Bryan Hayslett

Cello Unlocked

Neuma, 2024

9/10

Listen to Cello Unlocked

The cellist and singer Bryan Hayslett blurs language and music here, where 7 composers see their vision interpreted through Hayslett’s very distinct delivery.

Caroline Shaw’s “in manus tuas” starts the listen with the low register of the cello, where brighter moments are placed amid the tense climate, and “and there was”, by Mary Kouyoumdjian showcases gorgeous and emotive string progressions.

Halfway through, Judith Weir’s “Unlocked” rumbles across 5 chapters that emit haunting bowing, playful plucking and cinematic swells of distinct and intriguing playing, while “r e c o v e r i n g (speech rhythm study I)” is an animated and unpredictable album highlight via the Anthony R. Green piece.

The final selection, Brent Michael Davids’ “Cello Chill”, pairs the expressive singing with lively cello dynamics that are vivid and memorable.

A truly atypical venture into classical ideas that welcomes avant-garde and experimental bouts, Hayslett explores the bounds of his instrument in highly articulate and bold patterns you can’t help but admire.

Travels well with: Matt Malsky- A Dill Pickle; Eunmi Ko + CAMP- 12 Views On Life

Sahan Arzruni

By Women: Piano Works By Armenian Woman Composers

AGBU/Positively Armenian, 2024

8/10

Listen to By Women: Piano Works By Armenian Woman Composers

The pianist Şahan Arzruni tips his hat towards Armenian women composers spanning 150 years, where mostly world premiers unfold with unparalleled precision.

The dancing keys of Geghuni Chitchyan’s “Sonatina” opens with much fluidity populating the diverse 4 chapters, and “Prelude”, by Koharik Gazarossian, follows with intimacy via the thoughtful keys that are also very melodic.

In the middle, Mary Kouyoumdjian’s “I Haven’t The Words” radiates a distinct warmth amid the precise fingers, while “Dance-Song”, by Sirvart Karamanuk, will indeed get your body moving to the rhythmic and lively energy of the album’s best.

Close to the end, “Ode To Vahan” uses low keys to emit much attention to mood via much mystery in the Alicia Terzian piece, and Lusaper (Lucy) Hazarabedian’s “The Nightingale Of Armenia” exits with a distinct brightness emanating from the uplifting and timeless patterns.

A highly exploratory and articulate body of work, Arzruni brings a wealth of talent and experience to these powerful selections.

Travels well with: Inna Faliks- Manuscripts Don’t Burn; Vedrana Subotić- Chiaroscuro

As For The Future

As For The Future

Self-Released, 2024

8/10

Listen to As For The Future

An NYC outfit with a penchant for Brazilian sounds, As For The Future incorporate bossa nova and samba into their rock, jazz and folk hybrid.

“Don’t Do It Again” opens with much warmth, where Ray Rizzo’s rhythmic drumming is met with Ryan Kerbele’s well timed trombone and many harmonic voices, and “Koan For The Music Business” follows with David Lizmi’s frisky bass that suits the light melodies that welcome Mauro Refosco’s many percussive instruments.

The middle track belongs to “My Therapist”, where David Nagler’s smooth nylon guitar and Stephanie Sanders’ intimate keys make for a distinct softness, while “The Mob” showcases the infectious voices of Alexia Bomtempo and Nagler amid a frisky rhythm section.

“Letters On The Line” and “Looking Around” exit the listen. The former is a playful album highlight that’s bright and upbeat with flowing vocals and cozy instrumentation, and the latter finishes with Mauro Refosco’s strong attention to atmosphere that complements Bomtempo’s gorgeous voice.

An eclectic and charming body of work, there’s much worldly flavor here, where nods to Vampire Weekend and Kings of Convenience will be appreciated, and elements of Chico Buarque, Gal Costa and Gilberto Gil are present, too.

Travels well with: Lynn Drury- High Tide; Benjamin Jayne- Broken

Paul Kendall

My Shining Hour

Zoho, 2024

8/10

Listen to My Shining Hour

The always impressive saxophonist Paul Kendall returns with George Grund, Roy Cumming and Rudy Petschauer for these groove filled jazz tracks that are never short on rhythm.

