Cary Morin

Dockside Saints

Self-Released, 2020

9/10

Listen to Dockside Saints

As one of the most revered modern acoustic pickers, Cary Morin returns with more of his genre defying song craft that recruits Cajun, Creole, Zydeco and plenty of other styles into the Native Americana prowess of Dockside Saints.

“Nobody Gotta Know” starts the listen with plenty of energy as blues ideas are complemented with frisky keys, soulful backing vocals and plenty of rhythm, and “Exception To The Rule” continues the varied approach with folk-rock qualities entering the warm, ballad-ish atmosphere.

Closer to the middle, “Tonight” displays intricate picking alongside a darker quality in a flowing, Americana climate that’s fiddle friendly, while “Jamie Rae” offers strategic accordion in the driving, rootsy rocker. “Valley Of The Chiefs”, one of the album’s best, then glides with a smooth, cautious tone and plenty of emotion about Morin’s Native American heritage.

Close to the end, “Blue Delta Home” shimmers with plenty of beauty amid expressive singing in the indeed blues environment, and “Come The Rain” exits the listen with a rugged and percussively strong execution of country influenced rock, where Morin holds down pedal steel and both acoustic and electric guitar.

An album that’s not lacking in grooves, rhythm and unpredictable songwriting, expect traces of blues, gospel, country, funk and jazz to grace these arrangements, and expect them to be delivered in a fashion you’ve never heard before and won’t forget anytime soon.

Travels well with: The Reverend Shawn Amos & The Brotherhood- Blue Sky; Ben Miller Band- Choke Cherry Tree

Steven Bruce

Same Time, Same Place, Same Station

Self-Released, 2020

8/10

Listen to Same Time, Same Place, Same Station

Although this is Virginia country rocker Steven Bruce’s debut album, you sure wouldn’t know it from his strong delivery and timeless song craft. Though Bruce cut his teeth in the outfit Whiskey Revival, the veteran musician’s solo career was trigged after his divorce and the death of his grandparents, whose musical interests were what sparked Bruce’s initial interest in music.

Not so surprisingly, this first album carries themes of loss and heartbreak, as “Cryin’ Eyes” starts the listen with Bruce’s raw vocals alongside soothing country inspired sounds with plenty of organic instrumentation, and “Rhinestoned” continues the setting with a more forceful yet highly tuneful display of classic country ideas.

Further along, “Weekend Song” isn’t short on melody as the driving rural rocker makes an immediate impression with incredible riffs, while “Breathe” moves with much beauty yet still some grit in the ballad-ish atmosphere that recruits warm keys. Although there isn’t a bad tune to be found here, “Long Haul” is especially noteworthy with its aching pedal steel and emotive execution.

Close to the end, “Keeping Time” offers a lush display of moody, careful musicianship, and “Tommy”, the bonus track, makes great use of harmonica amid a playful approach as Bruce’s inimitable pipes exit the listen flawlessly.

A fine effort that takes some of the best moments of names like Parsons, Petty and Jennings, Bruce’s rootsy, country and honky tonk approach is off to an excellent start with Same Time, Same Place, Same Station.

Travels well with: Cory Branan- Adios; Corb Lund- Agricultural Tragic

Naima Shalhoub

Siphr

Self-Released, 2020

8/10

Listen to Siphr

A Lebanese Arab American artist who is currently residing in the Bay Area, Naima Shalhoub brings her strong vocal presence and compositional skills to this debut studio album that came to life after being holed up in a Beirut apartment on a family trip.

“One (Remembrance)” starts the listen with soaring vocal harmonies, cultured percussion and intricate string picking illuminating the soothing atmosphere, and “Two (Rivers In The Desert)” continues the setting with strong, expressive vocals in a bare climate that mesmerizes.

Elsewhere, “Five (The Calling")” brings in Excentrik, Marcus Shelby and Ed Baskerville into a piano fueled album highlight of soulful song craft, while “Six (Distraction Suite)” offers a percussively bright and pop influenced shift into experimental territory that also gets sparse and jazz friendly, too.

At the end, “Eight (Arab Amerikkki)”mixes talking and singing in the hip-hop meets blues environment that’s as innovative as it is fascinating, and “Nine (The Return)” exits the listen with 6 minutes of exploration that puts a firm exclamation point on the massive creativity present.

