Kasper Bjørke

Sprinkles

HFN, 2021

8/10

Listen to Sprinkles

The Danish DJ, producer and remixer Kasper Bjørke has enjoyed a luminous solo career for well over a decade now, and his new album, Sprinkles, offers us 13 tracks that were recorded and produced on his laptop in a cabin by the beach in Denmark.

“Isola” starts the listen with a playful and bright display of Bjørke’s electronica prowess, and “Glassy” follows with a soft buzzing amid a dance friendly atmosphere of stylish and percussively strong song craft.

Further along, “Kites” showcases a creative indie-tronica climate where a woodwind sound mesmerizes us, while “Bon Voyage” emits a timeless warmth that’s minimal and pretty. “Palace”, a truly exceptional tune, then takes a darker turn alongside firm beats, as Bjørke’s diverse abilities don’t disappoint.

Near to the end, the throbbing “Mirage” is perfectly suited for the club with its floating melodies and charming synth, and “Viewwws” exits the listen with frisky bleeps and hypnotic, synthetic drumming in a very soothing and agile finish.

A very colorful outing, Bjørke brings guitars, bass lines and no shortage of grooves, dreaminess and adventurousness to his electronic template, and he again proves just why he’s considered one of the best in today’s electronica scene.

Travels well with: Steady Circuits- …Of One Of Many Worlds; Pymlico- On This Day

The Shockitanos

How To Fly

Self-Released, 2021

8/10

Listen to How To Fly

A married duo from Nebraska, Mike and Diane, i.e. The Shockitanos, know their way around an Americana tune that isn’t afraid of injecting jazz, blues and rock across these 11 originals.

“The Sun Will Shine Again” starts the listen with a warm, intimate strummer where the pair harmonize with much beauty in a poetic delivery that recruits cautious bass and soaring electric guitar, and “Mr. Jones” follows with a folk quality amid the playful banjo and gospel nods.

Near to the middle, “Glass Butterfly” offers a bare and dreamy display of stirring song craft, while the subtle harmonica of “Clementine” helps cultivate a warm, rootsy feel. “Natural Disaster”, one of the album’s best, starts with the sounds of a storm, before both grit and melody meet in the Americana influenced climate.

Close to the end, “Not The Same Man” showcases a charming and timeless chemistry as the pair emit a heartfelt landscape, and “When I Walk” exits the listen with some rugged country nods alongside plenty of tuneful songwriting.

A very well crafted 3rd album, the couple are as diverse as they are memorable, and anyone with an interest towards folk, country and rock will find much to enjoy in How To Fly.

Travels well with: Josie Bello- Have Purpose Live Long; Julia Kasdorf- Motel

Kendall Street Company

The Year The Earth Stood Still: Ninurta

Self-Released, 2021

8/10

Listen to The Year The Earth Stood Still: Inertia

The Charlottesville, Virginia rockers Kendall Street Company are taking on a daring project this year by releasing the double LP The Year The Earth Stood Still in 2 installments. This first album, Ninurta, has the outfit exploring ambient and pop friendly ideas in an instrumental and highly creative delivery.

“Ninurta” starts the listen with firm drumming as strategic guitars enter a very unpredictable climate that brings in bouts of brass, and “Our Space Heroine” follows with much attention to atmosphere as sparing keys, spirited guitars and restrained drums flow into the dynamic landscape.

At the midpoint, “The Space Race” does emit some psychedelic tendencies as sound bites from Kennedy add much appeal, while “Pink Flying Saucer” enters dreamy territory with precise interplay between guitar, keys and drums that glides with a cinematic quality.

Arriving near the end, “Doomsday” touches on darker textures amid a jam band feel, and “There is no such thing as free will.” takes that lead a step further with 14+ minutes of hypnotic, cosmic, and world music influences.

The companion disc to The Year The Earth Stood Still, Inertia, arrives in September, and if this portion is any indication, the band’s meshing of jam, Americana and indie-rock will again captivate and entertain like few other instrumental records this year.

Travels well with: Sirr- Space; Heron- Sun Release

Richard Pryor

Live At The Comedy Store, 1973

Omnivore, 2021

8/10

Listen to Live At The Comedy Store, 1973

The early ‘70s were good to Richard Pryor, who was booking shows all over the country thanks to his successful comedy albums. Rather than telling the same bits repeatedly, Pryor was always moving forward with new material, and he secured 4 nights at The Comedy Store in West Hollywood to test out these new pieces, and 20 of those tracks are culled together here for the first time.