“You Stepped Out Of A Dream” opens with plenty of energy, where Petschauer’s fluid drums suit Kendall’s baritone sax acrobatics, and “All Of You” follows with the pace trimmed back via plenty of warmth from Cumming’s cozy bass and the soulful sax.

“Joy Spring” arrives close to the middle, and it bops and shakes with playfulness thanks to Grund’s animated keys and the crisp rhythm section, while “If You Could See Me Now” carries a romantic spirit amid the soft keys, emotive sax and light drumming.

“Tangerine” resides close to the end and will certainly get you on the dance floor thanks to its lively melodies and dynamic instrumentation, and “It Could Happen To You” exits with a frisky appeal that’s rich and textured with a timeless nature.

A highly modern effort that doesn’t shy away from bebop fun, Kendall and company flesh out 14 tracks that sound and feel great.

Travels well with: Paul Kendall- Whisper Not; Andy Pratt- Trio

Richard Carr

August Light

Neuma, 2024

9/10

Listen to August Light

The multi-instrumentalist Richard Carr is joined by Cable Burhans, Clarice Jensen and Ben Carr, AKA Carrtoons, for these 12 unusual tracks that pair strings with electronics.

“Standing Stone” starts the listen with thick bass alongside expressive violin, where attention to mood is key, and the title track follows with Carr’s warm keys the suit Jensen’s dense cello amid much elegance.

Moving into the middle, “At a Crossroads” is particularly intimate, as soft keys meet Burhan’s striking viola, while “Work The Space” swirls with a dreaminess that’s nearly meditative in its rich delivery.

Residing close to the end, “Circle Of Mist” is a bare moment with cinematic qualities via the emotive strings, and “Desolation Is A Railway Station” exits with the mesmerizing bass and string manipulation meeting at a very intriguing intersection.

The use of electronics from all the players sure does add even more appeal here, where ambience, ethereal moments and sonically engaging jazz makes each track a new adventure.

Travels well with: Percussia- Plucked & Struck; Bryan Hayslett- Cello Unlocked

Percussia

Plucked & Struck

Neuma, 2024

8/10

Listen to Plucked & Struck

An assembly of music that recruits Celtic (lever) harp and small percussion, the trio of Percussia highlights the work of 8 composers for these distinct 14 tracks.

Sunny Knable’s “Envelop(e)” opens with Ingrid Gordon’s skilled xylophone alongside pretty Celtic harp from Susan Jolles, and “Avalokiteshvara” follows with a quicker and rhythmic presence via the bright percussion in the Lou Harrison selection.

Further along, Seth Bedford’s “A Year In New York” offers a bright and melodic moment of glowing harp dynamics, while “The Lady Rich, Her Galliard” resonates meticulous mallet use on the xylophone across the John Dowland track.

Vocals appear on 2 tracks, both of which are late. Samuel Milligan’s “Cuando El Rey Nimrod al Compo Salia” allows for Melissa Fogarty’s soprano to shine amid the rich delivery, and Carlo Nicolau’s “Life” exits with the xylophone and harp interacting in playful and harmonic gestures.

An effort that’s indebted to New York City, all the players and most of the composers originate there, and the exciting and diverse ideas present sure do align with the pulse of the city and embraces plenty of classical spirit.

Travels well with: Bryan Hayslett- Cello Unlocked; Matt Malsky- A Dill Pickle

CNS

Logos

Self-Released, 2024

9/10

Listen to Logos

The Kansas Outfit Carry Nation & The Speakeasy return with another unclassifiable batch of songs that use punk energy to fuel horns, beats and acoustic ideas via their thrashgrass ways.

“Bad Miracles” starts the listen with warm acoustic guitar and much atmosphere, where Dallin Bulkley’s mysterious bass and Josue Estrada’s well timed trumpet add a cinematic quality, and “Soot Follows Cinder” follows with Jarrod Starling’s distinct, gritty voice amid a country-punk hybrid.

In the middle, “Antonius Block’s Confession” benefits much from Bryce Abood’s scrappy drumming thanks to the raw and harmonic textures that allow Tyler Grubb’s mandolin to shine, while “Cover The Altar” is an initially calm moment that builds into a thick and rich EP highlight of unpredictable folk-punk.