Shalhoub handles vocals, keys and both rhythm and acoustic guitars here, while the contributors hold down cello, bass, Oud, guitar and drums, and together they create a very personal listen that certainly embraces Shalhoub’s Arab roots, while exploring plenty of World Music ideas as well as her current Western life on this exceptional first studio album.

Travels well with: Marla Leigh- Rhythms Of Tof Miriam; Eileen Ivers- Scatter The Light

Mark May Band

Deep Dark Demon

Gulf Coast, 2020

8/10

Listen to Deep Dark Demon

Mark May has kept himself quite busy during his two decade career playing blues rock, and here he returns with his 7th album where he recruits plenty of varied influences into his technical and timeless song craft.

“Harvey’s Dirty Side” starts the album with robust blues riffs alongside soulful organs as May finds himself in playfu,l classic rock influenced territory, and “BBQ And Blues” continues the setting with plenty of rhythm amid the bouncy, retro fun.

Further on, the title track offers incredible guitar work as some of the best singing accompanies the powerful, gritty album highlight, while “Sweet Music” brings no shortage of melody to the busy rocker. “My Last Ride”, another standout tune, then bridges blues and rock’n’roll with much cautious instrumentation that points at traces of Southern Rock.

The album ends on a high note, with the vocal harmonies of the calm, ballad friendly “Something Good”, where hints of country are present, and “Invisible Man” exits the listen with some experimental ideas, plenty of fluid organ and dynamic funk prowess we won’t soon forget.

May has been playing guitar since the age of 5, and cut his teeth playing with Dickey Betts and Walter Trout, and it shows in his versatile and extremely precise execution that makes Deep Dark Demon yet another eclectic and essential blues record from the Gulf Coast Label.

Travels well with: Albert Castiglia- Wild And Free; Billy Price- Dog Eat Dog

Diana Ross

Supertonic

Universal, 2020

8/10

Listen to Supertonic

There’s very little to be said about the legendary Diana Ross that hasn’t already been said, just as there’s not much, if anything, left for her to do that hasn’t been done. However, a remix album of her singles, i.e. Supertonic, is surely something we can get on board with.

Produced by Ross and mixed by Eric Kupper, “I’m Coming Out/Upside Down” starts the listen with plenty of bright energy where the soulfulness is still present alongside plenty of pop appeal that’s danceable, and “Love Hangover” continues the setting with plenty of easily absorbed grooves in the festive climate that still retains some of the disco nods of the original.

Although there’s just 9 tracks, each one makes an impression including the horn friendly “Surrender”, while “Ain’t No Mountain High Enough” is reborn with a firm beat and glossy finish of modern sounds but with Motown flavor, too.

Further along, “Touch Me In The Morning” is initially a gorgeous ballad, then benefits greatly from warm piano before soaring high with a silky smooth delivery, and “Remember Me” exits the listen with R&B swagger as exceptional singing highlights the mood.

With nearly half the tunes here hitting #1 on the Billboard charts, we get exceptional song craft with a bit of a club makeover, as Ross sounds quite modern here, which, if you’ve been paying attention, is where most of her recent work has landed- on the dance charts. An artist who has managed to stay relevant for 5 decades now, Supertonic proves that Diana Ross will never go out of style.

Travels well with: Nomad & Lola- Noir; Heazza- Heazza

Ben Zucker

Fifth Season

Amalgam, 2020

9/10

Listen to Fifth Season

A multi-instrumentalist, composer and improviser, Ben Zucker shines bright on this debut as leader where his experimental vision is fleshed out with several of Chicago’s finest improvisers who breathe new life into Zucker compositions that date back to 2014.

The album leads with “Sussurigation A”, where acrobatic vibraphone from Zucker and frisky percussion from Adam Shead contribute to the flowing jazz climate, and this continues to the piano friendly “Fifth Season: I”, where low bass from Eli Namay and moments of bare beauty make an immediate impression.

Elsewhere, “Fifth Season: III” benefits greatly from space and exploration as the players interact dynamically with much precision, while “Fifth Season IV” is ten minutes of unpredictable and exciting instrumentation that’s both stripped back and busy and never short on creativity.