Pryor starts the listen with the animated role playing of “Street Corner Wino”, where his easy going delivery makes an immediate connection, and it isn’t long until the clever, insightful “Fighting” and the most likely autobiographical “Dope” keeps the audience in stitches.

In the middle, Pryor starts talking about his increasing fame in the forthright “Black Movie Stars”, while the commentary on “Cops” is sadly still relevant today. On “Nixon”, Pryor gets political, but in a very playful way that incorporates the crowd, who at this point fill all of Pryor’s pauses with laughter.

Of the bonus tracks, Pryor’s timeless storytelling shines on tracks like the wise and blunt “Death”, and “Black Films” places some keen observations alongside sound effects, another avenue Pryor excelled at. With “Jesus Saves”, he addresses religion, and while some of the jokes in another’s hands could cause people to abruptly leave, Pryor’s easy going and inimitable delivery can’t help but amuse.

Although these evenings were never meant to be heard by anyone other than the attendees, this first commercial version of the set documents a pivotal point in the career of one of the best comics who has ever lived, and the liner notes from Cory Frye only make this an even more essential package.

Travels well with: Richard Pryor- Craps (After Hours); Richard Pryor- Richard Pryor

Gong Gong Gong

Phantom Rhythm Remixed

Wharf Cat, 2021

9/10

Listen to Phantom Rhythm Remixed

In 2019 the Beijing duo of Gong Gong Gong brought us one of the most interesting and unclassifiable albums in recent history with the guitar and bass fueled Phantom Rhythm. An exercise in superb minimalism, this remix album culls Gong Gong Gong’s favorite China related artists to cover this widely embraced debut album in its entirety.

“Ride Your Horse” starts the listen with firm keys and fuzzy synth as P.E. injects plenty of percussive and brass stabs with an unpredictable approach, and “Inner Reaches”, by Zaliva-D, follows with a darker undercurrent that tips its hat to post-punk and that might soundtrack a night at the club.

Near the middle, “Moonshadows” displays Simon Frank’s skills amid a hypnotic bass line, frisky drumming and plenty rhythm and psychedelic nods, while “The Last Note” benefits from a warmly strummed guitar and dreamy singing, not to mention some spacey exploration in Angel Wei’s version. “Gong Gong Gong Blues”, the album’s best, then buzzes firmly as nearly tribal ideas enter electronic ambience thanks to Howie Lee.

Landing near the end, “Hotpot” presents a raw and jagged form of folk music in Scattered Purgatory’s very capable hands, and “Wei Wei Wei”, by Wu Zhuoling, exits with a quirky and charming variation of dance music that’s not without worldly influences.

A project that Gong Gong Gong had been planning since they released Phantom Rhythm, the diversity and skill set of the artists present make each track exciting in its own right, as we’re treated to club friendly interpretations, just as we are cinematic moments and more rock focused, psyche manipulation that makes a big impression.

Travels well with: Gong Gong Gong- Phantom Rhythm; Horoscope- Carne.

Joe Bonamassa

Now Serving: Royal Tea Live From The Ryman

J&R Adventures, 2021

10/10

Listen to Now Serving: Royal Tea Live From The Ryman

Undoubtedly one of the biggest names in today’s blues rock scene, Joe Bonamassa is back with an extraordinary live album, which hosts 12 tracks recorded at Nashville’s Ryman, and much of the listen brings us alternate versions of the tracks from his stunning 24th album, Royal Tea.

“When One Door Opens” start the set, and quickly places Bonamassa’s sturdy guitar work front and center, as pretty female vocals accompany him on the rugged and melodic blues rocker, and “Royal Tea” follows with thumping drums and soulful backing vocals complementing the powerful climate.

Further into the night, “Why Does It Take So Long To Say Goodbye” offers loud, rhythmic swells of emotion as the song pushes and pulls with grit and harmony in its 9+ minutes, while the playful organ and driving rhythm section of “A Conversation With Alice” is quite captivating, not to mention the expressive backing female vocals, which helps make this one of the set’s best.

Further still, the bouncy spirit of “Lonely Boy” will certainly get your body moving to the frisky and addictive climate, and “A New Day Yesterday/Starship Trooper-Wurm” exits the listen with a dense approach that benefits from soaring vocals against thick, precise instrumentation.

