays gorgeous acoustic strumming that’s not short on eloquence or memorable song craft.

The quick listen exits on “Country Road 497” and “Ain’t It Something”, where the former emits a bit of a haunting quality where some of best guitar playing resides, and the latter showcases Scribner’s intimate and forthright nature amid sublime storytelling.

Scribner’s got a lengthy history in music that goes back to learning guitar at age 9, and his alluring vocals and stirring song craft make it quite obvious that the 20 year old has a bright future ahead of him.

Travels well with: Mackenzie Shivers- Rejection Letter; Natalie D-Napoleon- You Wanted To Be The Shore But Instead You Were The Sea

Leahy

Good Water

North 28, 2021

8/10

Listen to Good Water

The Juno Award winners Leahy return after a 10 year hiatus with Good Water, where their atypical folk approach now hosts electric guitar and accordion, which only adds more appeal to their lush and rich formula.

“Good Water (With Prelude)” starts the listen with angelic, soaring, wordless vocals, as programming, keys and guitars help cultivate a pop, folk and classically influenced setting, and “Tears” follows with upbeat and powerful song craft that’s not short on melodies amid its wise lyricism.

At the halfway point, the piano driven “Friend” offers a swift and beautifully layered album highlight that makes great use of mandolin, while “Star Of The Sea” is the most obvious Celtic tune that’s fueled by an accordion and brings 4 minutes instrumental prowess. “Falling”, another noteworthy track, then pairs guitars with the expressive and intimate vocals on a bare, impactful, and perfectly crafted ballad.

Further still, “My Old Man” leads with mysterious atmosphere before settling into poetic piano territory, and “Good Water (Radio Edit)” exits the listen with a shorter version of the opening track that’s no less impressive, just more concise in its progressive folk climate.

Although Leahy may have seen most of their commercial success in the late ‘90s, there’s no question that their current work is just as luminous and borrows from classical, Celtic, folk, pop and roots ideas with much attention to detail, not to mention a flawless execution. Let’s just hope it isn’t another decade before another batch of tunes arrives.

Travels well with: Seamus Egan- Early Bright; Moira Smiley- Unzip The Horizon

Mount Mary

Mount Mary

Ainoa, 2021

8/10

Listen to Mount Mary

Even though the Finland outfit Mount Mary have only been around for 2 years, the band’s chemistry sounds more on par with decades together as they embody all the things we love about sturdy rock sounds from the ‘60s on.

“I’m Like A Mountain” starts the album with buzzing guitar and crisp drumming as soaring vocals from front woman Maria Hänninen enter the thundering hard rock and progressive inspired climate, and “Mean Old Woman” follows with plenty of gritty melody as Hänninen’s strong pipes soar with both beauty and intensity.

Close to the middle, “Silent Hell” thunders with a fuzzy energy that’s abrasive and tuneful as stoner rock ideas enter, while “Too Much Time” displays incredible guitar acrobatics amid a thumping retro-rock appeal. “Holy Matrimony”, one of the album’s best, then showcases harmonica from Michael Monroe as a sing-along chorus makes an immediate impression.

Approaching the end, “Ode To The Forest” balances power and melody in its precise, classic rock template and “Footprints In The Dark” exits the listen with nearly 8 minutes of throbbing bass and keys from Per Wiberg help the finish settle into a symphonic and grand gesture.

A truly exceptional debut album, fans of legends as diverse as Sabbath, Zeppelin, The Melvins or even Pink Floyd will definitely see the boundless potential of Mount Mary, who are clearly on a path to further greatness with their nostalgic and exciting brand of rock.

Travels well with: Wobbler- Dwellers Of The Deep; Meer- Playing House

Orions Belte

Villa Amorini

Jansen, 2021

8/10

Listen to Villa Amorini

A very diverse outfit from Norway, this sophomore album from Orions Belte embraces psych and world music ideas in a primarily instrumental journey of layered and creative nods to the club days of the past, as Øyvind Blomstrøm, Chris Holm and Kim Åge Furuhaug weave in and out of unpredictable song craft.

“Bean” starts the listen percussively strong as warm guitar lines meet is a bluesy, pop and psychedelia fueled intersection, and “Speakeasy” follows with playful drumming and atmospheric keys adding much to the indie-rock influenced climate.

