Loren Daniels

Ticket To Ride

Self-Released, 2022

8/10

Listen to Ticket To Ride

The keyboardist and singer Loren Daniels offers us a very adventurous affair, where 10 interpretations of songs by The Beatles take help from Belden Bullock (bass) and Jonathon Peretz (drums) for the inventive jazz listen.

“Drive My Car” starts the listen with bright and lively keys, as Daniels’ expressive vocals are met with soulful backing vocals, and “Ticket To Ride” follows with frisky drumming and a bit of dreaminess in the atmospheric album stand out.

“For No One” lands in the middle and is quite intimate with its reflective tone and well timed melodica, while “Eight Days A Week” offers a bouncy and playful spirit that’s still cautious in its 5/4 time.

“I’ll Follow The Sun” and “You Can’t Do That” exit the listen, where the former recruits finger snapping and bossa nova nods amid Reggie Pittman’s skilled flugelhorn, and the latter swings hard with a bluesy appeal that has the rhythm section in fine form alongside Daniels’ diverse singing.

There’s certainly no lack of people reworking songs by Lennon/McCartney, and Daniels’ many decades of experience sure do make this full of excellent covers that you can listen to repeatedly and never tire of.

Travels well with: Yola Nash- Manhattan Whispers; Kirsten Lambert- From A Window To A Screen

Dickens, Dicker, Wallace

The Light Only Comes Sometimes

Mole-Tree, 2022

8/10

Listen to The Light Only Comes Sometimes

The violinist Erica Dicker, pianist Eli Wallace and percussionist Deric Dickens come together for this improvised effort that embraces a very distinct use of space, texture and form.

“Pillars” starts the listen with playful drumming and frantic keys, where the acrobatic strings enter a very hectic and often chaotic setting that’s full of creative free jazz exploration that you’d be hard pressed to find anywhere else.

“Tossed Into The Brine” is the much longer other track, and it, too, is full of experimental and avant-garde sounds that welcomes creaking strings, percussion that sounds like ambient noises, and, later on, ominous swells of off kilter, quasi rhythmic plucking.

An experience that contains much melodic and harmonic language, this first trio effort from the esteemed players is hopefully the first of many, cause their spontaneous gestures and strong attention to dynamic interaction is atypically fascinating.

Travels well with: Eli Wallace- Precepts; Anna Heflin- The Redundancy Of The Angelic: An Interluding Play

Sweet Megg

Santa Baby

Turtle Bay, 2022

8/10

Listen to Santa Baby

The Brooklyn vocalist Sweet Megg brings us 10 holiday tunes steeped in her nostalgic, western swing, blues and jazzy ways, where an all star cast joins her on guitars, trumpet, trombone, saxophone, clarinet, piano and drums.

“Winter Weather” starts the listen with warm brass, frisky drums and Megg’s soulful, inviting singing in the playful opener, and “Santa Baby” follows with a charming demeanor of cozy melodies and Ricky Alexander’s skilled clarinet making for a stylish version of the classic.

Halfway through, the retro spirit of blue Christmas flows with the bass lines from Tal Ronen being quite frisky amid Jesse Gelber’s piano acrobatics, while “White Christmas” is quite intimate, where the graceful piano and skilled bass complement Megg’s sweet pipes.

Closer to the end, the upbeat “Silver Bells” is a fluid instrumental that blends the brass and winds with much agility, and “Silent Night” exits with a hushed presence that uses bouts of brass strategically alongside the brushed drums.

Most of us have heard these songs before, but in Megg’s inimitable vision of prohibition era song craft, they live here in an entire new light that’s sure to make Christmas even more enjoyable.

Travels well with: Brennen Leigh- Prairie Love Letter; Sweet Megg & Ricky Alexander- I’m In Love Again

Mari Kawamura

Ma: Space Between

Furious Artisans, 2022

8/10

Listen to Ma: Space Between

A concert pianist who uses the entirety of the instrument for her artistic craft, Mari Kawamura interprets the work of Lei Liang, Katharina Rosenberger, Franz Joseph Hadyn, Toru Takemitsu and Iannis Xenakis with much care.

Liang’s “Garden Eight: Tian-Heaven” starts the listen with much bare warmth, where the delicate keys are very expressive in its brief stay, and Rosenberger’s “Torsion” follows with strong attention to mood in the meticulous and playful spirit.