Recorded when the touring industry was on hold due to Covid, Bonamassa actually put together this one night show for a live stream audience, as he plays many selections off his then forthcoming album, as well as 3 cuts off A New Day Now. Though thousands of fans were watching from their homes, in between songs Bonamassa and company were surrounded by silence, but that certainly didn’t stop them from playing with their vast skill and experience on full display.

Also available on DVD, you’ll get a 28 page booklet and an introduction from Jeff Daniels to go with the 95 minutes of music, although no matter how you absorb it, you won’t be disappointed.

Travels well with: Kenny Wayne Shepherd Band- Straight To You Live; Ronnie Earl & The Broadcasters- Rise Up

Dana Sipos

The Astral Plane

Roaring Girl, 2021

9/10

Listen to The Astral Plane

The Canadian songstress Dana Sipos returns with a rich and often intimate peek into her well thought out song craft that takes help from Nick Zubeck (electric guitar), Mark McIntyre (bass) and Blake Howard (drums, percussion), among many others.

“Light In, Moon On” opens the listen with dreamy keys, as Sipos’ soothing, expressive vocals guide the folk influenced climate, and “Swallow’s Call” follows with mesmerizing acoustic guitar complementing the poetic quality of the warm delivery.

In the middle, “Skinny Legs” recruits a rootsy feel amid brushed drums and strategic keys alongside the eloquent singing that includes Lydia Persaud, while “Daniel” displays meticulous guitar picking and subtle violin from Fats Kaplin, not too mention backing vocals from Danielle Knibbe and Barbara Lica. “Greenbelt”, one of the album’s best, then benefits from vibraphone in a lush, melodic and meticulous landscape of timeless radiance.

“Hoodoo” and “Breathing Barrel” exit the listen, where the former illustrates Sipos’ very versatile pipes and the latter actually brings synth into the equation, making for an electronic meets organic finish that’s quite charming and unique.

Sipos is already revered in her home country, and anyone willing to give The Astral Plane a listen will likely become a fan of her distinct, sometimes haunting and precisely penned folk songs.

Travels well with: Catherine MacLellan- Coyote; Possessed By Paul James- As We Go Wandering

John-Henry Crawford

Dialogo

Orchid, 2021

8/10

Listen to Dialogo

An esteemed cellist who has been gaining much attention with his craft since the age of 15, John-Henry Crawford has performed all over the world, and here he’s aligned with Victor Santiago Asuncion’s piano as they interpret compositions by Johannes Brahms, Gyorgy Ligeti and Dmitri Shostakovich.

“Sonata for Piano and Cello No.2 in F Major, Op.99” starts the listen with keys and strings interacting in sublime, playful and highly melodic ways that dance around with emotional intimacy and a wonderfully poetic tone.

The middle track, “Sonata for Solo Cello”, spotlights Crawford’s meticulous manipulation of his instrument, where plucked and bowed beauty unfolds with both grace and frisky moments in a very modern and highly melodic, complicated performance.

At the end, “Sonata for Cello and Piano in D Minor, Op.40” balances a cautious delivery versus an adventurous approach, where firm keys and swift cello meet at a very unpredictable intersection, as the duo get muscular while also retaining the serenity of the original.

Though Crawford is a youngster, he plays like a seasoned veteran here, and along with Asuncion he turns in a glowing and memorable take on classics that are reworked in his inimitable vision.

Travels well with: Chelsea Guo- Chopin In My Voice; George Palmer- Breaking The Silence

Joseph Spence

Encore

Smithsonian Folkways, 2021

9/10

Listen to Encore

A collection of never been heard songs from the Bahamian guitar legend Joseph Spence, these recordings were laid down in 1965 in New York City and the Bahamas, and they showcase Spence’s very interesting singing techniques and inimitable guitar work.

“Won’t That Be A Happy Time?” starts the listen with fascinating guitar picking as Spence’s vocals are raw and indecipherable, which only adds intrigue to the pretty versus ragged climate, and “Out On The Rolling Sea” brings multiple vocals to a soulful, folk tune that’s as memorable as it is unique.

Halfway through, “In Times Like These” is a softer tune where the intricate acoustic guitar is paired with Spence’s gravelly pipes, while “Death And The Woman” places a call and response approach to singing amid minimal instrumentation. “Give Me That Old Time Religion”, one of the album’s best, then meshes gospel and folk into Spence’s distinct and inestimable vision.