Nearing the middle, the melodic and flowing “Drumstick” offers an orchestral quality to the beautifully textured landscape, while “Dearest” recruits light and airy singing amid a dreamy delivery. “Lotus”, one of the album’s best, then gets mysterious and nearly prog-like with its carefully timed spacey moments alongside intricate guitar work and bouncy backdrop.

Close the end, the wordless vocals and dynamic rhythm section of “Mouth” helps the tune glide with a reflective, cinematic quality that even hints at hip-hop, and “Conversaciones” exits the listen swift, cultured and with bilingual singing in a glorious pop finish.

The trio call Villa Amorini a ‘homage to an era of loud music, club nights, ugly shirts and long afterparties”, and I’m happy to call it an exciting and stylish effort of synth-pop, soul-jams and innovative indie-pop you won’t forget anytime soon.

Travels well with: Mr. Gnome- The Day You Flew Away; The Flaming Lips- King’s Mouth

Bobby & Teddi Cyrus

Bobby & Teddi Cyrus

Pinecastle, 2021

8/10

Listen to Bobby & Teddi Cyrus

The husband and wife duo of Bobby and Teddi Cyrus sure brought some excellent company along with them for these 12 new songs, as Justin Moses (dobro, fiddle, banjo), Rigsby (mandolin), Mark Fain (bass), Kenny Smith (guitar), Garnet and Ronnie Bowman (background vocals), Scott Vestal (banjo), Dave Roe (bass) and Eamon McLaughlin (fiddle, cello, viola) are along for the ride.

“My Wedding Day” starts the listen with plenty of warm, glorious song craft as gospel ideas enter the soothing duet that benefits much from Bobby’s acoustic guitar, and “He Rescued Me” follows with a playful spirit as Teddi’s strong pipes resonate alongside Moses’ deft banjo skills.

Approaching the middle, “Roll That Rock” emits a timeless bluegrass influence as plenty of melody enters the smooth delivery, while “Big Ole Train” flows with string acrobatics and a frisky pace of mountain rock. “Man Behind The Voice” then moves cautiously, gracefully and with sublime balladry where Bobby’s versatile pipes shine

Some of the best tracks reside at the end, including the vocally strong and musically proficient “Other Fields To Plow”, and “The Love Song” exits the listen bare, romantic and full of emotive songwriting as both Bobby and Teddi take their turn handling vocals.

Both Bobby and Teddi grew up in Kentucky, and they embrace the traditions of their home state with fluent country and bluegrass ideas that never shy away from religious themes on this perfect addition to the Pinecastle Records roster.

Travels well with: Williamson Branch- Heritage & Hope; Dale Ann Bradley- She Couldn’t Get Over It

Dallas Moore

The Rain

Sol, 2021

9/10

Listen to The Rain

You might not be familiar with the name Dallas Moore, but after listening to The Rain you certainly won’t forget it as the outlaw country virtuoso returns after not writing a song for two years.

“The Rain” starts the listen with both grit and melody as plenty of twang enters the powerful country anthem, and “Every Night I Burn Another Honky Tonk Down” follows with honky tonk spirit as upbeat and warm instrumentation meet a playful approach where Moore’s strong pipes are complemented by fiddle acrobatics.

Closer to the middle, “Locked Down & Loaded” is a calmer moment, where much beauty resonates amid his outlaw country approach, while “Ride Down By The River”, one of the album’s best, recruits strategic pedal steel amid the harmonic singing and a lush climate of flowing rural rock. “California Highway”, another exceptional tune, then displays acoustic guitar acrobatics as Moore’s welcoming pipes emit much grace in the rootsy delivery.

The final two tracks, “On Through The Night” and “In My Last Days”, don’t disappoint either, where the former could soundtrack a barnyard dance with its contagious energy, and the latter exits with a dreamy ambience as strings add much to the eloquence of the moving ballad.

Moore was sidelined from touring due to Covid, and he tapped into a creative phase where this entire album poured out in 3 weeks. With his dream team band present consisting of Chuck Morpurgo, Tim Galloway, Guthrie Trapp, Jenee Fleenor, Chad Cromwell, Steve Hinson, Gordon Mote, Lex Price, Sweepy Walker, and Perry Coleman, Moore offers a career highlight and certainly one of the best records of the year in the area of honky tonk, country, Americana and roots sounds.