The last track, “Gulls Of The Glow”, doesn’t disappoint either, where a distinct rhythm enters the animated and diverse exit.

An extremely well executed version of Gothic, punk, and country nods, 5 songs of CNS sure does wet the appetite for more.

Travels well with: The Devil Makes Three- Chains Are Broken; Charming Hostess- FEAST

Conrad Herwig

The Latin Side Of McCoy Tyner

Savant, 2024

9/10

Listen to The Latin Side Of McCoy Tyner

The inimitable trombonist and composer Conrad Herwig is joined by Craig Handy, Alex Norris, Bill O’Connell, Robby Ameen, Ruben Rodriguez and Camilo Molina for these 10 lively Latin jazz tracks.

“African Village” opens the listen with Molina’s cultured congas, bata and vocals that are complemented by O’Connell’s warm keys and plenty of rich brass, and “Passion Dance” follows with an infectious energy via Handy’s fluid sax and Herwig’s well timed trombone.

Halfway through, “Mellow Minor” offers a calmer moment, where Ameen’s agile drumming suits Norris’ powerful trumpet, while “Search For Peace” carries a charming intimacy thanks to Rodriguez’s precise bass plucking and the heartfelt trombone.

“Blues On The Corner” and “Reaching Fourth” arrive at the end. The former blends the winds and horns alongside a lively rhythm section, and the latter bops and shakes with colorful dynamics and melodic sensibilities that emit a worldly flavor.

Herwig’s accomplishments are lengthy, and include multiple Grammy Nominations and nearly 30 albums as leader. Here we’re treated to another first rate body of work, where authenticity is present amid a dance-friendly mood that’s instantly memorable.

Travels well with: Emiliano Lasansky- The Optimist; Matthew McDonald- The Long Wait

The Rhythm Method

Pastorale

New Focus, 2024

8/10

Listen to Pastorale

The string quartet of Leah Asher, Marina Kifferstein, Meaghan Burke and Carrie Frey, as The Rhythm Method they pen 3 involved works that unfold with ideas of social awareness, engagement and collectivism.

Paul Pinto’s “String Quartet No. 4 (‘I pass’d a church’)” starts with voices used like an instrument in the very ASMR friendly climate that displays the strings in unpredictable and sparing ways.

The middle belongs to “String Quartet No. 2”, by Marina Kifferstein, where the strings drone with intrigue and mystery via a cinematic quality which draws us in to a slight tension.

The final piece, Lewis Nelson’s “Pastorale… para los probres de la tierra”, recruits Alice Teyssier’s flute and voice for a distinctly harmonic and tonally cohesive exit.

A highly artistic version of modern classical ideas, the quartet’s 10 year anniversary aligns with this release, and it continues their enlightening approach that’s sonically expressive and flirts with improvisation, vocalization and theater.

Travels well with: Orlando Jacinto García- La Vida Que Vendra; Yi-Ting Lu- An Unopened Seashell

Brian Marsella/Jon Irabagon

Blue Hour

Red Palace/Irabbagast, 2024

9/10

Listen to Blue Hour

A stunning collaboration, Brian Marsella brings his piano, Yamaha CS-60, Korg BX-3 and Ritm-2 to Jon Irabagon’s mezzo soprano, tenor and sopranino saxophone for these 6 highly exciting tracks.

“A Day That Will Live In Infamy” opens with a distinct atmosphere, where the well timed sax is met with Marsella’s charming key bouts and plenty of noises that resemble field recordings, and “Zeros and Ones and a Nine” follows with a cinematic backdrop alongside Irabagon’s sax acrobatics that add to the mysterious climate.

Halfway through, “The Inner Turmoil of the Young Pagaent Contestant Who Insisted Skittles are the Pathway to the Eradication of Tyranny” showcases a lot of versatility in Irabagon’s sax prowess amid Marsella’s atypical noise gestures, while “Centrifuge Machine Goes to the Scrapyard” comes with plenty of sci-fi tendencies via the creative sounds and artistic presence.

The last piece, “Bird Games With a Tragic Ending”, pairs the sax and keys with a free jazz exploration that intrigues us for the 10+ minutes.

Marsella and Irabagon have many years playing together under their belt, and that’s more than evident across these infectious modern jazz selections.

