Our Band

Bright As You

Wavy Glass, 2021

9/10

Listen to Bright As You

The husband and wife duo of Sasha Papernik and Justin Poindexter, as Our Band the multi-instrumentalists birth an eclectic and distinct brand of Americana that takes nods to Eastern European ideas as they harmonize their way through 13 well thought out originals.

The pair start the album with the warm and charming “Priscilla”, where they deliver glowing vocal harmonies alongside Oliver Beardsley’s proficient drumming and David Amram’s french horn, and “Hazel” follows with a calmer approach that welcomes Leon Boykins on bass to complement the diverse Americana.

Further down the line, “Painting” benefits from Papernik’s graceful piano as the pair create much beauty in the cautious climate, while “More Than Friends” displays Rob Hecht’s violin and Rohin Khemani’s percussion amid the sublime, poetic landscape. One of the album’s best, “Just Remembering”, then pairs Papernik’s playful accordion with Eddie Barbash’s saxophone on a very unique brand of roots rock.

At the end, “Cool And Easy” is an intimate and emotive moment that’s executed with much attention to detail, and “I Find My Peace” exits the listen with brass, violin, and spirited guitars in a dreamy, absorbing finish to a very exciting listen.

Papernik’s classical music background and Russian heritage are meshed with Poindexter’s upbringing in North Carolina and exposure to folk, blues and country in easily enjoyable ways, and it makes for one of the most interesting Americana records you’ll hear this year.

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

Dave Shelton Trio With Beth Kuhn

Drift

Self-Released, 2021

8/10

Listen to Drift

A Missouri native and multi-instrumentalist, though Dave Shelton may have gotten his start in recorded music later than most, he’s been playing his entire life, and is quickly making a name for himself in the area of modern jazz. Along with the inimitable Beth Kuhn providing vocals, Drift brings us both originals and covers, where Shelton’s impressive key work is complemented by Mike Staron’s bass and Rick Shandling’s drumming.

The pair start the album with “My Funny Valentine”, where warm keys from Shelton and Kuhn’s divine vocals guide the extremely soulful version of the classic, and this formula follows to the playful original “Dream Maker Place”, where precisely plucked bass and agile drumming anchors the timeless jazz climate.

In the middle, “Where Or When” moves with a frisky pace as Kuhn’s diverse range is on full display in a tune you could and should dance to, while “Invitation” displays sublime chemistry between the players amid a pretty, meticulously textured instrumental. “Tell Me A Bedtime Story”, one of the album’s best, then puts a very inviting and charming spin on a Herbie Hancock tune.

Landing near the end, the infectious piano work of “Let’s Stay Together” won’t go unnoticed as the trio do justice to the Al Green original, and “That’s All” exits the listen with Kuhn’s soaring pipes surrounded by bouncy drumming, firm keys and well timed bass work in the energetic and highly memorable finish.

Shelton and company offer a nice balance of instrumental versus vocal tracks here, and the few originals certainly illustrate his strong songwriting prowess. For fans of any era of jazz, there is much to enjoy here, and it’s all executed flawlessly.

Travels well with: Dennis Mitcheltree- Nevermind The Circus; The Dave Mullen Ensemble- Solace

Buck Owens And His Buckaroos

Tall Dark Stranger

Omnivore, 2021

8/10

Listen to Tall Dark Stranger

Buck Owens ended the ‘60 on a very high note with this last studio album of the decade, where his band of Don Rich (guitar), Doyle Holly (guitar), Tom Brumley (steel guitar), Bob Morris (drums) and Jerry Wiggins (drums, tambourine) are joined by plenty of guest players on strings, brass, and vocals, too.

Owens starts the listen with the proficient drumming of Jerry Wiggins, as the warm guitar tone complements the many effective backing vocals, and “There’s Gotta Be Some Changes Made” follows with much emotion that includes a soulful, intimate approach.

The middle tracks are among the best, especially the stirring string work of the timeless country template of “In The Middle Of A Teardrop”, while the spirited keys of “Across This Town And Gone” meshes well with the reflective melodies. “I Would Do Anything For You”, perhaps the best of the best, then bounces playfully with crisp drumming and clever banjo playing.

Towards the end, “Hurtin’ Like I’ve Never Hurt Before” benefits from steel guitar in the high and lonesome mood, and “But You Know I Love You” exits the listen with a dreamy quality amid strategic horns, many backing vocals and Owens’ strong attention to detail in the lone cover on the record.