In the middle, “Piano Sonata in E flat Major, Hob. XVI:49” has the keys dancing with much beauty and adventurousness in the Haydn composition, while Liang’s “Garden Eight: Nan-South” gets intimate and stirring, where minimalism is turned into a refined science.

The last two tracks are among the best, and include the busy and bright “Evryali”, where the agile keys unfold with much charm in the Xenakis original, and “Garden Eight: Bei-North” finishes with much restraint and delicateness in the absorbing exit.

A listen that balances space and time superbly, Kawamura bridges pieces that are seemingly opposite in nature, and the Japanese theme of ‘ma’, i.e. interval or gap, is explored with profound attention to pitch, tone and spectral exploration.

Travels well with: David Loeb- Between Sea And Sky; Icarus Quartet- Big Things

Acute Inflections

Let Go

Self-Released, 2022

8/10

Listen to Let Go

The duo of Elasea Douglas and Sadiki Pierre, i.e. Acute Inflections, returns with a 5th album of their soulful, jazz influenced formula that contains a warm mix of originals and covers.

“Blue Skies” starts the listen with playful and upbeat bass plucking alongside the flowing and very friendly singing in the swift, Irving Berlin tune, and “We Are The Champions” follows with Douglas’ stunning pipes guiding the bare, powerful interpretation of a song we’ve all heard, but never quite like this.

At the halfway point, Sam Cooke’s “A Change Is Gonna Come” emits so much expressive singing amid Pierre’s precise bass playing, while “Only Together”, an original, is equally adventurous and cautious, where the pair’s inimitable talents complement each other superbly.

Approaching the end, the bowed strings of “What A Wonderful World”, the Louis Armstrong classic, gets a fresh coat of paint with Douglas’ diverse pipes and soaring pitch, and an alternate version of the original “Let Go” exits the record and has Pierre using his bass for percussive sounds, too, in one of the loudest selections present.

An album that was inspired by requests from their fans during online pandemic concerts, these carefully delivered 10 tracks will certainly satiate those who have been following along already, and will absolutely make them plenty of new fans, also.

Travels well with: Rodney Whitaker- Oasis; Griffin Woodard Group- Completion

Movses Pogossian

Hommage à Kurtág

New Focus, 2022

8/10

Listen to Hommage à Kurtág

The esteemed violin player Movses Pogossian centers this recording around György Kurtág’s “Signs, Games and Messenges”, and his interpretation comes with direct influence from Kurtág, and new works from several composers only add much more intrigue to this solo violin listen.

The first 15 tracks belong to Kurtág’s “Signs, Games and Messenges”, where the precisely played violin can be bare and pretty, as well as firm and jarring, and even touches on stirring, poetic qualities, too.

Deeper into the tracks, Aida Shirazi’s “Sign” moves with much sublime atmosphere, where mood is key, while Jungyoon Wie’s “Message” emits much grace and warmth in its emotive presence that’s focused on pitch and mystery.

Further still, “Melodia, from Sonata for Solo Violin”, by Béla Bartók, is often mournful, and unfolds with absorbing gestures, and Kurtág’s work returns with the meticulous playing of “In Nomine- all’ongharese”.

Pogossian made his debut in America back in 1990, and he’s picked up many accolades along the way. His work has excelled in both solo and chamber situations, and this endeavor certainly ranks up there with his best yet, where diverse movements illustrate an adaptive nature and unbounded creativity.

Travels well with: Greg Stuart- Subtractions; Departure Duo- Immensity Of

Saku Mantere

Upon First Impression

Orchard Of Pomegranates, 2022

8/10

Listen to Upon First Impression

The Finland native and current Montreal resident Saku Mantere sure does impress us on this debut album, where his very adaptable voice is complemented by some of Canada’s best musicians.

“And Death Shall Have No Dominion” starts the listen with Lex French’s soulful trumpet and Adrian Vedady’s warm bass alongside Mantere’s expressive storytelling, and “Time” follows with lush brass, Riitta Paakki’s graceful piano and the deep singing in the very cozy demeanor of the Tom Waits tune.

“Open Secrets” occupies the halfway spot, and showcases Teppo Makynen’s agile drumming as Mantere’s inviting pipes draw us into the obscure Rush tune, while “Radio Silence” textures the horns with much skill and creativity in the dreamy jazz ballad.

