Hasaan Ibn Ali

Metaphysics: The Lost Atlantic Album

Omnivore, 2021

9/10

Listen to Metaphysics: The Lost Atlantic Album

An extremely underrated pianist and composer who only released one recording in his lifetime, Hasaan Ibn Ali sees some well deserved posthumous documentation here, where a 1965 recording restored from long lost acetate copies of the sessions is unearthed, effectively making an important piece of jazz history available for the first time.

“Atlantic One” starts and ends the listen, as both full and short versions illustrate Ali’s unpredictable playing techniques that often sound abrasive yet calculated, and “Viceroy”, which also appears in full and short versions, demonstrates his complicated hard bop prowess that was clearly ahead of his time.

In the middle, “Richard May Love Give Powell” enters ballad territory, which flows into the energetic and imaginative “Metaphysics”, where it becomes quite evident that Ali influenced legends like Thelonius Monk. “True Train”, one of the best selections here, then unfolds with 11 minutes of agile and innovative playing from all the musicians present.

Ali is joined by Odean Pope on tenor sax, Art Davis holding down bass, and Kalil Madi behind the drum kit on this recording, and they all complement his strong piano work while each taking their time in the spotlight, too. The liner notes from Alan Sukoenig and Lewis Porter provide much insight to the release and Ali, who lived a very challenging and short life, easily illustrates that he was one of the finest jazz pianists of all time.

Travels well with: Steve Hunt- Connections; David Larsen- The Mulligan Chronicles

John McDonough

Second Chances

Self-Released, 2021

8/10

Listen to Second Chances

A longtime Austin singer-songwriter with a healthy amount of records under his belt and a penchant for engaging storytelling and proficient guitar work, Second Chances culls songs from 2014’s Dreams And Imagination and 2016’s Surrounding Colors in an unplugged setting.

“The Place Where I Belong” starts the listen with warm, graceful acoustic strumming as McDonough’s timeless folk quality enters the poetic atmosphere, and “Tonight’s The Night” follows with an expressive and vocally more firm display of rugged yet melodic song craft.

The middle tracks bring us the powerful, emotive “Nowhere Else To Run”, while “I’m Home” emits much restraint in its beautiful yet bare delivery. “Give Me One More Day To Say Goodbye”, one of the standout tracks, then showcases intricate guitar work amid eloquent wordplay as McDonough’s skills resonate with much authenticity.

Landing near the end, “Planes Fly Too Low” brings some of the best singing on the album as subtle strings add much to the mood, and “You Don’t Know This” exits the listen with plenty of intimacy, where sparse but effective musicianship leaves us wishing the album was longer than 10 tracks.

For many of us, this will be our first experience with McDonough’s work, and it’s a hell of an introduction as the troubadour takes an unwanted break from performing live to record this very passionate and well thought out listen that displays Kris Farrow’s guitar prowess and Cody Rathmell’s backing vocals, too.

Travels well with: The Rough & Tumble- We’re Only Family If You Say So; Ryanhood- Under The Leaves

Evie Sands

Get Out Of Your Own Way

R-Spot, 2021

9/10

Listen to Get Out Of Your Own Way

A veteran artist whose career has spanned 5 decades, Evie Sands has played many genres over the years, and several of them are present across these 12 originals that take help from Teresa Cowles, Jason Berk and Eric Vesper.

“The Truth Is In Disguise” starts the listen with rugged yet melodic blues rock where Sands’ gritty and pretty vocals guide the dense opener, and “Lovin’ You Enough” follows with plenty of rhythm amid soaring backing vocals as a nearly gospel spirit enters

Close to the middle, the title track brings restraint and atmosphere to a warm climate where Vesper’s fluent drumming anchors the beauty, while “Another Night” recruits strong electric guitar work to the driving, southern rocker. “After Tonight”, one of the album’s best, then offers plenty of soul in the piano focused and emotive landscape where Sands’ diverse pipes shine bright.

Landing closer to the end, “If You Give Up” enters dreamy territory alongside its strong attention to storytelling, and “Don’t Look Back, Don’t Look Down” exits the listen with a scrappy soul rocker that’s got some garage-rock swagger you won’t forget anytime soon.