Much like everything Owens did in the ‘60s, this one was well received, too, and climbed the county albums charts to #2, and the title cut landed at #1 on the country singles chart. Omnivore certainly does justice to this classic listen, with great liner notes from Randy Poe on this important piece of the Owens legacy.

Travels well with: Buck Owens And His Buckaroos- I’ve Got You On My Mind Again; Bobby Bare- Great American Saturday Night

Buck Owens And His Buckaroos

I’ve Got You On My Mind Again

Omnivore, 2021

8/10

Listen to I’ve Got You On My Mind Again

The Omnivore label is well into their reissuing of 9 Buck Owens albums from the years 1968-1974, and here we’re treated to I’ve Got You On My Mind Again, which was 1 of 4 records Owens released in 1968.

Owens starts the listen with the soothing harmonies, dreamy lap steel guitar, precise keys and, of course, his distinct singing on the title track, and “Let The World Keep On A Turnin’” follows with a swift and melodic display of intricate guitar work and vivid storytelling.

Further down the line, “Sing A Happy Song” recruits soulful backing vocals as much timeless energy is present, while “I’ll Love You Forever And Ever” flows with classic country amid swift drumming and vocal contributions from Buddy Alan on the sweet duet. “Love Is Me”, one of the album’s best, then illustrates rawness and grit as Owens and company showcase their rural ruggedness.

Arriving near the end, “Alabama, Louisiana, Or Maybe Tennessee” brings plenty of retro rock’n’roll spirit to the bouncy, organ friendly and nearly gospel landscape, and “I Ain’t A Gonna Be Treated This A Way” finishes the listen with radiant keys, punchy tambourine and an almost spiritual angle to the strong exit.

Another album that charted for him during this prolific time, Owens wrote 11 of the 12 songs present, and saw the title track landing at #5 on the country singles charts, and the album entering the top 20. The album put a firm exclamation point on the banner year that Owens had, and laid the foundation for a pair of records in 1969.

Travels well with: Buck Owens And His Buckaroos- Sweet Rosie Jones; Bobby Bare- Great American Saturday Night

Buck Owens And His Buckaroos

Sweet Rosie Jones

Omnivore, 2021

8/10

Listen to Sweet Rosie Jones

Originally released in 1968, Sweet Rosie Jones was released when Buck Owens was juggling his TV show, touring and recording, and it finds the country star expanding his horizons into folk territory alongside a firm Bakersfield sound.

Now available on CD and digitally for the first time, Omnivore Recordings packages the reissue with a thick booklet of photos and text from the biographer Randy Poe.

“Hello Happines, Goodbye Loneliness” starts the listen with frisky keys, jumpy drumming and Owens’ inimitable delivery in the upbeat and dance friendly country rock, and this timeless formula continues to warm and emotive title track, as well as the upbeat and swift “If I Had Three Wishes”, which will leave you unable to sit still.

In the middle, the crisp and harmonic “You’ll Never Miss The Water (Till The Well Runs Dry)” offers a wise, melodic album highlight, where Jerry Wiggins turns in an excellent drumming performance, while “Sally, Mary, And Jerry” emits a scrappy display of Owens’ strong vocal work. “Everybody Needs Somebody” then trims the pace back with Bert Dodson on bass in a poetic and romantic climate.

The album finishes with the playful “The Girl On Sugar Pie Lane”, which brings some grit into the smooth rural rocker, and “Happy Times Are Here Again” closes out the affair with a bouncy and classic country energy that you won’t forget soon.

The ‘60s were a great time for Owens, and Sweet Rosie Jones found its way to #2 on the country album charts, which is where the title track ended up on the country singles chart. Certainly an important piece of his discography, this effort sounds better than ever thanks to the mastering from the original analog tapes by the esteemed Michael Graves, and is ideal for both the longtime fan and first time listener.

Travels well with: Bobby Bare- Great American Saturday Night; Tex Ritter- The Songs Of The West

Various Artists

Masters Of Slide: Spider Sessions

Mountain Home, 2021

9/10

Listen to Masters Of Slide: Spider Sessions

A compilation that tips it hat to a similar record from Jerry Douglas way back in 1994, the always impressive Phil Leadbetter culls some of today’s stars of the resonator guitar (aka Dobro) for a diverse and exciting display of just how versatile this instrument can be.