Approaching the end, “The Glory Of Love” pairs gritty wordless singing with pretty guitar playing, and “That Glad Reunion Day” exits the listen with a campfire-esque feeling with many participants contributing their improvised skill.

The list of artists that Spence influenced is a long one and includes Richard Thompson, The Grateful Dead and Ry Cooder, to name a few, and these unearthed recordings document his guttural vocals and folk, blues, gospel and island nods that sit firmly in a category all their own.

Travels well with: JP Harris’ Dreadful Wind & Rain- Don’t You Marry No Railroad Man; Turner Cody And The Soldiers Of Love- Friends In High Places

Tom Nazziola

Distant Places

Goju, 2021

8/10

Listen to Distant Places

A composer and percussionist who is well versed in rhythm, timbres and global ideas, Tom Nazziola brings in many players for a large handful of tracks here that thematically surrounds various places, people and experiences as he weaves in and out of jazz, classical, orchestral and chamber ideas.

“Cat And Mouse” starts the listen with Nazziola navigating vibraphone and marimba in playful, very fascinating ways that ooze melody, and “Over The Horizon” follows with violin and cello from Todd Reynolds and Dave Eggar, as a swift orchestral climate enters the precise delivery.

The middle tracks are among the best, and include Michael Lowenstern’s bass clarinet and Terence Goss’ alto sax as warm jazz fills the busy execution of “Garbage Plate”, while “Sibley Tower” moves sublimely with cautious keys from Doug Oberhamer and Dan Willis’ soulful sax. “Get The Point”, one of the album’s best, then recruits wordless vocals from Nazziola amid frisky drumming from John Hollenbeck.

Close to the end, “Pablo’s Journey” benefits from Paul Livant’s spirited guitar lines and Scott Feiner’s pandeiro as much rhythm is present, and “Golem Overture” exits the listen percussively strong, where much culture enters the haunting finish.

Although the tracks vary greatly throughout the program, it all flows together seamlessly in Nazziola’s grand vision that leaves the listener absorbing the melodic, harmonic and even dramatic song craft in both exciting and intimate ways.

Travels well with: Duo della Luna- Mangetsu; Peter Gilbert- Burned Into The Orange

Duo della Luna

Mangetsu

New Focus, 2021

8/10

Listen to Mangetsu

The duo of Susan Botti and Airi Yoshioka, as Duo della Luna the pair match Botti’s sublime vocals with Yoshioka’s spellbinding violin acrobatics across a multi-lingual and intricately textured climate that spans powerful and rich to bare and intimate.

Botti’s “Mangetsu” opens the listen with emotive and soaring wordless vocals surrounding Yoshioka’s precisely manipulated strings that are bowed and plucked to emit the most amount of atmosphere, and Béla Bartók’s “44 Duos For 2 Violins” follows with a louder, firm presence of operatic singing alongside emotive and playful violin.

The back half of the listen doesn’t disappoint either, and includes the cautious and warm “Wayfaring Stranger”, where Botti’s arrangement puts much emphasis on mood, while Linda Dusman’s “Triptych Of Gossips” recruits screeching strings and bouts of ominous, even scary, moments amid the exploration.

“Two Italian Folk Songs” exits the listen, and presents much beauty as the delicate and robust singing aligns with the meticulous violin in the Northern Italy songs that retain much melody.

An absorbing listen in the area of contemporary classical sounds, Botti and Yoshioka bring a wealth of talent and experience to a project that’s as creative as it is timeless.

Travels well with: Aaron Jay Myers- Clever Machines; Peter Gilbert- Burned Into The Orange

Jon Byrd

Me & Paul

Longleaf Pine, 2021

8/10

Listen to Me & Paul

An Alabama native who relocated to Nashville many years ago, Jon Byrd’s 5th solo album features Paul Niehaus (of Lambchop fame) on pedal steel, as the pair flesh out 2 originals and 3 covers in a very vintage and raw atmosphere.

“I’ll Be Her Only One” starts the quick listen with warm pedal steel, as Byrd’s intimate and poetic singing adds some grit to the sublime beauty, and “Ballad Of Jr. And Lloyd” follows with expressive acoustic guitar guiding the vivid storytelling that details a rare friendship, probably not unlike the one between Jon and Paul.