Travels well with: James Carothers- Still Country, Still King: A Tribute To George Jones; Jesse Dayton- The Outsider

Beth Jean

Let’s Put On A Show

Self-Released, 2021

8/10

Listen to Let’s Put On A Show

The Wisconsin native Beth Jean is quickly making new fans as her videos have been featured on the PBS show The Friday Zone, and this sophomore album is sure to extend her reach as her passion for music and theater shines through in creative songs that encourages our children to use their imaginations.

“Let’s Put On A Show” starts the listen with plenty of energy as the sounds of tap dancing are present alongside playful keys, backing vocals and Jean’s bright singing, and “You Are Magic!” follows with a punchy and charming display of kid friendly pop.

Later on in Act I (the record is divided into two acts), “No Gravity” uses synthetic drumming and plenty of dreaminess in the atmosphere, where Jean’s expressive pipes draw us in, while “Never Give Up” follows with a vivid ‘80s spirit as flowing songwriting and plenty of timelessness enter the equation.

The back half of the listen leads with the quirky “I Am A Hammer, Yes I Am Sir!”, where fun storytelling enters a song sung by a hamster, and “Garden Gnome”, another clever track, is narrated by a garden gnome. The final track, “Tweet A LIttle Tweet Tweet”, pairs a bird with Jean’s pipes as you can’t help but want to skip down the street on a glorious summer day to the intoxicating climate.

A true DIY Effort, Jean wrote, sang and played the bulk of the instruments on this effort during quarantine. She even made several videos for the songs, which included recording and editing by Jean as well. Although she was classically trained on violin, and she’s got a resume that includes writing songs for the MTV and E! networks, and she again proves her diverse nature with this excellent children’s record.

Travels well with: The Laurie Berkner Band- Let’s Go!; Stacy Peasley- Make It Happen

Kane Mathis

Geminus

Nyaato, 2021

9/10

Listen to Geminus

An artist armed with the 21 string Mandinka Harp (i.e. Kora) and the Turkish Oud, Kane Mathis is in the company of John Hadfield and Sam Minaie as the trio embrace traditional and modern elements as the songs of Geminus progress in unpredictable and harmonic fashions.

“Route Des Jardins” starts the listen with fascinating, absorbing string manipulation as Hadfield’s well timed percussion complements the swift pace, and “Kurdi Oud Taksim” follows with a brief display of complicated and rhythmic finger acrobatics from Mathis’ very capable talent.

In the middle, “August” flows with both calm and busy moments of stringed beauty as Minaie’s proficient bass leaves an indelible mark, while “Chant” is nothing short of breathtaking in its sublime climate of shimmering song craft. “Muhayyer Kurdi Semai”, one of the record’s best, then embraces timeless Eastern qualities as shades of classical music also enter the landscape.

Deeper still, “Gemini” is a percussively strong and playfully meticulous mix of cultured songwriting, and “Nikriz Sirto” finishes the listen with nothing short of exceptional musicianship that radiates timelessness.

A listen that often sounds like it’s rooted in Africa or the Middle East, Mathis and company laid these tracks down live across 3 days, and it illustrates much technical skill while also being universally enjoyable in its classical, World Music and jazz tinted exploration.

Travels well with: Dicosimo/Pagan- Con Moto; Sue Maskaleris-Love Is The Key

Matt Panayides

Field Theory

Pacific Coast Jazz, 2021

8/10

Listen to Field Theory

The guitarist and composer Matt Panayides comes through with a post-bop listen where Matt Vashlishan, Rich Perry, Robert Sabin, and Mark Ferber accompany him across both electric and acoustic arrangements on this 3rd album.

“Kite Flying” starts the listen with flowing, timeless jazz ideas as Ferber’s proficient drumming and Panayides’ fluid guitar lines interact with much warmth, and “Disturbance” follows with hypnotic melody as Perry’s tenor sax prowess is both adventurous and alluring, as well as a bit haunting, too.