Travels well with:Irabagon/Pride/Barr/Mendoza- I Don’t Hear Nothin’ But The Blues, Volume 3 Part 2: Exuberant Scars; Gustavo Cortiñas- Live In Chicago

Christine Jensen Jazz Orchestra

Harbour

Nettwerk/Justin Time, 2024

9/10

Listen to Harbour

The esteemed saxophonist and composer Christine Jensen leads a 19 piece orchestra through a set of originals that use plenty of improvisation along the way.

“Passing Lions Gate” opens the listen with plenty of ambience, as much textured brass radiates amid the electronics from Ingrid Jensen, and “Swirlaround” follows with soothing winds and Chet Doxas’ luminous tenor sax that emits much beauty.

“Surge” and “Harbour” land in the middle. The former is populated by Gary Versace’s gorgeous piano and rich horns plus Jon Wikan’s frisky drums, while the latter is an intimate moment of reflection that benefits much from Steve Raegele’s meticulous guitar playing.

The last track, “Fantasy On Blue”, is a lively finisher, where a strong collaboration among the orchestra dances around no lack of melody and warmth.

Jensen is already a JUNO Award Winner, and it’s likely this superb body of work will garner her more praise, where Ingrid’s contributions on trumpet and electronics, plus the widespread use of electric and acoustic elements only heightens the experience.

Travels well with: Doxas Brothers- The Circle; Roxy Cross- Disparate Parts

Irabagon/Pride/Barr/Mendoza

I Don’t Hear Nothin’ But The Blues, Volume 3 Part 2: Exuberant Scars

Irabbagast, 2024

9/10

Listen to I Don’t Hear Nothin’ But The Blues, Volume 3 Part 2: Exuberant Scars

The sax player Jon Irabagon comes together with Mike Pride, Mick Barr and Ava Mendoza for this 45+ minute piece that explores free jazz in exciting and unpredictable ways via the quartet’s inimitable and dynamic playing.

The lone track, “Exuberant Scars”, opens with strong attention to mood, where Irabagon’s well timed tenor sax is both soulful and animated, as Pride’s loud and explosive drumming enters the wild climate.

Barr and Mendoza both handle guitar, and they’re manipulated in meticulous and animated fashions that can be cinematic, haunting and spirited, and certainly complement the often busy landscape.

The tune never out welcomes its stay, and is constantly shifting in its delivery thanks to the quartet’s unconventional vision and strong attention to ambience and post-modern jazz and blues sensibilities.

Travels well with: Gustavo Cortiñas’- Live In Chicago; Cory Weeds- Home Cookin’

EYM Trio & Varijashree Venugopal

Bangalore

Kollision Records & Melmax, 2023

9/10

Listen to Bangalore

Elie Dufour, Marc Michel, and Yann Phayphet, i.e. EYM Trio, come together with Varijashree Venugopal for these spontaneous and worldly jazz tracks.

The cautious “No Madness” opens with Phayphet’s skilled bass amid Michel’s punchy drums, as Venugopal’s wordless vocals set the mood, and “Borders” follows with swirling keys from Dufour that emit much grace and wonder before the singing acrobatics enter.

The title track lands at the halfway point and uses Venugopal’s rich flute and lower registers on the piano, while “Jagadoddarana”, the best selection, pairs powerful singing with gorgeous piano.

The final 2 tracks are equally creative, where “Emile” showcases the precise bass plucking and gentle keys alongside gorgeous vocals, and “Namaste!” exits with busy and bare textures that highlight the distinct pipes from Venugopal and each player’s inimitable and exciting talents.

Somewhere between jazz and Carnatic music, everything was recorded in a live setting with just 1 take necessary, and each moment illuminates a very worldly and passionate ability that few others could replicate.

Travels well with: Greg Chako- Standard Roots; Olin Clark- Ephemera

Greg Chako

Standard Roots

Mint 400, 2024

8/10

Listen to Standard Roots

The 17th release from the guitarist Greg Chako, the 13 tracks present take help frm Mason Dougherty and Michael Meloy, as Chako returns to his roots with plenty of standards.

“Just Friends” opens the listen with Meloy’s frisky drums amid Chako’s fluid guitar lines for the intricate jazz, and “I’ll Be Around” follows with an intimate appeal thanks to the dreamy guitar tone.