Andy Hall takes focus on the opener “Caught Steelin’”, where his hypnotic and intricate guitar work emits some classic rock nods in its bluegrass template, and “If You Could Read My Mind”, fueled by Fred Travers, trims the pace back with moody fiddle complementing the reflective guitar tone.

There’s 23 songs present, and each one is carefully crafted, including the bouncy and infectious “Pig Dog Boogie”, where Jimmy Heffernan plants some timeless rock’n’roll flavor into the picked fun, while “Jule’s Tide” benefits much from precise guitar and meticulous steel pans in Billy Cardine’s presence. “Shenandoah”, a truly gorgeous track, then moves with much emotion in its dreamy delivery as Michael Witcher pulls off an incredible performance with both guitar and lap steel.

Landing near the end, the rhythmic and textured “Pickin’ In Holland” showcases Leroy Mack’s exception skills in a fiddle and mandolin friendly climate, and “Eden State”, with Bruce Bouton”, exits the listen with him handling both guitar and lap steel as Neil Williams contributes keyboards.

Although it’s bluegrass heavy, you’ll also spot rock, pop, jazz and blues here, where vocals are present but sparing in the very timeless and well thought out collection of some of best to ever handle a resonator guitar.

Travels well with: The Alex Leach Band- I’m The Happiest When I’m Moving; Steve Gulley & Tim Stafford- Still Here

Lillias White

Get Yourself Some Happy!

Old Mill Road, 2021

8/10

Listen to Get Yourself Some Happy!

A Tony and Daytime Emmy winner, Lillias White is a woman with many talents, as this first solo album certainly proves with its timeless rock’n’roll approach that touches on Motown, blues and soul in her Broadway influenced delivery.

“When You Wish Upon A Star” starts the listen with White’s powerful and soulful pipes in the company of warm keys and cinematic strings, and “Accentuate The Positive” follows with finger snapping fun that benefits from peppy drums and plenty of Motown flavor.

Closer to the middle, “Put On A Happy Face” puts a very adventurous and animated twist on a classic, while “The Twist” recruits wild keys and swift drumming that retains the infectious spirit of the original, and the bluesy guitars certainly won’t go unnoticed, too. “Yes”, one of the album’s best, is then textured superbly with keys, strings, guitars, drums, and, of course, White’s stunning pipes guiding the melodic and upbeat climate.

Near the end, the soaring “Make Someone Happy” mixes calmer moments of beauty with full bouts of expressive and loud singing, and “Get Happy” exits the listen with gentle piano amid stunning vocal work that touches on gospel in its powerful finish.

With more than a third of songs having the word ‘happy’ in them, White knows how to elevate a mood, and her occasional moments of orchestral and tropical sounds help make this a very diverse and uniquely charming debut.

Travels well with: Lisa St. Lou- Ain’t No Good Man; Kristin Callahan- Lost In A Dream

Aaron Burdett

Dream Rich, Dirt Poor

Organic, 2021

8/10

Listen to Dream Rich, Dirt Poor

The North Carolina singer-songwriter Aaron Burdett has been plugging away for quite awhile now and has accumulated an impressive catalog of music. Here he’s joined by an all star cast of studio musicians for a career highlight that mixes progressive roots, bluegrass and folk ideas into a working class themed listen.

“Dirt Poor” starts the listen with Burdett’s smooth, melodic singing alongside his warm acoustic guitar playing and David Johnson’s stirring fiddle prowess, and “Loser’s Bracket” follows with a harmonic display of rural rock that welcomes Derek Vaden’s banjo and Daniel Ullom’s mandolin as bluegrass nods are very much in attendance.

Landing near the middle, “Working Class” benefits from Tony Creasman’s precise percussion as vivid storytelling from Burdett unfolds with some grit in the very tuneful climate, while the swift “Rockefeller” is a busy, rootsy album highlight that showcases Johnson’s banjo acrobatics. “Written In Red” then displays much beauty in a poetic, sublime setting.

Close to the end, “I Won The Fight” emits some folk influences in the very pretty duet where Kim France’s pipes add much beauty, and “Too Far From Home” exits the listen with meticulous mandolin and strategic upright bass thanks to Jon Weisberger.

Burdett has been making some big waves with 3 tunes from this album charting and “Dirt Poor” and “Loser’s Bracket” even landing at #1. The listen as a whole is consistently great, and should further cement him as one of the best in today’s bluegrass scene.