Though this is her first new album in 20 years, Sands proves she’s still got the chops for a timeless rock’n’roll venture, and, based on the vitality of the tunes here, she’s not done yet.

Travels well with: Zoe Fitzgerald Carter- Waterlines; Claire Kelly- The Scenic Route

Hemingway

Hemingway: A Film By Ken Burns And Lynn Novick

In A Circle, 2021

9/10

Listen to Hemingway: A Film By Ken Burns And Lynn Novick

The soundtrack to a three-part, six hour documentary about one of the most iconic American writers to have ever lived, Hemingway brings 7 musicians and 8 composers to this worldly and complex listen that suits the film’s subject matter perfectly.

“El Torito”, by Gyan Riley, starts the listen with spellbinding, Spanish guitar playing, and “Flor De Mayo” follows with Johnny Gandelsman’s violin and Michael Nicolas’ cello adding much grace to the carefully textured beauty.

Further along, “La Plenitud” recruits flute from Jeremy De Jesus in the bare, dreamy climate, while “Un Gitanito En La Habana” offers a breezy display of orchestral, waltz ideas that unfold with much precision. “Villata”, a particularly interesting track, then displays David Cieri’s piano prowess and urdu skills in the pensive, stirring environment.

Approaching the end, “Flor De La Noche Mirando A Las Estrellas” is a violin heavy moment of flowing guitar and Shanir Blumenkranz’s strategic bass, and “La Despedida” exits the listen with Riley’s lone guitar emitting so much talent and timelessness in its sublime nature.

Produced by Grammy winner and violinist Johnny Gandelsman, the artists here illuminate Hemingway’s life from Oak Park to Havana and Paris to Pamplona with a similar amount of intimacy, tension and emotion that fueled his inimitable writing. If, for some reason, you were on the fence about seeing this documentary, the soundtrack should easily persuade you to invest the time.

Travels well with: Wu Man + Kojiro Umezaki- Flow; Hilary Hahn & Hauschka- Silfra

Scott Wollschleger & Karl Larson

Dark Days

New Focus, 2021

9/10

Listen to Dark Days

The composer Scott Wollschleger and pianist Karl Larson join forces here on a solo piano listen where much intimacy and introspection is present across tunes penned between 2007-2020.

The title track opens the record with low keys as a slight rumbling flows alongside brighter moments of finger acrobatics, and “Tiny Oblivion” follows with tension and grace as plenty of mystery surrounds the fascinating delivery.

Halfway through, “Lyric Fragment” brings a reflective quality where plenty of emotion is present amid the cautiousness, while “Brontal No. 2 ‘Holiday’” offers 7 minutes of sublime, unpredictable and even haunting song craft. “Brontal No. 6”, one of the album’s best, then displays profound attention to detail as the strategic execution balances space and mood well.

The album exits on “Secret Machine No. 4” and “Secret Machine No. 6”, where the former is a swift and pretty 2 minutes of memorable songwriting, and the latter quivers with an eloquent vulnerability that finishes the listen with much poise.

Recorded prior to Covid and titled after the inauguration of 2017, while there are certainly dark moments to be found here, more often than not, you’re likely to take in serenity and sensitivity on this collaboration of enormous talent.

Travels well with: Akropolis Reed Quintet- Ghost Light; Curtis K. Hughes- Tulpa

Michael Whalen

Future Shock

Self-Released, 2021

9/10

Listen to Future Shock

Michael Whalen has enjoyed a lengthy and esteemed career in the music industry, where he’s picked up a pair of Emmy Awards, as well as adding 35 recordings to his catalog. Here, he’s in the company of Simon Phillips, Bob Magnuson and Tony Levin as he blurs the lines of prog-rock, jazz and electronica in very exciting ways.

Whalen starts the listen with the electronic playfulness of the title track, where firm drumming from Phillips and wordless vocals help cultivate a dance friendly and very creative opener, and “Hop Skip Jump” follows with strong synth work as beaming sax from Magnuson finds itself in a cinematic atmosphere.

Residing near the middle, “Lights Of Home” recruits a timeless jazz spirit that’s not short on ambience, while “Memories Of You” brings plenty of melody to the brass heavy climate that’s percussively fluent, too. “Miracle Mile”, one of the album’s best, then sounds right at home in the ‘80s with its flowing synth and lively beat.