The album finishes with “Sussurigation B”, one of the most exciting selections that flirts with chamber music, and “Sixth Skin Pataforming” exits with a bit of tension and a darker quality with a cinematic appeal that leaves an indelible mark.

Certainly an album worth seeking out if you’re a fan of improvisational jazz, Zucker and company put a very artistic touch on the listen that defies classification, transcends time and fascinates from beginning to end.

Travels well with: Kenny Kotwitz & The LA Jazz Quintet- When Lights Are Low; Jason Kao Hwang- Human Rites Trio

Kenny Kotwitz & The LA Jazz Quintet

When Lights Are Low

PM, 2020

8/10

Listen to When Lights Are Low

An accordionist, pianist, arranger and composer, Kenny Kotwitz pays tribute to the classic sound of the Art Van Damme Quintet as him and the LA Jazz quintet bring much atmosphere to these 13 timeless standards.

The title track starts the listen with warm accordion that complements the soothing landscape of vibraphone friendly jazz, and “Skylark” continues the theme with cautious instrumentation alongside dynamic waltz interplay, as does the plucked upright bass of “Cry Me A River”.

Closer to the middle, “Closer She Calls Me” bounces gently with plenty of ambience, while “Darn My Dream” emits a vintage appeal in its precise delivery. “Manhattan”, an album stand out, then recruits plenty of rhythm and melody to the gorgeous call and response from vibraphone and guitar.

At the end, “Stairway To The Stars” waltzes with much grace, and the reprise version of the title track exits the listen with an introspective and haunting quality that lingers long after the song ends.

Kotwitz was a student of Van Damme, who would have been 100 this year, and he’s certainly doing a fantastic job keeping the tradition of jazz accordion sounds alive across these imaginative and laid back reworkings.

Travels well with: Benny Rubin Jr.- Know Say Or See; Jason Kao Hwang- Human Rites Trio

Sue Anne Gershenzon

You Must Believe in Spring

Self-Released, 2020

8/10

Listen to You Must Believe In Spring

An accomplished Musical Theatre performer both on and off Broadway, though this is Sue Anne Gershenzon’s debut jazz recording, the veteran artist brings us on an adventure that’s timeless, relatable and backed by an all star cast including Joel Frahm, Dave Meade, and Glafkos Kontemeniotis, among many others.

“I Thought About You” starts the listen with soft horns and agile keys as Gershenzon’s pretty, glassy smooth vocals steer the playful jazz opener, and “With So Little To Be Sure Of” continues the setting with much elegance as the mood shifts to sublime balladry.

Moving along, “When Sunny Gets Blue” offers an emotive and powerful display of timeless jazz, while “A Child Is Born” recruits an almost cinematic quality as strings add much grace. “Good Morning Heartache”, the album’s best, then benefits greatly from Ryan Keberle’s trombone in the slow burning climate.

At the end, “East Of The Sun” swings with a frisky pace of crisp. flowing instrumentation and the title track exits the listen with a bare approach that truly showcases Gershenzon’s incredible vocal skill while gentle keys from Kontemeniotis complement the heartfelt finish.

Gershenzon has done much in her very colorful and esteemed career, and now she can also say she’s released an exceptional, inspiring jazz record as she makes each of the 11 standards here her own.

Travels well with: Sharon Isbin- Affinity; Diane Schuur- Running On Faith

Duende Libre

The Dance She Spoke

Self-Released, 2020

8/10

Listen to The Dance She Spoke

The esteemed Seattle jazz outfit Duende Libre return with a 3rd album, where a cross cultural experience that celebrates American and West African traditions is birthed with plenty of joy and an equal amount of creativity.

“Hush (Dawn)” starts the listen with frisky percussion alongside graceful piano that abruptly shifts into sublime acrobatics, and “Fefo (Hamana)” continues the sophistication with firm vocals in the cultured jazz meets African ideas with plenty of textures.

Further on, “N’gri (Wassoulou)” brings tama and djembe as well as dual gender vocals into the soulful yet playful setting, while “Echoes (Wassoulou)” uses an organ strategically as innovative percussion helps guide the restrained jazz album highlight.

Closer the end, Jabrille Williams brings some incredible electric guitar to the powerful rock of “You Gotta Go”, which is sung in English, and “Hush (Twilight)” exits the listen with plenty of rhythm and dynamic instrumentation in the fascinating instrumental.