Travels well with: Zoe & Cloyd- I Am Your Neighbor; Jeremy Garrett- Circles

Dennis Mitcheltree

Nevermind The Circus

Dengor, 2021

8/10

Listen to Nevermind The Circus

A long running trio consisting of Dennis Mitcheltree (tenor sax and composer), Jesse Crawford (bass) and Bill McClellan (drums), Nevermind The Circus has the trio regrouping for the first time in 15 years for 10 well crafted originals.

“Strummin’ While Nawlins Swims” starts the listen with Mitcheltree’s stunning sax prowess alongside McClellan’s proficient drumming and Crawford’s strategic bass in the playful jazz climate, and “911” follows with a calmer approach as the trio get soulful yet very animated in their warm delivery.

Closer to the middle, Crawford’s skilled bass plucking won’t go unnoticed on the soft and introspective “Olivia”, while “Twinkle Toes” moves swiftly and memorably in a way that will get you headed out to the dance floor. “L.A. Blues”, one of the album’s best, then flows with a timeless jazz spirit that allows each member to shine with their agile and cautious execution.

“Sasayaki” and “Tune For Tai” exit the listen, where the former is certainly not short on grooves, and the latter balances mood and texture as the three illustrate a strong chemistry amid top notch jazz sensibilities.

Though Mitcheltree now lives in Los Angeles and Crawford and McClellan remain in New York, let’s hope they still find time to make music together, cause their keen sense of jazz dynamics and strong attention to detail will always be in demand.

Travels well with: The Dave Mullen Ensemble- Solace; Max Highstein- Tiptoes

Ryan Shupe & The Rubberband

Live Vol. 2

Tydal Wave, 2021

9/10

Listen to Live Vol. 2

The Utah sensations Ryan Shupe & The RubberBand are celebrating 25 years together with this well documented live album, where their rock, country, folk and jazz nods are firmly planted in their bluegrassy ways across these 18 exceptional tunes.

“Hey Hey Hey” starts the listen with an upbeat and flowing display of soaring vocal harmonies, fiery mandolin playing and plenty of bluegrass fun, and “Simplify” continues the formula with fluid picking and a warm rootsy appeal you can’t help but enjoy.

Further into the set, “Even Superman” emits a cautious yet frisky display of fiddle acrobatics and technical drumming from Nate Young, while “Would You Love Me” showcases Craig Miner’s banjo prowess in a very thoughtful and intimate execution. “All I Need” then trims the pace back with a breezy ballad that illustrate just how skilled the band are in calmer areas, too.

Closer to the end, the quirky and country influenced “Corn Dogs” should soundtrack anyone’s trip to a state fair this summer, and “Banjo Boy” exits the listen with incredible playing from all the members, whose strings align superbly and are executed meticulously.

Shupe and company have released 8 albums before this one, and even if you never heard those records, this is still a great place to start to enjoy their inimitable and admirable bluegrass formula.

Travels well with: Wilson Banjo Co.- Six Degrees Of Separation; The Farm Hands- 4.0

Max Highstein

Tiptoes

Desert Heart, 2021

8/10

Listen to Tiptoes

A multi-instrumetalist, composer and recording artist who is well versed in jazz, rock and classical sounds, Max Highstein brings a wealth of talent and experience to 11 originals that take some esteemed help across the diverse and colorful arrangements.

Highstein leads with the playful title track, where Mark Clark’s percussion anchors the strategic use of brass and soothing woodwinds, and “The Listener” follows with effective flute from John Yoakum as well as Highstein’s soulful sax in the highly melodic landscape.

“All Bounced Up”, a particularly lively tune, lands in the middle and recruits frisky keys thanks to Highstein as Jeff Pevar’s skilled guitar work makes an impression, while “Skycap Bevnap” benefits from airy flute and warm piano amid the timeless atmosphere. “The Weaver’s Tale”, one of the album’s best, is then textured beautifully to emit the most amount of impact thanks to Ed Willett’s cello and Highstein’s finger acrobatics on piano.

Near to the end, the upbeat and charming “Toe Trucker” showcases Pevar’s profound guitar skills alongside Willet’s cello talent, and “Path Of The Heart” exits the listen with Rusty Crutcher’s alto and tenor sax front and center as the ensemble birth a very unique brand of jazz.

Highstein and company make the most of every second here, where their collective strength illuminates his vision of jazz, rock and classical working together synergistically to keep the listener engaged from beginning to end.