Near the end, “Wanderlust” builds into a busy display of textured song craft that benefits from Magnuson’s clarinet, and “Your Eyes, Your Touch, Your Kiss” exits the listen soft and agile, where all members showcase their respective talents in an unpredictable and universally enjoyable fashion.

An effort that really pushes the boundaries of instrumental music, Whalen and company cultivate a strong sense of melody across this example of fusion dynamics that few, if anyone, could replicate.

Travels well with: Steve Hunt- Connections; Kane Mathis- Geminus

Ben Cosgrove

The Trouble With Wilderness

Self-Released, 2021

8/10

Listen to The Trouble With Wilderness

A multi-instrumentalist and composer, Ben Cosgrove brings a wealth of talent to these 12 tracks that thematically surround the role of nature and wildness in the built environment.

“The Machine In The Garden” starts the album with plenty of attention to mood as piano and upright pass interact with much grace and playfulness, and “Anorak” follows with hypnotic keys that flow with absorbing melody as a firmness embraces much emotion.

Landing near the middle, “This Rush Of Beauty And This Sense Of Order” displays sublime and complicated piano prowess that mesmerizes in its unparalleled delivery, while “Oklahoma Wind Speed Measurement Club” calms things down to a bare, expressive cinematic quality. “Wilder”, one of the album’s best, the spends 2 minutes enthralling us with its mysterious atmosphere and shimmering beauty.

Close to the end, “Meltwater” builds into a dizzying display of fascinating, lush and animated song craft, and “Templates For Limitless Fields Of Grass” exits the listen with stunning finger acrobatics as Cosgrove’s inimitable vision contains so much meticulousness that it never out welcomes its 10 minute finish.

Cosgrove occupies a unique spot with his art, as he’s a singer-songwriter who doesn’t sing, and a composer who acts as a singer-songwriter. and here, though he focuses on piano, he also handles accordion, banjo and many other instruments on a truly unique and balanced adventure.

Travels well with: Ryanhood- Under The Leaves; Zixiang Wang- First Piano Sonatas

Jeremy Monteiro Jay Anderson Lewis Nash

Live At No Black Tie Kuala Lumpur

Jazznote, 2021

9/10

Listen to Live At No Black Tie Kuala Lumpur

The esteemed pianist Jeremy Monteiro has enjoyed a 45 year career, and here he’s in the company of Jay Anderson and Lewis Nash, who bring their double bass and drums to this incredible live set recorded in Kuala Lumpur.

“In Your Own Sweet Way” starts the listen with Monteiro’s inviting keys as Nash’s strategic drums and Anderson’s carefully plucked bass make for a warm 12 minutes, and “Just In Time” follows with lively keys and a swift pace of shuffling, festive jazz sounds where all 3 members pull off incredible solos with their respective talents.

“Mode For Love” resides in the middle, and offers firm keys alongside frisky drumming as the Monteiro original shines bright, while “Josefina” glides gently, and with no lack of beauty as Anderson’s cautious bass adds much to the sublime setting.

Near the end, “Life Goes On” flows with agile, sophisticated musicianship where bouts of bass are met with brushed percussion and fuller moments of keys, and Herbie Hancock’s “Watermelon Man” exits the listen playfully, precisely, and with a dizzying execution of profound interplay between the trio.

A listen that’s so well done, if it weren’t for the soft clapping between songs, you might not even realize this was recorded live, as Monteiro’s 45th album touches on all the hallmarks of jazz music that we will never tire of.

Travels well with: Matt Panayides- Field Theory; Eric Goletz- Into The Night…

California Music

Add Some Music

Omnivore, 2021

8/10

Listen to Add Some Music

A project spearheaded by The Beach Boys historian and documentarian David Beard, California Music brings the unwavering talent of The Beach Boys and their family to songs recorded by Mike Love, Al Jardine, David Marks, Bruce Johnston and longtime associate Jeffrey Foskett.

“Add Some Music To Your Day” starts the listen with no shortage of vocal harmonies as acoustic guitars, violin and cello add much to the sunny, glorious opener, and “Ram Raj” follows with lead vocals from Love as strong percussion by Eric Breslow, soothing chanting and a dreamy quality enter the warm climate.