An extremely well done record where funk and Motown nods are also in attendance, there’s no shortage of grooves and rhythm here, as world music and fusion are both integrated in gorgeous fashions between the skilled players where Duende Libre establishes a very focused connection with the listener.

Travels well with: Cúnao- Rayuela; Wesli- Rapadou Kreyol

Territories/The Vicious Cycles

Split 7”

Pirates Press, 2020

10/10

Listen to Split 7”

Territories and The Vicious Cycles are 2 of the best modern day punk outfits, and they both happen to be from Canada. Here they share a 7”, and each offer an exceptional tune that are in line with the greatness achieved by their respective recent albums.

Territories starts the listen with the punk rock’n’roll of “Prairie Twister”, where their highly melodic and anthemic brand of punk rock sounds better than ever as plenty of rhythm accompanies the gritty tune that’s exclusive to this release, and The Vicious Cycles continue the theme with the rousing, charged “Problem Officer”. An instant sing-along with well placed organ, this just might the theme for 2020 with its topical lyrical matter that’s as memorable as it is energetic.

This one’s limited to 500 and on white wax. I suppose it’s a good way to test the waters of these 2 outfits, but, quite honestly, be prepared to spring for their albums, too, especially if legends like Descendents, Bouncing Souls and Cock Sparrer are in your collection.

Travels well with: Territories- When The Day Is Done; The Ratchets- First Light

Peter Stampfel & The Bottle Caps

Demo ‘84

Don Giovanni, 2020

8/10

Listen to Demo ‘84

Probably best known for his time in Holy Modal Rounders, the multi-instrumentalist Peter Stampfel was playing with The Bottlecaps during a big chunk of the ‘80s, and here a recording he didn’t even know existed turns up after a the owner of Don Giovanni picks up someone’s personal record collection.

“Drink American” starts the album with a quirky psychedelic-folk approach that almost seems like a commercial jingle, and “Surfer Angel” follows with a definite surf-rock appeal, almost as if The Beach Boys grew up on a freak-folk diet.

Elsewhere, “Impossible Groove” recruits a firm beat with a mix of talking and singing, while “Funny The First Time” brings banjos to the old time setting. “Oh What A Night For Love”, the demo’s best, then moves quickly with a flurry of melodies amid a busy landscape of call and response and retro rock.

The last two tunes brings us the more forceful moments of “Lonely Junkie”, where a saxophone adds much to the climate, and “When It’s Springtime In Alaska (It’s Forty Below)” gallops with a pedal steel, fiddle and swift drumming in its eccentric Americana sort of way.

Recorded on a 4 track, all of these tunes were present on first album from Stampfel And The Bottle Caps, and here they are in a more primitive form as they document the mid ‘80s folk-rock scene in New York and Stampfel’s always creative mind. While I usually think of demo recordings are purely for diehard fans, Demo ‘84 would actually be a great start for anyone new to Stampfel.

Travels well with: The Schramms- Omnidirectional ; They Might Be Giants- My Murdered Remains

The Jason Daniels Band

Downloads From The Universe

Self-Released, 2020

8/10

Listen to Downloads From The Universe

A Mississippi resident who’s spent time all over the country, Jason Daniels brings a wealth of influences to his song craft, where this sophomore album was recorded to tape with his positive and optimistic demeanor never far from the surface.

“I’m Not Going Down” starts the album with some cosmic roots sounds as wordless vocals from Jennifer Gibbons and an organ set the pace for the rhythmic, Americana prowess, and “It All Can Slip Away” cements the atmosphere with plenty of funk and blues nods in the highly melodic delivery.

At the halfway point, “39202” isn’t short on grooves amid the frisky landscape that benefits from sax by Steve Stevens, while “Be My Friend” recruits a stronger percussive presence as spirited guitar lines help develop a jam band quality. “Breathe”, one of the album’s strongest tunes, than offers rollicking keys and bright sax in the festive atmosphere that will leave you unable to sit still.

Late in the listen “Get Down With Now” moves calmer with an emotive quality and some gospel hints, and “Prayer To The World” exits the listen with a group chorus and a feel good climate amid the sharp musicianship.