Approaching the end, the swift and swinging playfulness of “Countdown” benefits from Jussi Kannaste’s tenor sax prowess and Heikki Tuhanen’s well timed trombone, and “Leap Of Faith” exits with Jennifer Gasoi’s pretty vocals paired with Mantere’s smooth singing, as swirling brass and hypnotic bass lines populate the timeless and adventurous tango friendly finish.

An excellent first outing, Mantere’s delivery is rich with authenticity, and the all star musicians he’s surrounded by make for a diverse and accomplished listen.

Travels well with: Noah Lemish- Twelve; Avi Granite- In Good Hands

Kirk Lightsey

Live At Smalls Jazz Club

Cellar, 2022

9/10

Listen to Live At Smalls Jazz Club

The legendary pianist Kirk Lightsey finds himself front and center across these 6 tunes that welcome Mark Whitfield (guitar), Santi Debriano (bass) and Victor Lewis (drums), and are both creative originals and inventive interpretations of jazz standards.

“In Your Own Sweet Way” starts the listen with Lightsey’s incredibly meticulous piano playing alongside the playful drumming and warm guitar lines, and “Freedom Jazz Dance” takes that lead and delivers 12 minutes of dynamic interaction that’s full of timeless free jazz exploration.

“Pee Wee” and “Heaven Dance” land in the middle, where the former carries an intimacy that’s fleshed out with much care, and the latter, an original, you could and should dance to with its upbeat tempo and versatile energy that really highlights Whitfield’s guitar acrobatics.

“Lament” arrives at the end, and it’s a reflective album highlight that’s populated by Lightsey’s inimitable playing, and “Blues On The Corner” exits with busy, animated textures that’s controlled chaos at its finest and thumps and shakes with bluesy, jazz fueled rock.

Recorded at a time when Lightsey was at his musical peak, there’s no lack of melody, rhythm and harmonic flourishes packed into this very frisky and timeless set.

Travels well with: Hal Galper- Ivory Forest Redux; Bruce Barth Trio- Dedication

Kenny Foster

Somewhere In Middle America

Self-Released, 2022

8/10

Listen to Somewhere In Middle America

A Missouri native who headed to Nashville to make his mark in the world of music, the highly talented Kenny Foster brings pedal steel and banjos to his timeless singer-songwriter formula that is autobiographically about his journey chasing his songwriting dreams.

Foster places the title track in the lead off position, where his smooth and flowing voice is complemented by warm acoustic guitar and a charming dreaminess, and “Poor Kids” follows with a fuller approach of thumping drums amid a lush version of Americana that embraces some twang, too.

Further down the line, the glowing pedal steel of “Dreams Change” helps lay the foundation for a sublime intimacy that sounds right home in Tennessee with its country spirit, while “For What It’s Worth” strips the setting back with Foster’s expressive pipes front and center alongside strategic banjo that builds into a soaring, rootsy delivery.

Close to the end, “Find The Others” brings both beauty and grit to the folk-friendly landscape that’s quite poetic, and “The Same” follows with a very eloquent and stirring quality, much like what comprises the entire listen.

Though this is often a slow burning affair, Foster is also capable of power chords, and his complicated relationship with his hometown inspires his song craft that’s acutely personal and highly relatable to anyone following their dreams.

Travels well with: Bo Armstrong- Where We Are; John Fusco And The X-Road Riders- John The Revelator

Diana Panton

Blue

Self-Released, 2022

8/10

Listen to Blue

The jazz vocalist and two-time Juno Award winner Diana Panton returns with her 10th album, where she aligns with the Penderecki Quartet, i.e. Jerzy Kaplanek (violin), Jeremy Bell (violin), Christine Vlajk (viola) and Katie Schlalker (cello) for a listen that’s themed around love lost.

“Where Do You Start?/Once Upon A Time” opens the affair with Panton’s gorgeous vocals alongside Don Thompson’s warm piano playing in the very poetic climate, and “Yesterday” follows with Reg Schwager’s agile guitar and the soothing strings making for a very graceful and emotive landscape.

Further on, “The Trouble With Hello Is Goodbye” benefits much from the charming piano and sweeping orchestra as Panton’s stunning voice is quite expressive, while “Just Sometimes” is very intimate, powerful and recruits Phil Dwyer’s soulful sax for the album highlight.

Deeper yet, the cozy guitar of “Nobody’s Heart” suits Panton’s elegant singing, and “You Are There” exits with a similar yearning that comprises most of the album, where the sophisticated piano and sublime vocals are front and center.

Panton’s voice is flawless as always, and the musicians backing her are in fine form, too, for the cathartic, reflective and timeless body of work.