Halfway through, “Long Promised Road” resides near jam band territory with its intricate guitar work and vocals thanks to David Marks, while “Friends” flows with a ‘60s approach as folk ideas unfold alongside singing from Carnie Wilson, Matt Jardine, and Christian Love, among others. “Golden State”, one of the album’s best, then displays Ron Bonfiglio’s skills to a lush, textured landscape of precise beauty.

The final two songs are both different versions of “Add Some Music To Your Day”- A cappella and instrumental- which makes a total of three times this tune appears, but since it’s one of the greatest songs penned by The Beach Boys, you won’t hear me complain.

After recognizing that families were going hungry during the pandemic, Beard decided to donate a portion of the proceeds of the record to Feeding America, so not only do we get to hear timeless interpretations of classic songs, but are supporting a very important cause. For fans of anything related to The Beach Boys and those who adore vocal harmonies, you won’t be disappointed here.

Travels well with: Brian Wilson & Van Dyke Parks- Orange Crate Art; Cat Stevens- Back To Earth

Cindy Alexander

While The Angels Sigh

Blue Élan, 2021

8/10

Listen to While The Angels Sigh

The long running singer-songwriter Cindy Alexander is aligned with an all start cast of players on this 10th studio album, where the most stressful point of her adult life results in some of her most creative work to date.

“The Power Of Love” starts the album with warm acoustic strumming as Alexander’s gorgeous and alluring vocals guide the folk based climate that’s both powerful and eloquent, and “Broken But Beloved” follows with a dreamy landscape of poetic song craft, where cello from Michael Bacon and piano from Loren Gold add much appeal.

Occupying the middle is “The Piano”, where Alexander’s brand of Americana is both emotive and eloquent, while “Lightning” displays strong storytelling as both bare and louder moments populate the melodic climate. “Carolina In My Mind”, one of the album’s best, then recruits violin from Ginny Luke in the expressive and lush delivery.

Closer to the end, the buzzing and upbeat “Room At The Bottom” showcases Alexander’s rock influences amid both grit and harmony, and “Walking Constellation” exits the listen soft and reflective, building into a soaring soft-rocker where Alexander’s diverse pipes don’t disappoint.

Alexander was dealing with a family death, pandemic adjustment and raising her two daughters in the new reality of the world while making this album, and she parlayed those circumstances into much grace and forthrightness that highlights this very personal record from a consistently luminous talent.

Travels well with: Rachael Sage- Character; Pete Himmelman- Press On

Dumpstaphunk

Where Do We Go From Here

The Funk Garage, 2021

9/10

Listen to Where Do We Go From Here

The New Orleans funk rockers Dumpstaphunk return here with their first album in 7 years, and they make the wait worth it as power and politics are packed into 11 tracks of diverse and memorable songwriting that sounds like it could have been penned in any decade since the ‘70s.

“United Nations Stomp” starts the listen and brings Marcus King’s expertise to the busy, energetic blues rocker that soars loudly with much soul in its anthemic approach, and “Make It After All” follows with plenty of rhythm amid the bouncy spirit that benefits from intricate slap bass work and subtle, effective keys.

In the middle, the title track emits plenty of bright horns in the funk friendly and organ filled climate, while “Itchy Boo” displays 6 minutes of instrumental prowess that’s dynamic, lively and not short of grooves, too. “Do You”, another extraordinary track, then dances playfully with grit, melody and incredible singing you won’t forget anytime soon.

Residing near the end, the guitar fueled “Sounds” enters thick rock territory as crashing drums and firm vocals align with some prog-rock ideas, and “Justice 2020” exits the listen with help from Chali 2na and Trombone Shorty as racial injustice is examined via Dumpstaphunk’s inimitable fusion approach.

This 4th album from the veteran outfit comes with much depth both musically and lyrically, as Dumpstaphunk mesh blues, rock, funk, R&B and old school flavor with precision and playfulness on this career highlight effort.

Travels well with: Pimps Of Joytime- Jukestone Paradise; Diplomats Of Solid Sound- A Higher Place

Steve Cropper

Fire It Up

Mascot/Provogue, 2021

9/10

Listen to Fire It Up

The soul, blues and rock’n’roll legend Steve Cropper brings his inimitable guitar prowess to what he’s calling his first proper solo album since 1969, and he’s got Nioshi Jackson, Roger C. Reale, and Jon Tiven along with him for the diverse and well thought out effort.