Travels well with: Blue Muse- It Never Entered My Mind; Slide Attack- Road Trip

2B3

Jimi

Self-Released, 2021

8/10

Listen to Jimi

The trio of Mike Abbott (electric guitar), Jeff Jenkins (B3 organ and synth) and Mike Marlier (drums), as 2B3 the esteemed musicians put an inimitable spin on Jim Hendrix tunes with their well crafted organ trio formula.

“Purple Haze” starts the listen with a particularly playful interpretation, where furious drumming, thick guitar and spirited organ do justice to the original, and “Manic Depression” follows with a calmer pace as much atmosphere unfolds in a building display of precise musicianship that’s both gritty and melodic.

In the middle, “Foxey Lady” contains no shortage of grooves as the trio display incredible chemistry, while “Hey Joe” moves cautiously amid blues guitars and dreamy keys.

Residing near the end, the meticulous guitar work of “Etched In Stone” parallels Hendrix’s greatness, and the keys and drums only complement the sublime landscape, and the final track, “Jimi”, burns slowly initially, before exiting in a powerful and calculated presence of machine gun style drumming, hazy keys and moody guitar work.

Abbott, Jenkins and Marlier each have impressive resumes of their own, and together their collective strengths tear down and reconstruct these timeless songs in a way that no one else could pull off. If there’s a better collection of Hendrix covers, I sure haven’t heard it.

Travels well with: Blue Muse- It Never Entered My Mind; Kenny Carr- Distance

Acute Inflections

400

Self-Released, 2021

8/10

Listen to 400

This May marked 40 years since Bob Marley passed away, and the duo of Acute Inflections, i.e. Elasea Douglas and Sadiki Pierre, are commemorating his life by interpreting a handful of his classic tunes with their bass and vocal formula.

After the brief, playful “400 Years Interlude 1” opens the album with careful plucking from Pierre and Douglas’ flawless pipes, they continue that approach to the very melodic “Stir It Up”, as well as charming, and soulful “No More Trouble”.

Closer to the middle, “One Love” flows with a dreamy, poetic quality where the pair retain the relevant spirit of the original, while “Concrete Jungle” emits an emotive demeanor amid an eloquent foundation. “Slave Driver”, one of the album’s best, then displays chunky bass as incredible singing unfolds with an alluring appeal you can’t help but be in awe of.

Near the end, “Get Up Stand Up” keeps the anthemic delivery of the original alive in a very pretty climate, and “Exodus” exits the listen with a very mature and technical finish that you’ll be singing along to immediately.

Douglas possesses a stunning set of pipes that are wise, intimate and capable of much diversity, and Pierre certainly knows his way around a bass, and together they turn reggae hits into groove filled jazz that continues Marley’s message of love, freedom and unity.

Travels well with: Troy Roberts & Tim Jago- Best Buddies; Kaylé Brecher- Bredux Collected Edges

Kaylé Brecher

Bredux Collected Edges

Penchant Four, 2021

9/10

Listen to Bredux Collected Edges

The extremely eclectic jazz vocalist Kaylé Brecher gets ultra creative for this 9th effort, where she arranges 11 tunes in her inimitable vision that embraces fusion with much adventurousness.

“Wild Child (World of Trouble)” starts the listen with playful drumming as dense bass and soulful trumpet complement Brecher’s very diverse and animated vocals, and “So Complicated”, an original, follows with a flurry of saxophones as Brecher pulls off a stunning vocal performance in a very expressive climate.

Elsewhere, “Cool” recruits warm keys and a timeless jazz spirit that’s as stylish as it is memorable, while “Back To The Red Clay” zips around with spirited guitar work, acrobatic drumming and Brecher’s inviting singing and scatting. “Choices”, a truly exceptional track, then benefits much from atmosphere alongside a more forceful approach that embodies all the hallmarks of jazz that we will never tire of.

“So It Goes” arrives near the end and pairs adventurous brass with an almost tribal feel as Brecher injects her frisky singing amid some Latin nods, and “Spy Music (Alternate Track)” bops and flows with a quirky, irresistible energy that certainly warrants this 2nd version.

A very involved project that welcomes 5 bassists, 3 guitarists, 2 keyboardists, 5 drummers, 4 percussionists, and plenty of brass and woodwinds, Brecher keeps the quality of her song craft as strong as anything she’s done, which, if you’re familiar with her back catalog, is a compliment to the highest degree.