Residing near the middle, “Looking Round Corners” emits both beauty and mystery as Vashlishan’s wind synth is manipulated with much charm, while “Energy Mover” displays fascinating guitar acrobatics from Panayides, and Sabin’s bass work makes an impression, too. “Penta Folk: Arrive”, one of the album’s best, then emits an ambient mood amid strategic, nearly prog-like instrumentation.

Further down the line, “Penta Folk: Ascend” showcases all the players at their creative best in a busy and flowing landscape, and “Self Narrative” exits the listen reserved and emotive, but not without bouts of guitar and ominous sax flourishes to enjoy.

Often taking nods to legends like Wayne Shorter or Herbie Hancock, Panayides and company offer no shortage of grooves, interesting time signatures, and traditional jazz ideas, as Field Theory is an unpredictable, memorable and timeless listening experience.

Travels well with: Juan Carlos Quintero- Caminando; Mike Scott- Collecting Things

Rev. Peyton's Big Damn Band

Dance Songs For The Hard Times

Thirty Tigers, 2021

9/10

Listen to Dance Songs For The Hard Times

The Reverend is back with a Covid themed album, where the very aptly titled listen unfolds with his trademark fingerstyle guitar playing as riffs and rhythm are present in spades across the trio’s always flourishing front porch anthems.

“Ways And Means” leads the listen with Peyton’s patented backwoods formula that’s swampy, howling and highly creative as Sad Max Senteney’s skilled drumming impresses, and “Rattle Can” follows with a frisky pace of feral rhythms where Peyton pulls off incredible vocal acrobatics.

Closer to the middle, “Too Cool To Dance” shakes with a retro rock’n’roll appeal where Washboard Breezy Peyton’s washboard adds much to the lively climate, while “No Tellin’ When” moves at a calmer pace with plenty of soul amid the careful guitar playing and strategic moments of bareness. “Crime To Be Poor”, one of the album’s most interesting tunes, then recruits harmonica, thumping drums and Breezy’s glowing backing vocals to the busy, blue collar rocker.

Further still, “Nothing’s Easy But You And Me” delivers a rugged and buzzing display of country fueled rock’n’roll, and “Come Down Angels” exits on a furious pace of glorious rural rock that benefits from pretty female vocals as the trio finish with as much skill as they started the album.

Penned in March and April 2020 when everyone was on a forced break from touring, Rev took the stress of the situation and the experience of watching everything around him collapse, and channeled it into the songs that came out quickly as his wife, Breezy, recovered from being sick.

If you’re already a fan, be prepared for a highlight in an exceptional catalog, and for the first time listener you may as well dive in right here. An outfit who have always been on their own path, every album from Rev. Peyton’s Big Damn Band is an adventure you never knew you needed to live a fulfilling life, and this one is their best yet.

Travels well with: Possessed By Paul James- As We Go Wandering; Dumpstaphuk- Where Do We Go From Here

Pat Todd & The Rankoutsiders

“… there’s pretty things in Palookaville…”

Hound Gawd, 2021

10/10

Listen to “… there’s pretty things in Palookaville…”

The Los Angeles rockers Pat Todd & The Rankoutsiders are back with another energetic and classic blast of rock’n’roll that embraces all the best elements of the genre from the ‘60s on. A record with absolutely no filler or studio trickery, we’re treated to 16 tracks of pure, unfiltered and diverse guitar driven anthems that make an immediate and lasting impression.

“All The Years #1” starts the listen with a charged and melodic approach, where swirling guitars, gritty vocals and a kinetic rhythm section land somewhere between the early days of punk and glam-rock, and “Cheap Nostalgia” keeps the landscape strong with plenty of rhythm in the blues friendly delivery that even works harmonica into the equation.

Entering the middle, “Turn Back The Hands Of Time” is both rugged and tuneful with a sing-along quality as they tap into their inner soul on this interpretation of the classic, while “Money”, one of the record’s best, then recruits plenty of rock’n’roll spirit as guitar solos, powerful singing and crisp drumming impress on so many levels. “True Romance”, another excellent track, is then both raw and heartfelt as the band’s timeless chemistry emits much energy.

Deeper yet, “Nothing But Excuses” makes good use of acoustic guitar and some country rock ideas as the tune shuffles with a playful ambience, and “They’re Wrong/Dead Wrong” exits the listen with firm guitars amid a biting rock’n’roll template that sounds as great today as it will 50 years from now.