Cropper leads with the rhythmic and upbeat “Bush Hog Part 1”, where blues guitars and firm percussion interact with both playfulness and soulfulness, and “Fire It Up” follows with a lively groove that flows alongside Reale’s expressive pipes.

Landing near the middle, “Out Of Love” is not short on melody as bright brass radiates amid the energetic and groove filled landscape, while “Far Away” offers a retro swagger that’s dripping with warmth and R&B nods. “She’s So Fine”, one of the album’s best, then recruits a festive spirit that soars high with incredible talent between all the musicians, as their respective talents are all on display.

Closer to the end, “The Go Getter Is Gone” benefits greatly from piano acrobatics that complement the meticulous guitar lines, and “Bush Hog” exits the listen with a lively instrumental that’s as timeless as it is memorable.

Cropper’s got an impressive resume that includes being a founding member of The Blues Brothers, playing an integral role in the Stax Records legacy and being named by Rolling Stone as one of the top 40 guitarists of all time. Now in the 7th decade of his career and approaching 80 years old, he proves that he’s still got the chops to pen a fantastic record in the area of funk, rock, blues and R&B.

Travels well with: James Holvay- Sweet Soul Song EP; Rick Holmstrom- See That Light

Akropolis Reed Quintet

Ghost Light

New Focus, 2021

9/10

Listen to Ghost Light

The Detroit ensemble Akropolis Reed Quartet, i.e. Tim Gocklin, Kari Landry, Matt Landry, Ryan Reynolds and Andrew Koeppe, return with their 4th album, where new works from 5 composers surround themes of darkness, light, life and death.

Stacy Garrop’s “Rites For The Afterlife” starts with 4 chapters of chamber exploration that examines both light and dark qualities that weave clarinets, bassoon, oboe and saxophone with much intrigue, and “Kinds Of Light” follows with quivering reed manipulation as calmer moments of reflection meet playful bouts of beauty.

The back half of the listen offers Niloufar Nourbakhsh’s “Firing Squat”, which juggles both jumpy, vibrant moments with low ebbs of cinematic texturing, while “Seed To Snag” displays fascinating clarinet acrobatics that align with spirited sax work in the Theo Chandler composition.

The final track is the only one with vocals, where poetry from Marsha Music adds much to the largely atmospheric and bare climate, as “Homage To Paradise Valley”, which is Jeff Scott’s vision, is illuminated with much depth both musically and linguistically.

The Akropolis Reed Quintet have been together for over a decade now, and the esteemed players balance powerful, adventurous and haunting moments on this career highlight that cultivates chamber sounds like few others would dare to attempt.

Travels well with: Curtis K. Hughes- Tulpa; Eric Lyon- Giga Concerto

Moon And Bike

One

Self-Released, 2020

8/10

Listen to One

An instrumental guitar duo from Oregon, Moon And Bike, i.e. Boone Johnson and Michael Swanson, certainly take a less is more approach to their song craft, where the 10 tracks here unfold with electric and acoustic guitar flowing in and out of each other with precision and no shortage of melody.

“River” starts the album with warm acoustic guitar as a shimmering quality enters the sophisticated and organic musicianship, and “Nearer Sky” continues this graceful approach with both atmosphere and beauty amid playful strumming.

At the halfway point, “Roads” offers a hypnotic and cautious delivery that even flirts with post-rock, while “Solitude” displays intricate and melodic playing that’s as fascinating and it is spellbinding. “Native”, a particularly moving track, then emits a glorious, complicated peek into the sublime talent present.

“Star” and “Voyager” land at the end, where the former is a lush and emotive album highlight, and the latter exits on a dreamy, romantic finish of meticulous chemistry between the pair.

Boone and Swanson are able to produce absorbing and mesmerizing landscapes here with just their deft hands and boundless imaginations, as they deliver an effort that’s easy to admire, and even easier to get lost in.

Travels well with: Cameron Knowler & Eli Winter- Anticipation; Eli Winter- Unbecoming

Curtis K. Hughes

Tulpa

New Focus, 2021

9/10

Listen to Tulpa

A collection of work that spans over two decades of Curtis K. Hughes’s creative output, there’s solo, duo and much larger situations present, as some of Boston’s finest musicians help cultivate rich textures, sparse beauty and plenty of unpredictable song craft that illuminate Hughes’s inimitable vision.