A breath of fresh air in a time with so much turmoil, Downloads From The Universe is nothing if not a good time, and one that embraces jazz, Latin and rock ideas that flow with a loose feel that often sounds like it emanates from the ‘70s but sure sounds great in 2020.

Travels well with: Lee Gallagher And The Hallelujah- L.A. Yesterday; Ted Russell Kamp- Down In The Den

John Fusco And The X-Road Riders

John The Revelator

Checkerboard Lounge, 2020

8/10

Listen to John The Revelator

The Vermont bluesman John Fusco returns with a sophomore effort where his X-Road Riders companions are on hand to help flesh out a double album that came about after some spontaneous jam sessions with Cody Dickinson (North Mississippi Allstars).

“John The Revelator” starts the listen with plenty of atmosphere as bluesy guitars enter the raw setting, and “Baker Man” follows with a harmonica complementing the soulful and spontaneous delivery that’s not short on grit.

With 20 tracks included, the ensemble never wear out their welcome with the bouncy spirit and female vocals of the melodic rocker “Don’t Mess Up A Good Thing”, while “Applejack Brandy” moves with bare, powerful, rugged balladry that’s a heartfelt love song. “Bad Dog”, the highlight of disc 1, then glides with expressive singing alongside plenty of soul and slow burning darkness that’s beaming with creativity.

Disc 2 is full of fine sounds, too, most noteworthy the organ and horn playfulness of the funk friendly “Hottest Part Of The Flame”, and the vocally strong, Chicago blues of “Fools Fire”, where the intricate guitar work leaves an indelible impression. “Moonstone Lady”, a late listen highlight, then brings a gospel angle to the listen with a flawless and dynamic execution. “The Sun Also Rises” finishes out the listen with a fuller deliver of retro rock ideas that takes nods to B.B. King.

Although Fusco might be better known as a screenwriter and TV series creator (Crossroads and Young Guns are on his resume, among many others), the natural born storyteller’s creativity glows in any medium, and benefits greatly from new X-Road Riders member Sarah Morrow’s trombone on this eclectic and authentic outpouring of thoughtful yet playful song craft.

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

Peter Himmelman

Press On

Himmasongs/Six Degrees, 2020

8/10

Listen to Press On

Peter Himmelman has stayed quite busy since his time playing in Sussman Lawrence in the ‘80s, as the Emmy and Grammy nominated singer-songwriter has dabbled in children’s music, as well as film and TV. His solo work has been quite prolific, too, and with Press On he delivers his 15th album

“Suite For Tambourine And Handclaps” starts the listen with a playful acoustic opener as Himmelman’s vivid storytelling highlights a key friendly opener, and “This Is How It Ends” follows with a calm display of melodic, flowing song craft that’s full of the eloquent wordplay we’ve come to expect from the Minnesota native.

Further on, “Press On” builds into a rhythmic blues-rocker with plenty of frisky percussion and organ, while “A Place In Your Heart” trims the pace back with warm keys as Himmelman enters ballad territory with a gospel feel. “Truth Proffered In A Hard Time”, the album standout, then recruits a bouncy spirit in the upbeat folk influenced climate that’s not short on piano swing.

Close to the end, “Big Red Moon” shines bright with just keys complementing Himmelman’s expressive pipes, and “This Is My Offering” exits the listen primarily acoustic, with much beauty in the timeless love song.

Recorded live in the studio with minimal overdubs, Jimi Englund holds down drums/percussion while Greg Herzenach handles guitars, Chris Joyner on keys and Matthew Thompson on upright bass. Himmelman spent 3 years penning this record and it shows as the R&B, blues, funk, and folk fueled listen illustrates much depth as both a musician and a human.

Travels well with: Peter Mulvey- There Is Another World; Paul Thorn- Don’t Let The Devil Ride

Paul Kelly & Paul Grabowsky

Please Leave Your Light On

Gawd Aggie/Cooking Vinyl, 2020

8/10

Listen to Please Leave Your Light On

An all star collaboration takes place here, where Australian legend Paul Kelly is aligned with fellow Aussie and esteemed jazz pianist and composer Paul Grabowsky to rework 9 tunes from Kelly’s back catalog, as well as offer a new tune and a sublime cover.