“Cash On The Barrelhead” occupies the middle spot, and gets a bit playful with its classic country nods amid some rugged moments , while “Why Must You Think Of Leaving?”, a co-write with Shannon Wright, flows with a folk spirit as gorgeous guitar and a dreamy quality emit a nostalgic beauty. “Don’t Go To Strangers” exits the listen, and recruits a darker approach that’s not short on atmosphere in its mountain-esque demeanor.

A very stripped back effort, Niehaus navigates around the pedal steel with much skill, and Byrd’s meticulous picking and wise vocals make for a collaboration that surely warrants more than 5 tracks next time.

Travels well with: Tylor & The Train Robbers- Non-Typical Find; Desert Hollow- Thirsty

Tanya Dennis

White Sails Blue Skies

PaLoma, 2021

8/10

Listen to White Sails Blue Skies

A vocalist, violinist, guitarist and composer, Tanya Dennis mixes samba, jazz, tango, gypsy and many other ideas into an unpredictable and exciting listen here, where the finest musicians from Nashville, her current home, are in attendance.

“Chiaroscura” starts the album with Dennis’ expressive, lush vocals guiding the twinkling keys, soft guitars and cultured percussion, and “Till You” follows with subtle harmonica from Hendrik Meurkens as plenty of calm melodies unfold with precision.

Halfway through, “White Sails” enter breezy territory, where Scott Halgen’s pretty key work complements Dennis’ poetic singing, while “The World Can Do Without Us” welcomes soothing scatting alongside a romantic spirit in a timeless jazz setting that’s firmly in balladry.

Landing near the end, “Desolation Sound” displays sublime violin work from Dennis that adds much to the cautious landscape, and “All To Myself” finishes the listen with eloquent intimacy that pairs well with the meticulous key work and soulful harmonica, that, later on, exits with playful scatting and samba fun.

Dennis has an impressive resume that includes touring with Faith Hill and Janie Fricke, and her fusion capabilities make this sophomore album a diverse and charming venture that documents the highs and lows of her colorful life.

Travels well with: Jacqui Naylor- The Long Game; The Rebecca Kilgore Trio- Vol. 1

The Dave Mullen Ensemble

Solace

Mullsoul Music, 2021

9/10

Listen to Solace

The saxophonist Dave Mullen is in fine company here, as pianist Jon Cowherd, bassist Hans Glawischnig, drummer E.J. Strickland and trumpet wizard Jim Seeley accompany him across 7 heartfelt and carefully constructed jazz compositions that unfold with the utmost care.

“The Grind” starts the album on a very high note as a swift pace of busy interaction unfolds with Mullen’s sax prowess guiding the playful keys and crashing drums, and “Shanna Shuffle” follows with a much calmer approach, where Seeley’s trumpet skills flow alongside the soulful sax and frisky drumming.

In the middle, “For Michael” takes on a very reflective tone as warm brass and Cowherd’s precise piano embrace much beauty, while “Satin Doll” shuffles with a contagious energy and timeless jazz appeal that displays much melody amid the bass plucking acrobatics.

Arriving near the end, “Kinda Green” emits a dreamy, stirring delivery that quickly bursts into a lively album highlight, and “Like Rahsaan” exits the listen with all the players taking their turn in the spotlight on a dynamic and flawlessly executed finish.

Mullen dedicates some of these tracks to legends like Ellington, Coltrane and Monk, and his own vision certainly runs parallel to those names as he navigates through some top notch jazz we won’t forget anytime soon.

Travels well with: Kendall Carter- Introducing Kendall Carter; Dave Stryker- Baker’s Circle

Ric Robertson

Carolina Child

Free Dirt, 2021

8/10

Listen to Carolina Child

The vocalist and multi-instrumentalist Ric Robertson is nothing if not unique, and here with his esteemed band he brings funk, country and jazz ideas to 10 tracks that sound both indebted to the past but are still very modern, too.

“Getting Over Our Love” starts the listen with Robertson’s soulful, smooth vocals guiding the dreamy opener that benefits from Sam Fribush’s synth flourishes, and “Harmless Feeling” follows with a nostalgic approach as Nick Falk’s precise drumming and Oliver Wood’s slide guitar place some Americana nods into the subdued melodies.

At the halfway point, “Thinkin’ About You” showcases Cameron Scoggins’ subtle but effective vocals amid Robertson’s spirited guitar work, while “Anna Rose” welcomes strings into the calm vocal harmonies thanks to Dori Freeman and Gina Leslie. “My Love Never Sleeps”, one of the album’s best, then takes help from Eddie Barbash’s saxophone amid a very mature and bluesy tinted landscape.