“flagrant” starts the listen with just snare drum from Aaron Trant that’s both bare and playful, and “antechamber” follows with the Boston Percussion Group displaying their dynamic and skilled noisemakers blending in a dizzying display of abstract rhythm.

Further down the line, “wingtones I. (with giddy ferocity)” radiates with Amy Advocat’s clarinet and Yoko Hagino’s piano as both elegance and firmness are showcased amid their inner dialog, while “it was not raining”, one of the album’s best, illustrates Matt Sharrock’s marimba prowess in a subdued, dreamy climate.

The album exits on 4 chapters of “tulpa”, where vibraphone, violin, clarinets, cello, bassoon and many other instruments inject a chamber, orchestral and classical hybrid that’s flowing with innovation and an unparalleled execution.

A very diverse listen that embraces atypical harmony and a skill set that includes both forceful and soothing musicianship, there isn’t a moment to be found here that isn’t exhilarating.

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

Julien Boudart

Nome Polycephale/Ancient And Modern Myths Vol. 1

Carton, 2021

9/10

Listen to Nome Polycephale/Ancient And Modern Myths Vol. 1

A veteran in the area of electronic music, Julien Boudart brings his skills in Serge Modular synthesizer, field recordings and nonlinear speakers to this highly creative listen that balances bareness with busy textures.

After the 30 second opener, “Ankrousis”, leads the listen with lone bell, “Gorgo” follows with ominous, innovative electronic sounds that resembles snakes slithering in another dimension, effectively intriguing us.

Things only get more unusual from here, including the dark rumbling of “Lambikon”, where sci-fi buzzing roams alongside aberrant, space like moments, while “Perseus (Spondelon)” unfolds with bell manipulation that’s hypnotic, unorthodox and entirely alluring.

Landing close the end is “Golden Rain”, where a cinematic quality is met with percussive like sounds that resemble water, but not in the conventional sense, and “Song Of Libation” exits the listen repetitive, soft and mesmerizing in its artistic delivery.

An absolutely absorbing effort that excels at both synthetic and organic ideas, Boudart’s profound use of the Serge Modular takes us on an unpredictable journey that makes this first solo album a truly genre defying experience.

Travels well with: Trojan Panda- Peau; Gilles Poizat- Champignon Flamme

Cecilie Strange

Blikan

April, 2021

8/10

Listen Blikan

A Danish artist whose interest in the saxophone goes all the way back to age 12, Cecilie Strange brings in Peter Rosendal, Thommy Andersson and Jakob Hoyer for this 3rd solo album that was recorded over a two day session in June of 2019.

“Eudaimonia” starts the listen with elegant, soft piano from Rosendal and bare but effective drums from Hoyer, as Strange’s warm, mesmerizing saxophone guides the cozy atmosphere, and “The Clearing” follows with strong attention to atmosphere, where hypnotic keys and carefully plucked bass add much to the dreamy climate.

In the middle, “When Sunny Smiles” moves cautiously yet playfully, as the drums, bass and keys all interact unpredictably, while “Wild Flower” recruits much ambience where soulful flourishes of sax are met with subdued drums and light keys.

Deeper still, “Jag vet en dejlig rosa” resides closer to experimental territory, complete with both beauty and noise that displays quivering sax amid frisky drumming, and “Arise” exits the listen with sublime bass work from Andersson and plenty of detail to mood as restraint and playfulness surround the fascinating finish.

Amazingly, this was Strange’s first time playing with the trio, and Blikan is the 2nd album to come from those sessions. Not so surprisingly, it continues the rich, dynamic vision that Strange embraces, where contemporary and free jazz exploration is executed in skilled, challenging ways that keeps the listener enthralled.

Travels well with: Mark Lewis Quartet- Naked Animals; Steve Gadd Band- At Blue Note Tokyo

Trojan Panda

Peau

Carton, 2021

9/10

Listen to Peau

A quintet consisting of some of the brightest and most talented players in France, Trojan Panda’s Sophie Bernardo, Léo Dupleix, Jozef Dumoulin, Julien Pontvianne and Hugues Mayot bring rock, jazz, experimental and improvised skill to an unclassifiable and fascinating listen.