Travels well with: Kristin Callahan- Lost In A Dream; Alex Martin- Folk Songs, Jazz Journeys

Ben Bostick

Grown Up Love

Self-Released, 2021

9/10

Listen to Grown Up Love

The southern one man band Ben Bostick has built himself an impressive career that started with busking on the Santa Monica Pier, and his constantly evolving song craft is even more admirable on Grown Up Love, where he soundtracks the circumstances of his family currently navigating life with a child diagnosed with a rare genetic disorder.

“Different Woman” starts the listen with some playful percussion as Bostick’s smooth pipes complement the bouncy bass and brass climate, and “Shades Of Night” follows with a calmer approach of soulful, bluesy song craft that benefits from brushed percussion and gentle guitar.

The middle tracks are among the best, and include the pretty, folk influenced “The Diagnosis”, where Bostick’s wordplay is nothing short of sublime, while “Under The Palmetto Moon” enters country territory with subtle but effective horns. “The Myth Of Translation”, the album highlight, then shows Bostick in a particularly frisky mood amid strategic backing vocals and peppy horns.

Approaching the end, “Like Old People Do” offers a bare and poetic display of timeless singer-songwriter prowess fueled by a picked guitar, and “It Seems Like Only Yesterday” follows a similar path for a slide guitar friendly finish that’s about as romantic as anything you’re likely to hear anywhere.

An album of love songs isn’t hard to find, but few are quite like this, and though the situation is quite serious, Bostick is also capable of addressing the mood with playful moments of mature, heartfelt and sincere songwriting, much like what has comprised his career up to this point.

Travels well with: Justin Wells- The United State; Adam Carroll- I Walked In Them Shoes

Joshua Radin

The Ghost And The Wall

Nettwerk, 2021

9/10

Listen to The Ghost And The Wall

Since the onset of his music career, Joshua Radin has released an exceptional album just about every 2 years, and The Ghost And The Wall, his 9th record, continues his top notch acoustic based sounds, where his inimitable singing is just as stirring as ever.

“Goodbye” starts the listen with Radin’s mesmerizing guitar and breathy vocals in an intimate and poetic delivery of timeless singer-songwriter prowess, and “Fewer Ghosts” follows with much calm beauty in a dreamy climate that benefits much from subtle piano.

Elsewhere, “Hey You” displays more forceful acoustic strumming amid playful singing, soft backing vocals and nostalgic folk ideas, while “I’ll Be Your Friend” resides in piano balladry that pairs mature keys with Radin’s hushed singing, not to mention the moody strings. “You’re My Home”, one of the quickest tracks, then proves just how versatile Radin can be alongside meticulous bouts of fingerpicking.

Landing near the end, “Till The Morning” puts much emotional density into the powerful and pop friendly track, and “Next To Me” exits the listen with a tremendous amount of beauty packed into the subdued and Americana influenced finish.

It’s been 15 years since Radin released his first album, and since then he’s seen placement in TV and film well over 100 times, sold millions of records and accumulated over a billion streams. Most importantly, however, he’s assembled a large catalog of music that resonates so genuinely and emotionally with his listeners, and this installment just might be his best yet.

Travels well with: Eric Hutchinson- Class Of 98; Mat Kearney- Just Kids

Alex Martin

Folk Songs, Jazz Journeys

Pajarito Verde, 2021

8/10

Listen to Folk Songs, Jazz Journeys

Certainly a worldly artist, Alex Martin brings us jazz arrangements of melodies that stem from folk traditions on this 3rd album, and it’s in a formula he very accurately calls ‘New World Jazz”.

“Postal de Bata” starts the listen with Martin’s sublime guitar work alongside Keith Butler Jr.’s skilled drumming and Uasuf Gueye’s balafon prowess on the playful Latin opener, and “Wayfaring Stranger” follows with a dreamy quality as Maya Rogers mesmerizes us with her romantic and expressive singing.

Further down the line, “Viceversa” brings all sorts of lovely culture into the rhythmic album highlight, while “Asa Branca” benefits much from Elin Melgarejo’s breezy vocal scatting and Ethan Foote’s clever bass work. “Le temps de cerises”, another exceptional track, then displays Lynn Véonneau’s gorgeous pipes amid a poetic climate.

Close to the end, “Laridé” showcases Martin’s meticulous guitar playing as Gaby Kerdoncuff’s soulful trumpet adds much to the creative atmosphere, and “Estamos aquí para colaborar” exits the listen with Martin’s guitar, Foote’s bass and Butler Jr.’s drums interacting with much depth and attention to detail.

