Daughters Of Donbas

Songs Of Stolen Children

Self-Released, 2026

9/10

Listen to Songs Of Stolen Children

An all female, non-binary outfit from Ontario, Daughters Of Donbas use their talents to document the 20,000+ Ukrainian children who have been abducted from the occupied regions of Ukraine and taken to Russia, and they explore many different genres to relay these tragedies.

The gorgeous singing of the sublime “Foreign Land” starts the listen with soft keys from Marichka that add much to the elegance, and “Rusalka” follows with firm strings and expressive vocals that suit the ebullient delivery.

Moving further into the listen, “Enchantress” opens with a dreamy ambience before Alina Kuzma’s radiant bandura enters the rich climate, while “4.5.0.” blends the keys, strings, eloquent singing with much melody and warmth.

Inching closer to the end, “Another Heaven”, 1 of 2 songs that was captured live in the Ukraine, benefits from Denys Markevych’s double bass and Valeria Bezdukha’s well timed viola for the detailed album highlight, and “Soon, I Will Be Back” exits with a bare quality that’s mesmerizing thanks to the plucked bandura and harmonizing vocals.

The songs here span indie pop, neo-classical, and Ukrainian folk polyphony, and they represent activism at its finest, where the real stories of stolen children are illuminated with tremendous care.

Travels well with: Trendafilka- For The Olives; Anna Pidgorna- Invented Folksongs

Clay Dubose

Father Time & Mother Nature

Lazy River, 2026

9/10

Listen to Father Time & Mother Nature

The Texas singer-songwriter Clay DuBose pens his most personal work to date, where love, loss and family are explored with his rock, blues and country hybrid.

“When Heroes Say Goodbye” starts with some ruggedness, as Mitch Marine’s thumping drums suit DuBose’s smooth pipes and Carl Byron’s well timed organ, and “Winning Streak” follows with Ted Russell Kamp’s bass guitar and acoustic guitar adding much warmth to the rootsy flavor.

In the middle, the calmer mood of “I Hope You’re Watching” recruits Sasha Smith’s cozy organ and John Schreffler’s emotive pedal steel that complements DuBose’s heartfelt singing, while “Waiting For The Day” benefits from Doug Pettibone’s meticulous guitar amid the gentle melodies.

Later on, “Growing Wild” is an energetic album highlight that makes great use of Eric Corne’s spirited harmonica and Jamie Douglas’ scrappy drumming, and “Scotch And Soda” exits with Dean Parks’ acoustic guitar and Kamp’s acoustic bass adding much to the intimate finish.

DuBose’s resume goes all the way back to the Sunset Strip scene of the ‘80s, but after staying busy in the ‘90s and early 2000’s he stepped way to focus on family. The songs here represent a lot of changes in his life, and he approaches that with mature self-reflection and timeless songwriting meshes Americana and rock superbly.

Travels well with: The Riflebirds Of Portland- April; The Far West- Everything We Thought We Wanted

Center Of The River

Center Of The River: Americana Art Music From Mississippi

CotR, 2026

9/10

Listen to Center Of The River: Americana Art Music From Mississippi

Center Of The River is comprised of David Buchbinder, Mark Rubin and Michael Ward-Bergeman, who take influence from river’s cultural currents, where Black American music, folk song, and improvisation meet with much creativity.

“Camp Meeting” opens with the bright horn, frisky accordion and playfully plucked bass making for an upbeat start, and “Mississippi” follows with warm banjo being complemented by the soulful singing and much sincerity.

Entering the middle, “White Horse” is strong on percussion amid the harmonizing voices that unfold with much authenticity, while “Little Milton” is piano focused and allows for Ward-Bergeman’s expressive pipes to shine alongside the rich brass.

“Stranger” arrives late and is a powerful moment that pairs Ward-Bergeman’s sturdy voice with mature keys and some gospel spirit, and “Darkness Light” exits with intimacy and grace via the poetic piano playing.

The trio utilize trumpet, accordion, guitar, banjo, bass, alto horn, flugelhorn, tuba, percussion and some other noise makers, as they embrace the sounds cultivated around the banks (blues, gospel, early jazz, country song, riverboat calliopes) with a truly timeless appeal.

Travels well with: Triad- Triad; Pierre Lacocque’s Mississippi Heat- Don’t Look Back

The Dave Wilson Quartet

One Night At Chris’

Self-Released, 2019

8/10

Listen to One Night At Chris’

Recorded live in March 2018 at the legendary Chris’ Jazz Cafe in Philadelphia, this 5th album from The Dave Wilson Quartet offers 4 originals and 6 covers, although under the skill of the 4 players here, the reworkings are all reinvented with strategic jazz sensibilities.

“Ocean Blues” gets the album off to an energetic start with crisp percussion, bright horns and a shuffling pace, and this carries over to the playful, romantic “Friend Of The Devil”, a Grateful Dead tune. Elsewhere, The Beatles’ “Norwegian Food (This Bird Has Flown)” brings the pace to a lounge setting, while Creed’s “My Own Prison” moves with a healthy rhythm that you won’t be able to sit still to.

The back half of the album brings us the soulful and frisky “Movin’ On”, the spirited rendition of “God Only Knows” (The Beach Boys), and the swift keys of the ultra jazzy “Untitled Modal Tune”. The album ends on “Spiral”, a lengthy tune that’s percussively upbeat and glides with a quick tempo and beautiful interplay between the instruments.

A flawless recording with no overdubs, second takes, or studio manipulation, this set captures jazz at its finest, and Wilson’s choice of rock covers only adds to the appeal of their addictive energy.

Travels well with: Joe Lovano- From The Soul; Stan Getz- Serenity