Further along, “It Might As Well Be Spring” pairs the light drumming with warm guitar lines, while “Cedar’s Blues” indeed embraces the blues via Dougherty bouncy bass lines.

Close to the end, the modern “Beatrice”, by Sam Rivers, is full of emotive qualities and dynamic interaction between the trio, and deeper still is the lively and memorable “I’m Old Fashioned”, where the catchy drum, meticulous guitar and strategic bass make an indelible impression.

A well executed affair that recruits balladry, swingin’ fun and Latin influences, Chako and company use grooves, improvisation and a whole lot of skill to their advantage.

Travels well with: Olin Clark- Ephemera; Strat Andriotis- Exits

Pamela McNeill

Wave After Wave

Farm To Label, 2024

9/10

Listen to Wave After Wave

The Minneapolis songstress Pamela McNeill returns with an 8th release, where her genuine and relatable songwriting guides these 6 adult contemporary rock songs.

“Give Back My Love (Reimagined” starts the listen with thumping drums and soft guitar as plenty of warmth suits McNeill’s cozy singing, and “Needle And Vinyl” follows with no lack of melody amid the flowing rhythm section and expressive singing that invites a sing-along.

The middle tracks belong to “Boys Lie” and “In My Next Life (Reimagined)”. The former welcomes plenty of pop ideas to the bright climate, while the latter is a lush EP highlight that’s emotive and powerful. The final track, “The Ocean”, is then a dance floor ready moment of soaring pop and animated melodies.

An artist with an infectious and soulful voice, NcNeill pens songs that are universally embraceable and certainly require many visits.

Travels well with: Karen Haglof- One Hand Up; Lynn Drury- High Tide

J.M. Clifford

Trains, Thinkin’ And Drinkin’

Brooklyn Basement, 2024

9/10

Listen to Trains, Thinkin’ And Drinkin’

A Brooklyn, NY singer-songwriter with a penchant for folk, bluegrass and Americana, J.M. Clifford brings along Jeff Picker, Jeff Partin, Bronwyn Keith-Hynes and Seth Taylor for these 10 genuine songs.

“Complicated Man” starts the listen with a warm and fluid approach of soaring storytelling and rootsy flavor, and “Old Brown Shoes” follows with Keith-Hynes’ meticulous fiddle guiding the rural melodies.

In the middle, “As It Was” showcases Partin’s intimate dobro in a very cautious interpretation of the Harry Styles tune, while “Raised By Ashes” is a poetic and heartfelt album highlight that meshes bluegrass and folk with powerful imagery.

The title track exits with 2 different versions. The take with vocals comes with plenty of mountain-esque flavor and harmonic singing, and the reprise finisher really highlights Picker’s bass amid some jam band ideas.

Clifford takes influence from legends like Norman Blake, Gillian Welch, Leonard Cohen and Tom Waits, where the strategic picking and wealth of melodies and organic song craft immediately strikes a chord.

Travels well with: Amy Annelle- The Toll; Lana Nauphal- Wildland

John-Henry Crawford

Dvořák | Tchaikovsky

Orchid, 2024

8/10

Listen to Dvořák | Tchaikovsky

The esteemed cellist John-Henry Crawford brings along the San Francisco Ballet Orchestra and conductor Martin West for these extremely precise interpretations of Dvořák and Tchaikovsky’s work.

“Variations on a Rococo Theme, Op.33, TH.57”, by Tchaikovsky, opens with 8 chapters that emit much intimacy, warmth and beauty, where the lifting strings are complemented by Crawford’s meticulous cello prowess.

The back half belongs to Dvořák’s “Concerto in B minor for cello and orchestra, Op.104”, and it brings tense and emotive swells from the very capable orchestra that radiate plenty of cinematic qualities and even dreamy moments of poetic winds.

This is Crawford’s 4th album, and like everything he’s done, it’s expressive, articulate and certainly does justice the legend’s work with an unparalleled attention to detail.

Travels well with: John-Henry Crawford- Voice Of Rachmaninoff; John-Henry Crawford- Corazón

Natalie Jacob

Sooner Or Later

Self-Released, 2024

8/10

Listen to Sooner Or Later

The first album from the Los Angeles vocalist Natalie Jacob, the interpretations from the Great American Songbook and 3 bossa nova standards welcome an all star cast.