Travels well with: Diana Panton- Solstice/Summer; Katie Dwyer Music- Let’s Move

Roger Street Friedman

Love Hope Trust

Self-Released, 2022

8/10

Listen to Love Hope Trust

The Americana singer-songwriter Roger Street Friedman returns with a 4th album, and it’s another fantastic collaboration with the guitarist, producer and songwriter Larry Campbell, as they examine the fears, joys, and sorrows that occur in everyday life.

The title track opens the listen with upbeat and rhythmic country rock that’s not short on melody, and “Mother And Son” follows with a calmer pace of warm, poetic Americana where Friedman’s cozy pipes are quite stirring.

Closer to the middle, “About You” enters darker areas of bare folk-rock that’s quite emotive, while “In The Summertime” recruits pedal steel, fiddle and mandolin for the intimate and soulful album highlight.

Further still, “I Want Her To Know” is a piano fueled ballad that’s heartfelt and builds into a lush climate, and “Cut Your Losses” exits with country, folk, Americana and roots meeting at a timeless intersection of cautious yet adventurous song craft.

Friedman penned these tunes during the pandemic and onward, and they are as diverse as they are relatable, and welcome Jason Crosby (keyboards), Teresa Williams (backing vocals), Lucy Kaplansky (backing vocals) and Gil Goldstein (accordion) for the sincere, wise and charming record.

Travels well with: Mark Erelli- Lay Your Darkness Down; John Fullbright- The Liar

Paul Marinaro

Not Quite Yet

Self-Released, 2022

8/10

Listen to Not Quite Yet

The Chicago jazz vocalist Paul Marinaro brings us a listen that revolves around themes of love, life and connection for these 14 diverse and rich tunes that welcome the core band of Mike Allemana (guitar), Tom Vaitsas (piano), John Tate (bass) and George Fludas (drums), plus many players on brass, winds and strings.

“Born To Be Blue” starts the listen with warm keys and bright horns in 6/8 time, as Marinaro’s silky smooth pipes guide the timeless Mel Tormé tune, and “Someone To Light Up My Life” follows with stirring strings from the KAIA String Quartet for the absorbing Jobim original.

Near to the middle, the soulful brass and swing flavor of “No One Ever Tells You” showcases Marinaro’s very adaptable pipes amid the strong sax playing from Chris Madsen and Greg Ward, while “This Island” brings back the strings for a very intimate and romantic spirit.

Near to the end, “That’s All” showcases Rajiv Halim’s fluid clarinet playing in the poetic and emotive album highlight, and “No Plan”, a David Bowie original, exits with plenty of atmosphere present and appreciated in the haunting finish.

A very honest and personal body of work, Marinaro’s commanding voice and the musician’s very skilled instruments give each track here a profound demeanor and universally relatable mood to reside in.

Travels well with: Roberta Donnay- Blossom-ing!; Eric Jacobson- Discover

Dan Mangan

Being Somewhere

Arts & Crafts, 2022

9/10

Listen to Being Somewhere

The Canadian musician Dan Mangan returns with his 6th album, and it’s a call for mercy during these trying times, where his wit and timeless version of folk sounds are among the best he’s penned yet, which no easy task for the two time Juno Award Winner.

“All My People” starts the listen with Mangan’s breathy vocals and intricate acoustic guitar surrounded by much atmosphere in the warm climate, and “Fire Escape” follows with playful drumming and cautious yet adventurous textures of stylish indie-rock nods.

“Just Know It” lands in the middle and brings a cozy, piano driven album highlight that’s intimate and instantly memorable, while “All Roads” is fuller, lush and even a bit psychedelic in its careful interaction.

Closer to the end, “Wish I Was Here” brings all sorts of electro-pop flashes into the dreamy song craft, and “No Tragedy Please” exits with a particularly poetic, vulnerable finish of well timed guitar and ambient sounds.

Somewhere between indie-folk and gentle bouts of alt-rock moments, Mangan made this album in complete isolation, often sending work back and forth between the producer Drew Brown, and though the process was often challenging, it sure does make for a sonically exciting version of modern-folk that will be sure to make Mangan even more fans.

Travels well with: Jason Collett- Reckon; Hayden- Us Alone

Robert O'Connor Miller

Sketches

Frameworks, 2022

9/10

Listen to Sketches

A classical guitarist, educator and entrepreneur who calls San Francisco home, Robert O’Connor Miller offers us a debut solo recording of music from Brazil, as well as some jazz fueled pieces to finish out the highly engaging body of work.