The final two tracks, “Rollin’ River” and “Julie”, don’t disappoint either, as the former bounces playfully with a fiddle, and the latter exits with a slow burner of much beauty and thoughtfulness.

It’s hard not to think of John Prine when listening to Carolina Child, which could never be a bad thing, and it’s quite clear that Robertson put an equal amount of thought into the lyrics and music of this eclectic and very charming effort that’s undeniably timeless.

Travels well with: Jake La Botz- They’re Coming For Me: Vivian Leva & Riley Calcagno- Vivian Leva & Riley Calcagno

Michael Waldrop

Time Frames

Origin Classical, 2021

8/10

Listen to Time Frames

The multi-instrumentalist and educator Michael Waldrop made me a fan pretty quick with 2019’s Triangularity, and this follow up and 4th album highlights Waldrop’s marimba talent as he takes help from Gordon Stout, Brad Dutz, Jose Rossy and Marko Djordjevic across chamber, classical and groove filled tracks.

Waldrop starts the listen with the mesmerizing and rhythmic “Fractals”, where his marimba skills flow alongside cultured bongos from Brad Dutz, and “Dem Dakar (Parables) follows with Jose Rossy’s playful percussion highlighting the African meets classical climate.

Later on, “Almost Beyond” recruits Ivana Cojbasic on piano as her warm spirit complements Waldrop’s frisky marimba, while “Delineations” brings keyboard sequencing alongside the marimba and Rossy’s percussion for a superbly melodic display. “Sixth Chakra”, the album’s best, then dances around plenty of rhythmic avenues as Waldrop and Rossy both shine with incredible dynamics and strong chemistry.

By the time we reach the last tune, Waldrop proves that he’s seemingly got an endless bag of ideas, and finishes the album with complicated and fascination progressions of “Continuity”, where Rossey’s strategic contributions won’t go unnoticed, either.

Waldrop often employs a six mallet technique here (three per hand), and his inimitable manipulation of the marimba not only retains its history as an African percussive instrument, but shows us just what it’s capable of in his unique vision of fusion sounds.

Travels well with: Blue Muse- It Never Entered My Mind; Brian Woodruff Sextet- A Centering Peace

Left Vessel

One (And Driftless)

Gift Shop, 2021

9/10

Listen to One (And Driftless)

This is the debut for Left Vessel, which is the brainchild of Nick Byron Campbell, who also works in TV and film music. On One (And Driftless), which showcases the multi-instrumentalist’s experimental vision, Campbell partially recorded in the woods of Minnesota with an Arbow (a stringed live tree), and puts a very artistic spin on modern indie-folk in his very capable hands.

“Arrival (Driftless I)” opens the listen with much atmosphere and very pretty singing in a psychedelic, folk influenced sort of way, and this unique approach continues to the soft drumming and expressive keys of “Hold Your Laughter”, as well as the poetic and dreamy “Society (Driftless II)”.

The middle tracks include the warm acoustic guitar and intimate delivery of “Victory Above (Driftless III)”, while “First Words (Driftless IV)” benefits from subtle strings in a bare climate of powerful, stirring song craft. “Please Don’t Stop”, one of the album’s best, then pairs crisp drums with strategic keys, as the eloquent singing welcomes soulful backing vocals.

Residing near the end, “Put The Divorce On The Credit Card” brings both tension and grace to the charming landscape, and “Je T’aime Tambien” leads with initially just Campbell’s voice and acoustic guitar in the stripped back finish that at the end builds into a bright, textured flash of beauty.

A very ambitious recording that sprinkles the sounds of nature throughout the tracks, the addition of noise from birds, wind, leaves, etc. only solidifies Left Vessel as one of the most exciting projects in today’s indie-rock scene.

Travels well with: Joe Bourdet- Meadow Rock; Mare Wakefield & Nomad- No Remedy;

Natalie Gelman

Moth To The Flame

Blue Elan, 2021

9/10

Listen to Moth To The Flame

This first album on the Blue Elan label for singer-songwriter Natalie Gelman showcases the veteran artist’s timeless approach to songwriting that takes help from Charlie Midnight on the writing end, and Curt Schneider (bass), Eric Sullivan (guitar), Tim Young (guitars) and many others on the music side.