“Exactly Like You” opens the listen with Tamir Hendelman’s warm piano and Scotty Barnhart’s cozy trumpet that suit Jacob’s glowing voice, and “Wave” follows with Anthony Wilson’s breezy guitar that accents the dreamy delivery of the emotive climate.

“East Of The Sun (And West Of The Moon)” lands in the middle and recruits plenty of rhythm via Clayton Cameron’s lively drums and Jacob’s versatile pipes, while “What A Little Moonlight Can Do” benefits much from Carlitos Del Puerto’s frisky bass amid the cultured presence.

The title track arrives late, and showcases Barnhart’s skilled trumpet and Jacob’s flawless singing, and “No More Blues (Chega De Saudade)” exits with Wilson’s meticulous guitar and Kevin Winard’s animated percussion for the upbeat and memorable finish.

Even though it’s her debut, Jacob has been a long time player on the LA jazz scene and fronted her own band in 2010. As a solo artist, she’s off to an exceptional start with these well executed and timeless tracks that anyone with an ear for jazz will appreciate.

Travels well with: Karen Mack- Catch & Keep; Lisa Rich- Long As You’re Living

Miles Okazaki

Miniature America

Cygnus, 2024

9/10

Listen to Miniature America

The guitarist Miles Okazaki assembles a cast of 10 musicians for these 22 vignettes of abstract, atmospheric and mysterious foundations.

“The Cocktail Party” leads the listen with Matt Mitchell’s warm keys, as some background ambience enters, and “The Funambulist” follows with playful manipulation of sound, where voices sounds like instruments and Okazaki’s guitar is used strategically.

Further along, “Follow That Car” showcases Anna Webber’s curious flute amid a cinematic backdrop, while “Promise Me” flows with a haze of textured beauty via the wordless singing and well timed trombone thanks to Jacob Garchik.

Residing close to the end, “Zodiacal Cloud” drones with a strong attention to mood that’s nearly sci-fi fueled, and “Pulsation Station” carries a blurry demeanor courtesy of Caroline Davis’ distinct alto sax and the rich layering.

Also in attendance are Patricia Brennan’s vibraphone and Jon Ibrbagon’s slide sax, who, along with the voices of Fay Victor, Jen Shyu and Ganavya, contribute much to the appeal.

A dizzying display of off kilter dynamics, Okazaki and company pen an artistic and experimental affair that makes use of traditional electric and acoustic guitars as well as quarter-tone and fretless guitars for a highly technical and unorthodox experience.

Travels well with: Christopher Zuar Orchestra- Exuberance; Jon Gordon- 7th Ave South

Chuck Hawthorne

Fire Out Of Stone

3 Notches, 2019

9/10

Listen to Fire Out Of Stone

Austin local Chuck Hawthorne sure did impress a lot of people with his 2015 album, Silver Line, and this follow up is sure to impress further with its themes around survival and healing that’s delivered with sincerity, timelessness and plenty of authenticity.

“Such Is Life (C’est La Vie)” starts the listen with Hawthorne’s compelling storytelling in a warm, rustic setting where strings, tambourines and female backing vocals make for an inviting opener, and “Amarillo Wind” follows with delicate beauty in a finger picking masterpiece.

In the middle, “Sara’s All The Way” unfolds with an aching folk-rock quality where Hawthorne’s deep pipes are especially expressive, while “Worthy Of The Sea” delivers a slow burning highlight of sparseness as dual gender vocals really add to the experience.

Near the end, “Broken Good” moves with an upbeat pace of jangly, feel good rootsy rock, and the country spirit of “Standing Alone” resonates with a moving, emotive delivery. Hawthorne ends the listen with “I Will Fight No More Forever”, a cover off of his late friend Richard Hobson’s posthumous record, where sophisticated and lush musicianship meet on a powerful and glorious exit to an incredible set of tunes.

A man that has lived a life full enough for two people, Hawthorne’s strong songwriting and rootsy, country and Americana influenced art touches on the human experience in thoughtful, articulate and inspiring ways that everyone would benefit from spending time with.

Travels well with: John Prine- The Missing Years; Richard Dobson- I Hear Singing