“True To You”, a track that hasn’t been used until now, starts the listen with bare keys, as smooth, expressive vocals enter the vintage jazz setting, and “Petrichor” continues the elegant landscape with a poetic touch to the warm atmosphere.

Halfway through, “Young Lovers” gets playful with acrobatic keys and a strong vocal presence that includes spoken word, while the romantic Cole Porter tune, “Every Time We Say Goodbye”, tugs on the heartstrings in its intimate execution. “You Can’t Put Your Shoes Under My Bed”, the album highlight, then recruits harmonica for an emotive and captivating adventure.

Near the end, “God’s Grandeur” is a sparse and darker shift into almost haunting territory, and “If I Could Start Today Again” exits the listen with no shortage of melody on the gorgeous finish to the engaging effort.

It’s hard not to think of Tony Bennett, Frank Sinatra or Bill Evans when listening to Please Leave Your Light On, which could never be a bad thing, as these heartfelt and very carefully crafted tunes illustrate the immense talent from both of the luminaries in a moving, timeless fashion.

Travels well with: Paul Kelly- Nature; Joe Jackson- The Duke

Jeff Fetterman

Southern Son

Self-Released, 2020

8/10

Listen to Southern Son

An esteemed blues guitarist who takes inspiration from legends like Jimi Hendrix, Kenny Wayne Shepard, Stevie Ray Vaughn and Jimmy Page, Pennsylvania’s Jeff Fetterman sure has a knack for rock’n’roll, and his traces of funk and Motown help make this 3rd album his best to date.

Fetterman leads with the percussively strong and bright horns of “I Don’t Want To”, as his rugged vocals lead us through sturdy blues rock, and this formula continues to the soulful and melodic “49/61”, which recruits strategic horns, as well as calm balladry of the Springsteen-ish “Memphis Sky”.

Later in the disc, “Feels Like Rain” is a fluid rocker with loud drumming and no shortage of melody, while “Tell Me Baby” finds all sorts of grooves to reside in. “All Along The Watchtower”, the lone cover, and the last tune on the formal album, then builds into a rootsy adventure where guitar solos and a dynamic rhythm section highlight the fun.

A pair of instrumental bonus tracks are included, “Voodoo Funk”, and “Southside Blues”, where the former certainly gets funky with plenty of spacey noises, too, and the latter burns slow, with a healthy amount of organ amid the spirited guitar.

Fetterman has an impressive set of players with him on this outing, including Eric Brewer (rhythm/lead guitar), Ralph Reintinger III (bass), John McGuire (drums) and Christoff ‘Kid’ Andersen (Hammond, Wurlitzer, electric piano, percussion), who also produced the affair. Toss in a horn section and throw Fetterman’s guitar and pipes on top and you’ve got an impressive display of contemporary blues.

Travels well with: Shawn Pittman- Make It Right!; Albert Castiglia- Wild And Free

Shawn Pittman

Make It Right!

Continental Blue Heaven, 2020

8/10

Listen to Make It Right!

The veteran blues-rocker and Oklahoma native Shawn Pittman returns with a 13th album, where a modern blues delivery with his Texan roots along for the ride (Pittman moved to Dallas in his teens) help ensure that Make It Right! is among the best of his catalog.

“Done Tole You So!” starts the listen with soulful guitar work as equally soulful vocals enters the rugged blues opener, and “Finger On The Trigger” keeps the theme going with a spirited and dynamic display of country and blues influenced rock’n’roll that tips its hat to John Lee Hooker.

Closer to the middle, “There Will Be A Day” recruits melodic vocals and guitar acrobatics on the rhythmic and playful album highlight, while “How Long” offers a restrained and powerful display of timeless, emotive song craft. “Cold Sweat”, another album standout, then gets a bit funky in its instrumental prowess.

Near the end, “Let It Go” glides and bounces with a stylish delivery, and “I’m Done” exits the listen with a busy execution of strong drumming and a festive mood amid some reverb and call and response tactics.

An active solo artist since 1996, though Pittman’s made a somewhat public announcement of retiring from music several years ago, thankfully he’s still at it, and writing some of today’s best modern blues music.