An album with enough variety to bring to mind The Cramps, just as it is New York Dolls or even Lazy Cowgirls (an outfit Pat Todd fronted from 1983-2004), whatever brand of rock you prefer, you’re going to find plenty of it to enjoy here again and again.

Travels well with: Professor And The Madman- Séance; Foxy- Can’t Stop Us/X-Ray Spex

Russ Carrick

Beyond The Headlights’ Reach

Self-Released, 2021

9/10

Listen to Beyond The Headlights’ Reach

Russ Carrick is a talented guy who, since 2013, has been making some very interesting sounds in the area of post-punk. On this 3rd album, he’s got plenty of help on harmonica, cello, horns and others as he taps into the greatest ideas of the ‘80s and ‘90s.

“Never Great Enough” starts the listen percussively strong as firm guitars and gritty vocals meet in a thundering yet melodic version of alt-rock, and “Break In Case Of…” follows with a driving pace of timeless, angular rock that flirts with power-pop, too.

“Grab Hold Of The Sky” lands at the halfway point and recruits acoustic guitar for a calmer moment of modern indie-rock prowess, while “Rule Prytania” shuffles with brisk drumming as bouncy bass lines and spirited harmonica complement its dreamy formula. “Bad Faith”, an extremely well done tune, then gets thick and busy with a charged climate that takes nods to the ‘90s in all the best ways.

Deeper yet, “Fog Over Monomoy” is a calmer display where cello is embraced amid the gentle setting, and “The End/Directions To Heaven” exits the listen fuzzed out and animated, where crashing drums and swirling guitars guide the furious yet very calculated and anthemic buzzing.

If this were the ‘80s, it wouldn’t be out of line for Carrick to play alongside Mission Of Burma, and he’d have no problem sharing a bill with Helmet or Superchunk in the ‘90s. As far as to where he fits in today, let’s just say that few artists in the area of alt-rock are doing it better in terms of diversity, impact and memorableness.

Travels well with: Maximo Park- The National Health; Matthew Sweet- Catspaw

The Shootouts

Quick Draw

Self-Released, 2019

8/10

Listen to Quick Draw

A unique outfit from Ohio with a penchant for honky tonk, classic country and vintage rock’n’roll, this debut album from Ryan Humbert and company embraces the best elements of Nashville, Texas and Bakersfield in their creative vision.

“Cleaning House” starts the listen and doesn’t take long impressing us with its retro honky tonk approach that’s highly melodic, full of crisp, swift drumming and agile guitar work, and “I’d Rather Be Lonely” follows with a breezy approach that’s cautious with warm pedal steel amid a reflective tone.

Moving towards the middle, the brisk “Quick Draw” is an instrumental track of playful, unpredictable country rock, while “Must Be Love” resides in romantic territory as the emotive duet recruits well timed fiddle alongside a country shuffle. “Alimony”, another exceptional track, then illustrates the strong vocal work of Humbert as Jon Cowherd’s agile keys add much to the charming Americana.

Landing closer to the end, “Radio Jesus” is a thoughtful, gospel influenced track with much dreaminess, and “Losing Faith In Being Faithful” continues the elegance with both keys and strings illuminating the well thought out finish.

The Shootouts stayed busy after this album, sharing the stage with Sheryl Crow, Lake Street Dive and Robbie Fulks to name a few, and their much anticipated sophomore effort, Bullseye, is set to land this month. I’ve already spent time with the album, and it expands on their inimitable formula in exciting ways that will see space here soon.

Travels well with: The Beat Farmers- Tales Of The New West; Dave Alvin- From An Old Guitar

Eric Goletz

Into The Night…

CAP, 2021

9/10

Listen to Into The Night…

The trombonist, keyboardist and composer Eric Goletz gets quite diverse on this effort, where he brings in 10 players to help flesh out a funk filled, jazz friendly, rock’n’roll adventure where as many as 5 horns accompany the meticulous and universally embraceable song craft.