Gelman leads the album with the soaring, pretty pop prowess of “Photograph”, where her poetic and soulful vocals guide the emotive opener, and “Stronger” follows with Dave Palmer’s warm keys complementing Gelman’s strong range across the heartfelt landscape.

Further along, “The Way Things Go” benefits much from Blair Sinta’s proficient drumming in the gritty yet melodic climate, while “Some People” recruits banjo from Nathan McEuen, as rootsy ideas enter the soothing, eloquent delivery. “Love Me Let Go”, one of the album’s best, then flows with a punchy, firm rock’n’roll spirit that you’ll be singing along to immediately.

Landing near the end, piano balladry enters the bare, intimate “Unloving You”, that welcomes strings into the dreamy atmosphere, and “Won’t Matter Anymore” exits the listen with Jason Frazier’s harmonica accenting the vocally mesmerizing and musically reflective finish that embraces some country nods.

An emotionally raw career highlight that’s full of sincere, forthright and diverse song craft, Gelman’s roots in classical music and wide pop appeal are quite easy to appreciate on this stunning listen.

Travels well with: Cindy Alexander- While The Angels Sigh; Rachael Sage- Character

Irina Zubareva

Bridges To Rio

Zoho, 2021

8/10

Listen to Bridges To Rio

A Russian vocalist who now calls New York home and who has performed all over the world, Irina Zubareva meshes the traditions of her home country with plenty of Latin influences on this live recorded album.

“Samba Little Samba / Show de Bola (Ao Vivo)” starts the listen with a festive spirit that displays Zubareava’s soulful and playful pipes alongside Misha Tsiganov’s frisky piano and Portinho’s animated drumming, and “Copacabana” follows with much grace and warmth entering the expressive singing amid a cultured jazz climate that embraces vocal scatting.

In the middle, “L’dinka” shuffles with a quick pace of stunning finger acrobatics from Tsiganov, as Zubareva brings much Brazilian spirit, while “I’m Beginning To See The Light” recruits a swinging jazz flavor to a lively atmosphere that will be sure to get your body moving. “Moey Dushe Pokoya Net” then textures the setting superbly with its precise keys, strategic bass by Itaiguara Brandao and agile drums complementing the mesmerizing scatting.

Closer to the end, the dreamy “Enredo Do Meu Samba” emits a timeless romantic tone, and the bouncy “U Prirody Net Ploho Pogody” exit the listen with all the players interacting with much skill and poise.

Though the idea of Brazilian Samba, American Jazz and Russian compositions meshing together might seem a bit unorthodox, Zubareva and company pull it off splendidly and with the utmost attention to detail as they execute plenty of rich grooves.

Travels well with: Arturo O’Farrill And The Afro Latin Jazz Orchestra- Virtual Birdland; Nelson Riveros- The Latin Side Of Wes Montgomery

Williamson Branch

Classy. Sassy. Bluegrassy.

Pinecastle, 2019

8/10

Listen to Classy. Sassy. Bluegrassy

The esteemed family affair Williamson Branch returns with more of their delightful signature bluegrass sounds, and this time they deliver with new member Anthony Howell handling banjo, mandolin and guitar duties.

“Blue Moon Over Texas” gets the listen started with their trademark fiddle and mandolin acrobatics as Melody Williamson’s pretty vocals guide the tune, and “Half Past You” follows with a more subdued approach of timeless bluegrass melodica on the flawless execution.

In the middle, “Over The Mountain” certainly sounds like it could soundtrack an Appalachian experience with soaring vocal harmonies, while “Hey, Mr. Right” flows with a cautious delivery as the youngster Caroline Williamson displays her vocal prowess. One of the album’s best, “With Body And Soul”, then allows Kevin Williamson’s vocals to shine on the emotive and breezy highlight.

At the end, “Thank You, Lord, For Your Blessings On Me” recruits a gospel influence in the precise instrumentation, and “I’ll Go With You” ends the listen with swift picking as Debbie Williamson holds down the setting with her soaring pipes.

This 4th LP from Williamson Branch contains 12 new tracks that their unwavering fanbase will certainly enjoy, while making their rapidly growing new fans understand why they’re one of the best in today’s bluegrass and gospel scene.

Travels well with: The Garret Newton Band- The Bluegrass Barn; Gena Britt- Chronicle: Friends And Music