Pixinguinha’s work opens the listen with 3 movements, where Miller’s precise and warm playing fuels the intimate landscape, and “Aqua & Vinho” and “Frevo” follow with both calm and frisky playing that’s as meticulous as it is memorable.

In the middle, Ernesto Nazareth’s “Eponina”, one of the best tracks, flows with so much beauty and cultured playing in its timeless, absorbing delivery, while Simone Iannarelli’s “3 Miles Sketches” unfolds with very complicated and sometimes firm techniques that are often hypnotic in their nature.

Dusan Bogdanovic’s “Blues And Seven Variations” exits the listen, and it’s full of swift and harmonic progressions that enthrall the listen and finish the listen far too soon.

An extremely focused and exciting first solo album, Miller covers a wide expanse of ideas and techniques here, and it sure does illustrate his inestimable control over his instrument.

Travels well with: Plinio Fernandes- Saudade; Christian Li- The Four Seasons

Stefanie Abderhalden And Kyle Flens

Ilta

Neuma, 2022

8/10

Listen to Ilta

The flutist Stefanie Abderhalden and percussionist Kyle Flens illuminate the work of David Maki, Robert Fleisher, Iannis Xenakis, and Robert Honstein with their solo and duo presence that embraces live performances, studio recordings and electroacoustic works on this very unique listen.

Maki’s “Ilta” starts the listen with atmospheric alto flute, flute and tuned gongs from Abderhalden alongside Flens’ well timed glockenspiel, copper pipes and vibraphone in the very warm and adventurous climate, and “Inertia”, also by Maki, follows with Malika Green’s steelpan and Katie (Wiegman) Burdett’s marimba performed live with both bare moments and bright, swift instrumentation.

Elsewhere, “Rebonds A”, by Xenakis, thumps with Flens’ 2 bongos, 3 tom-toms and 2 bass drums in the very precise solo piece, while Honstein’s “Chorale From An Economy Of Means” presents prepared vibraphone from Flens for a stirring, reflective album highlight.

Fleisher’s “Five Pieces For Flute And Percussion” exits the listen, and it comes with many percussive instruments that also recruits flute and piccolo for movements that can be gentle, dreamy and quite animated.

A listen that varies much from track to track, Abderhalden and Flens bring a wealth of talent to a winds and percussion focused affair that no one else could replicate.

Travels well with: Juraj Kojs- Orchid Music; Alex Lubet- Songs In Time Of Plague

Mike Pope

Ripening (Ain’t It Strange)

Blind Owl, 2022

10/10

Listen to Ripening (Ain’t It Strange)

It’s been a prolific year for the finger-picking troubadour Mike Pope, who released a pair of albums- his first formal recordings despite being a veteran staple of the Southern California singer-songwriter community.

Pope wisely places the title track in the lead off position, where gritty electric guitar and rugged singing finds itself somewhere between folk and punk rock, and “Homonculus” follows with acrobatic drumming and waves of post-punk fueled, sonically tuneful sounds that don’t require vocals to mesmerize.

In the middle, the ultra fuzzed out “Colleen” would make J Mascis or Lou Barlow proud in its busy and dense melodies, while “Why Don’t You Love Me (Like You Used To)” trims the volume and pace back with a shimmering version of indie-rock that’s melancholic, even ballad-like.

Approaching the end, “Every Loving Herd Does As It Should” offers a scrappy and complicated yet very accessible version of angular folk-rock, and “I’m Free” takes this lead further into a buzzing and swirling display of

Pope’s other release this year, Songs For People (High & Low), was steeped in more Dylan-esque sort of folk ideas, whereas these 11 tracks showcase the punk poet that pope is, with plugged in brilliance that taps into his inner Joe Strummer and Stephen Malkmus.

Comparisons, aside, though, this guy is so great, and it’s about time the world finds out.

Travels well with: Mike Pope- Songs For People (High & Low); Creature Of The Woods- J Tree

John Luther Adams

Sila: The Breath Of The World

Cantaloupe, 2022

9/10

Listen to Sila: The Breath Of The World

A very detailed large group effort from the New York composer John Luther Adams, there’s some incredible talent on hand, i.e. the esteemed chamber choir The Crossing, the Grammy nominated JACK Quartet and musicians from the University of Michigan for this ultra creative listen.