Martin’s got a dozen of D.C.’s finest musicians on hand, and together they cultivate a very global feel to a journey that we’re all better off for being included on, as he navigates through Brazilian ideas, West African nods, Celtic European sensibilities and Appalachia inspired moments.

Travels well with: Kristin Callahan- Lost In A Dream; Jenny Davis- Rearranged

Elektric Voodoo

Telescope

Illusion Tournet, 2021

9/10

Listen to Telescope

An outfit spearheaded by Scott Tournet, formerly of Grace Potter and the Nocturnals, this 3rd album from Elektric Voodoo only further solidifies the 6 piece as one of today’s most diverse and exciting bands who touch on reggae, funk, jazz, Latin and many forms of rock music.

“Chasing Ghosts” starts the listen with buzzing guitar work before swift drums and a spacey atmosphere enter the smooth and agile opener, and “In The Dark” follows with warm keys and playful percussion as a very rhythmic and adventurous landscape unfolds.

Elsewhere, “Wake Up” offers a busy and highly melodic display of varied and soaring rock’n’roll, while “The Curtain” recruits plenty of brass amid the more forceful moments of dense song craft and bright synth, making this one of the album’s best.

Arriving near the end, “Water” illustrates a dynamic chemistry between the players that thumps while also touching on blues, and “Children Are The Revolution” exits the listen with much soulfulness entering the harmonica friendly and groove friendly finish.

It is very apparent that much work went into this record (rehearsing 3-4 hours a night for 3 months!), and it’s much appreciated as Elektric Voodoo rarely stay in one place for very long and keep the listener enthralled with the unpredictable and infectious songwriting.

Travels well with: Polyrhythmics- Fondue Party; Dumpstaphunk- Where Do We Go From Here

Eden James

All The Good Blank Are Taken

Dandy Ram, 2021

9/10

Listen to All The Good Blank Are Taken

The Australian rocker Eden James is in fine company on this 4th studio album, where Charles Giordano (Bruce Springsteen) handles piano, organ, accordion, Larry Saltzman (Paul Simon) contributes guitar and Sterling Campbell (David Bowie) sits behind the drum kit, to name a few.

“Bad Girl” starts the listen with a firm rock’n’roll template where James’ smooth vocals are met with backing female singing as grit and melody meet at a very memorable intersection, and “Black Book” follows with warm acoustic strumming alongside bright piano and a playful Americana spirit.

At the halfway point, the swift “New York” flows with a punchy and very modern take on indie-rock that’s got some soul to it, while “Something Called Love” offers a busy, classic rock friendly album highlight that’s textured superbly.

The final two tracks, “The Villain” and “Negative Space” exit the listen perfectly, where the former is a bit darker but yet with plenty of pretty song craft that includes accordion, and the latter burns slow, dreamy and with plenty of power and melody intact.

James possesses a talent that runs parallel to names like Petty, Reed and Dylan, as he manages to sound both nostalgic and contemporary on this very well thought out effort that puts much emphasis on mood in its very unique Americana formula.

Travels well with: Mike Still- 67 Riot; Chuck McDermott- 38 Degrees And Raining

Alan Rosenthal

Elbow Grease

Street Of Stars, 2019

8/10

Listen to Elbow Grease

A New York City native with a long history in both classical and jazz music, Alan Rosenthal brings a hefty amount of piano to Elbow Grease, as vibraphones, saxophones, bass and drums complement the fun.

“Another Sky” gets the album off to a key friendly start with just Rosenthal, and “Up The Kazoo” follows with a horn filled affair of bright, jazzy instrumentation in a full band setting.

Elsewhere, “Drop Me Here” finds playful rhythms in the festive spirit of post-bop, while “Guitar Knee” moves with an agile presence as frisky percussion aids the warm keys.

Deeper highlights include Rosenthal’s upbeat version of “They Didn’t Believe Me”, and the lively brass dynamics and swing stylings of “Dextrously”. “Old Fashioned Valentine” ends the listen with bass and drums adding much to the sophisticated yet playful formula.

An extremely varied and well composed outing, Elbow Grease seems like a fitting title as Rosenthal’s hard work certainly pays off in spades on this fluid, imaginative record.

Travels well with: Dred Scott- Rides Alone; Shawn Purcell- Symmetricity