“Say What?” leads with Goletz’s animated and skilled trombone before bursting into a lively jazz rocker where Joe Mowatt’s agile percussion and Mitch Schechter’s warm keys provide much strength, and “Mr. PC” follows with solo brass before building into stunning big band prowess as the band do justice to the Coltrane original.

Near the middle, the setting turns dreamy for “After Hours”, as a romantic mood unfolds with flowing melody, while “Steppin’ Out” emits much energy in its chemistry that blends brass, keys and Henry Heinitsh’s guitar lines fluidly. “What Is This Thing…”, one of the album’s most radiant tunes, then gets busy with plenty of swift grooves and tumbling percussion in the Cole Porter classic.

Residing near the end, the Latin influences of “Cat On The Corner” won’t go unnoticed as plenty of strategic horns align with clever drumming and Mark Hagan’s agile bass, and “Lullaby” finishes the album indeed softly, where soothing strummed guitar and gentle brass that’s soulful exit on a very memorable note.

A veteran of the jazz scene who has been active since the mid ‘80s, Goletz actually started piecing the concept of this record together 25 years ago. When it was finally time to lay the tracks down, Covid hit and the process became more challenging. Often rehearsing in public since studios were closed, Goletz and company ultimately succeed in one of the most exciting and rewarding fusion albums you’ll hear this year.

Travels well with: Gregg Karukas- Serenata; The David Angel Jazz Ensemble- Out On The Coast

Mark Lewis Quartet

Naked Animals

Audio Daddio, 2021

8/10

Listen to Naked Animals

A recording from way back in 1990, the saxophonist and flutist Mark Lewis uses his quarantine time to unearth this gem, where the post-bop quartet of James Long, Frans van Grinsven and Willem Kuhne laid these tracks down in Holland, where Lewis resided for 14 years.

“Moonflower” opens the listen with Kuhne’s graceful keys as Lewis puts his sax on display in the very harmonic and breezy landscape, and “Mercurian Rendezvous” follows in 5/4 time with no shortage of grooves as frisky drumming from Grinsven anchors the jazz climate.

At the halfway point, the title track emits much energy and beauty in its flowing, dynamic interaction, while “A Dance With Monique” lands in a calmer, romantic tone as Lewis’ flute prowess illuminates the dreamy setting.

Approaching the end, “4-D” shuffles quickly, playfully and with plenty of dance friendly bop fun, and “The Seven Angels” exits the listen meticulous yet loose as each member takes their turn in the spotlight on the soulful and swinging finish that tips it hat to the blues.

Surprisingly, Naked Animals was recorded near the end of the quartet’s time together, though they appear to be in sync like a band flourishing. Despite the recording being 31 years old, it’s clearly aged very well and sounds as relevant today as it did in the ‘90s, and will likely radiate just as well 3 decades from now, too.

Travels well with: Steve Gadd Band- At Blue Note Tokyo; Dan Bonsanti And The 14 Jazz Orchestra- Cartoon Bebop

Cinema Cinema

CCXMD

Nefarious, 2019

8/10

Listen to CCXMD

Brooklyn is never short on unique sounds, but few are as unorthodox as Cinema Cinema. On this 5th album, the duo bring Matt Darriau on board for his skilled reed prowess on a fine example of controlled chaos as CCXMD dives headfirst into vibrant free jazz.

“Collective Outpoint” starts the album with a bizarre collision of horns and squealing art noise, before “Cyclops” follows with a hypnotic guitar line as jazz and art-punk meet in a very unusual setting that’s not short on grooves.

Elsewhere, “Colors” brings flutes and finds a calmer place to reside where space and tension are manipulated with cautious, quivering results, while “Radio Friendly” is certainly not destined for the FM dial with its crashing percussion and assault of art damaged punk frenzy.

At the end, the 13+ minutes of “Ode To A Gowanus Flower” buries some soothing qualities amid a busy display of Eastern ideas in its punk fueled experimentalism, and “Cloud 3” exits the listen with an ambient, psychedelic quality that simmers with a hazy, mildly bristling quality.

Certainly a very challenging listen, if you’re adventurous enough to devote the time, CCXMD is a thrilling, captivating and highly iconoclastic journey that will help expand anyone’s musical palette.

Travels well with: Sonic Youth- Daydream Nation; The Art Ensemble Of Chicago- Tutankhamun