The very lengthy composition leads with a mysterious droning that’s as alluring as it is mesmerizing, where waves of strategic percussion and careful, cautious strings enter at very specific times.

Halfway through, a more dreamy demeanor filters in, as the wordless vocals from The Crossing take focus amid the sonic gestures of beauty.

Adams cites that Sila is about wind, the weather, the forces of nature. It also revolves around intelligence, consciousness and our sense of awareness of the world around us, plus the world’s awareness of us, and his inimitable vision and the player’s remarkable execution makes for a very fascinating body of work.

Travel well with: Tom Nazziola- Distant Places; Duo Della Luna- Mangetsu

Miriam K. Smith

Momentum

Azica, 2022

8/10

Listen to Momentum

This 2nd album from the cellist Miriam K. Smith was recorded when she was just 15 years old, and it features the work of Prokofiev, Stravinsky, and Boulanger, and includes help from the Steinway artist Sanrda Wright Shen.

Prokofiev’s “Cello Sonata In C Major, Op. 119” starts the listen with Smith’s warmly bowed cello and Shen’s soft, stirring keys that get playful further on, and complement the flowing strings deeper into the piece.

The middle track belongs to Stravinsky’s “Suite Italienne”, where the keys dance around the very charming cello, and strong attention to mood and tone is present and appreciated in the diverse movements.

The final track, Boulanger’s “Trois Piéces pour violoncelle et piano”, is quite intimate, where the twinkling piano and emotive string prowess makes an indelible impression of beauty and grace.

Smith’s interpretations are incredibly well done, and despite her age she plays like a seasoned vet. Shen’s precise keys certainly add much more intrigue to this effort, as the youngster highlights some of the 20th centuries best composers.

Travels well with: Apollo Chamber Players- MoonStrike; Palaver Strings- Ready Or Not

Trio Xolo

In Flower, In Song

577, 2022

8/10

Listen to In Flower, In Song

The debut album from Trio Xolo, the cast of Zachary Swanson (double bass), Derrick Michaels (tenor saxophone) and Dalius Naujo (drums) align for this daring set of improvised gems.

“Texcoco” opens the listen with warm, unpredictable sax, as the frisky drums are used quite skillfully in the wandering but charming climate, and “In Ruins” follows with the bowed and plucked bass making for plenty of atmosphere amid the adventurous drumming bouts.

Halfway through, the very quick pace of “Ritualistic” is controlled chaos at its finest, while “A Mobius Strip” lands in free jazz territory with its strong attention to mood and mesmerizing sax prowess.

Close to the end, the acrobatic drumming of the technical “Vantablack” suits the squealing brass, and “Obsidian Eucalyptus” exists with both intimacy and exploration present in spades as all 3 members allow their respective strengths to shine.

These 9 tunes were recorded live in one room and it comes with a cozy, spontaneous flavor that showcases so much control and talent, that it nearly rewrites the trio format with its attentiveness to melody, atmosphere and texture.

Travels well with: Leo Genovese- Seeds; Test And Roy Campbell- Test And Roy Campbell

Violet Bell

Honey In My Heart

Rainbow Woman, 2019

8/10

Listen to Honey In My Heart

A North Carolina duo with a penchant for folk ideas, Lizzy Ross and Omar Ruiz-Lopez make use of every second on this debut album where their song craft resonates with a timeless, intimate delivery.

The title track gets the album off to a warm start with soft, expressive vocals from Ross, as the agile, acoustic instrumentation unfolds with sparse beauty, and “Elephant Heart”, with Shana Tucker and Rissi Palmer, follows with gorgeous Americana sounds and strategic horns.

In the middle, “Smoke In The Night” brings Carter Minor in for a harmonica friendly and rich delivery of gentle singing, while “Howl” offers some pop influences amid the lush song craft.

Near the end, “Juliana” picks up the pace on a rural rocker packed with fiddle fun, and “Mountain Song” continues their back to basics approach with dual gender vocals and strategic flute. “Path You’ve Never Seen” ends the listen with ambience and some of the vocal work from Ross, as the listen exits with a stirring highlight.

A record cut live in single takes, there’s an impressive spontaneity here as the pair illustrate a chemistry where rhythm and grooves are present across influences that embrace jazz and blues, too. An excellent first album, this is an outfit to keep tabs on.

Travels well with: Blue Yonder- Rough And Ready Heart; Bill Bloomer- Bounty