“Black Madonna” starts the listen with an adventurous 13+ minute track, where hypnotic guitar lines build into a heavily layered mashing of noise and melody that’s both firm and mysterious, and “Mythomane” follows with a calmer approach that’s percussion focused as strategic guitar lines and low bass work weave in and out of the atmospheric landscape.

The middle tracks bring us “Christus Der Uns Selig Macht”, which shimmers lightly for just an exciting minute, while the fragmented “Sylvie Coiffure” displays a cinematic quality where grit and power interact in orthodox yet hypnotic avenues.

Residing near the end, “Joie De Vivre” pushes and pulls with both tension and beauty amid its textured guitars and playful drumming, and “Animal” finishes the listen drenched in reflective beauty that’s more bare than the rest of the album, but certainly no less interesting.

Rumor has it that Trojan Panda traded in their pianos, saxophones and bassoon for guitars, drums and bass, and it wouldn’t surprise me as the artists’ atypical formula and sonically unconventional movements are clearly rooted in immense talent that you’re not going to hear anywhere else.

Travels well with: Gilles Poizat- Champignon Flamme; Submarine FM- Crawl

Steve Hunt

Connections

Spicerack, 2021

8/10

Listen to Connections

A veteran jazz pianist who takes inspiration from legends like Chick Corea and Herbie Hancock, Steve Hunt’s illustrious career includes directing the touring act Jazz Explosion, as well as playing on Allan Holdsworth’s recent albums, and here he bonds with many friends for the aptly titled Connections.

“Now’s The Time” starts the listen with 7+ minutes of frisky percussion from Jorge Bezerra as Tucker Antell’s soulful sax glides alongside Hunt’s proficient keys, and “Prayer For A New Days” follows with tabla from Jerry Leake and Native American flute by Dennis Yerry in the atmospheric and cultured setting that recruits chanted vocals from both Joshua Hunt and Sophia Wackerman.

Closer to the middle, “First Creation” displays Randy Roos’ swirling guitar work and Evan Marien’s glowing bass prowess in the nearly prog-like climate, while “Carry On” showcases Gary Husband’s firm drumming amid the acrobatic keys from Hunt in the dreamy delivery. “Quantum Entanglement”, one of the standout tunes, then benefits from Ole Mathisen’s soaring soprano sax in a busy, fusion-like presence of beauty and melody.

Landing near the end, “Full Plate” illuminates a timeless jazz template that’s not short on alto sax thanks to Eric Marienthal, though Richard Monzon’s busy percussion won’t go unnoticed either, and “Connections” exits the listen richly textured as moments of restraint and playfulness finish the record on a very high note.

With the large amount of players on hand, each track here offers different avenues of Hunt’s creative vision, which spans many ideas in the area of modern jazz, though certainly not in any easily classifiable ways, effectively making for an exciting listen from beginning to end.

Travels well with: Bob Margolin- Star Of Stage And Screens; Vinnie Riccitelli- For The Record;

Catherine Maclellan

Coyote

Self-Released, 2019

8/10

Listen to Coyote

An esteemed Canadian treasure, Catherine MacLellan possesses a strong storytelling ability through her folk music template, and this 7th album clearly illustrates why she’s got a JUNO award to her credit.

The title track starts the listen with MacLellan’s sweet and expressive pipes against a bare setting of acoustic guitar and soft percussion, and “Roll With The Wind” follows and brings a breezy spirit of warm Americana.

In the middle, “Breath Of A Wind” displays an emotive setting of rural beauty with soothing strings, while “The Tempest” illustrates MacLellen’s flawless pipes as a fiddle complements the mood. “Night Crossing”, one of the album’s best, then places Celtic influences into her organic formula.

Near the end, “Come Back In” recruits a hint of pop in the pretty delivery and vivid imagery, and “All The Way In”, a late album highlight, recruits a gospel feel with its waltz qualities.

An extremely introspective affair, MacLellan strategically places accordions, cellos, and fiddles, among others, to help flesh out these poetic, wise and highly memorable tunes that will linger long after you turn the music off.

Travels well with: Rebecca Turner- The New Wrong Way; Susan Gibson- The Hard Stuff