Travels well with: Albert Castiglia- Wild And Free; Billy Price- Dog Eat Dog

Bidi Dworkin

Beautiful Souvenirs

Twenty Two, 2020

8/10

Listen to Beautiful Souvenirs

On this debut album the proficient vocalist Bidi Dworkin brings in an all star cast of New England musicians including Eric Hangen, Steve Cady, and Claire Arenius to help flesh out these fine jazz arrangements that pull from blues and folk standards.

The very heartfelt “How My Heart Sings” starts the listen with warm keys alongside gentle singing in the very mature landscape, and “Softly, As In A Morning’s Sunrise” follows with low bass from Cady as Dworkin delivers a very expressive and playful early album highlight with some vocal scatting.

Closer to the middle, “The Song Is You” offers sweet melody as a bouncy atmosphere develops, while “Why Try To Change Me Now” takes on a more bare approach where strategic keys align with strong vocal work. The late disc standout, “Alone Together”, then resides in darker territory where Dworkin’s engaging pipes are supported primarily by soft bass.

Near the end, “Autumn Serenade” is more sophisticated and elegant song craft with sharp piano from Hangen, and “You Don’t Know What Love Is” exits the listen with loud drumming from Arenius as vocal acrobatics from Dworkin and frisky piano finish on a very high note.

This exceptional first album also comes with insightful liner notes as Dworkin and company do a fine job of reinventing songs that the Vermont songstress adores and you likely will, too, after hearing the timeless jazz of Beautiful Souvenirs.

Travels well with: Ellynne Rey- The Birdsongs Project; CeCe Gable- More Than A Song

Mohamed Assani

Wayfinder

Self-Released, 2020

8/10

Listen to Wayfinder

Mohamed Assani is a composer, esteemed sitarist and educator, and with Wayfinder the artist uses sitar, tabla, mridangam, kanjira, mbira, voice and electronic sounds to extract bits of Indian/Pakistani Classical, Middle Eastern music, jazz, funk, Western harmony, ambient and electronic music in both highly innovative acoustic and electric fashions.

“Awakening” starts the affair with much atmosphere and mood as carefully delivered sitar flows alongside a hypnotic backdrop that hints at New Age, and “Serendipity” continues the cultured setting with a much more percussive approach as Western influences find their way into the sweeping, jazz friendly arrangement.

Even though there’s just 7 tracks, more than half are longer than 9 minutes and take us on exciting journeys, including the cautious and mysterious “Khusro’s Footsteps” that builds into a soundtrack to a night at the club, while the soothing appeal of “Lullaby For Guli”, where sublime strings enter the pretty landscape that even recruits R&B ideas, is one of the most introspective moments.

The album exits with the best track, the very modern and stylish “Transit”, where a swift pop appeal and spirited electronica angle enters the playful climate that just might require dancing shoes.

A fascinating listen that colors outside of the lines of what anyone might expect, Assani is capable of assembling nearly frantic tunes just as he is bare and wispy, as Wayfinder is nothing but surprises that you’ll want to revisit again and again.

Travels well with: Cúnao- Rayuela; Divahn- Shalhevet

Mike Stapleton

The Long Haul

Self-Released, 2019

9/10

Listen to The Long Haul

The Maine troubadour Mike Stapleton returns with more of this proficient folk-rock, as the DIY musician delivers poetic, wise and careful tunes with The Long Haul.

“Wander” starts the listen with lively folk ideas as Stapleton’s fluid pipes guide us through the timeless nature while frisky percussion adds much to the affair, and “Wheels” follows with an upbeat and rhythmic approach to the glorious setting.

In the middle, “Same Old Ride” uses soft strumming to its advantage on the retro and lo-fi atmosphere, while “Curtain Calls” flows with a more rugged spirit alongside subtle blues nods. “Bend Don’t Break”, one of the album’s best tunes, then glides with a warm, thoughtful delivery that reels us in with its emotive presence.

Near the end, “Far In The Distance” settles into a playful and adventurous execution, and “The Light That Came On” exits with just Stapleton’s expressive vocals against his deft guitar work on a singer-songwriter gem.

As he does with his entire discography, Stapleton offers a ‘name your price’ option at his Bandcamp, and rest assured that his meticulous song craft is worth not only every dollar spent but every minute invested, too.

Travels well with: The Rightly So- Vandura; Randy Lewis Brown- Red Crow