Mike Stapleton

Dark And Deep

Twangri-La, 2020

9/10

Listen to Dark And Deep

The Maine guitarist and songwriter, Mike Stapleton is back with another batch of his varied song craft, where he spans sounds from the ‘70s on, and brings folk, country and even grunge ideas to the genuine, forthright effort.

“Cool Flow” starts the listen and makes an immediate impression with its inviting guitar tone, as strategic percussion aligns with Stapleton’s breezy melodic singing, and this continues to the sturdy ‘70s rock of the soulful “Worst Of Me”, as well as the rhythmic roots rock of “Everybody Knows”.

Stapleton includes 15 tracks here, and there’s much diversity involved, including the intimate and bare “Mint Green”, while “Other Trees” recruits a vintage country approach that’s light and quite memorable. “Long Way Back To Here”, one of the album’s best tunes, then moves with a more firm pulse as timeless folk rock qualities enter the relatable storytelling.

Closer to the end, “Where Are You Now” flirts with alt-rock sensibilities amid the dense guitar, and “Rich Man Poor Man” exits the listen with classic rock nods as Stapleton displays meticulous guitar work.

An artist who has battled depression and anxiety his entire life, Stapleton has turned that struggle into exceptional art, as this appropriately titled record certainly does dig Dark And Deep both lyrically and musically into the trappings of being human. Thankfully, Stapleton’s keen sense of songwriting keeps us engaged for the entire experience, and likely to return for more, too.

Travels well with: Matt Eckstine- Lil’ Blue; Last Year’s Man- Brave The Storm

Dave Young Quartet

Ides Of March

Modica, 2020

8/10

Listen to Ides Of March

A legendary jazz musician from Canada, the JUNO winner Dave Young is in the company of Kevin Turcotte (trumpet), Reg Schwager (guitar) and Terry Clarke (drums) here, and together the ensemble offer us an accomplished, swingin’ jazz album, where the bulk of the listen are Herbie Hancock compositions.

“Dolphin Dance” starts the listen with soft trumpet as light percussion and Young’s precisely plucked bass support the soulful jazz atmosphere, and “Speedball” follows with a lively execution of dynamic interaction amid the graceful yet frisky climate.

Right near the middle, “One Finger Snap” glides swiftly with no shortage of melody amid its contemporary jazz appeal, while “Riot” cultivates a restrained rhythm where Young’s bass prowess is front and center. “My Man’s Gone”, an album highlight, then finds itself in ballad territory as much beauty flows from the cautious brass.

“The Target” and “Forty Five Degrees” round out the listen, where the former finds plenty of clever grooves, and “Forty Five Degrees”, one of the two Young originals, exits the listen with a whole lot of fun wrapped into a playful finish where spirited guitar lines really add much to the memorable exit.

A pillar of the jazz community and also an educator, Young proves with Ides Of March that 5 decades into his career, the quality of his craft isn’t waning one bit.

Travels well with: Doxas Brothers- The Circle; Rebecca Hennessy- All The Little Things You Do

Pluralone

I Don’t Feel Well

ORG, 2020

9/10

Listen to I Don’t Feel Well

The guitar player for Red Hot Chili Peppers until just recently, this primarily solo endeavor, Pluralone (pronounced ‘plural one’) has Josh Klinghoffer taking help from members of RHCP, Jane’s Addiction, and Dot Hacker to help flesh out these 10 brand new and original tunes.

“Red Don’t Feel” starts the album with fluid percussion, expressive singing and, of course, proficient guitar work as plenty of emotion is presented, and “The Night Won’t Scare Me” follows with a soulful quality to the dreamy alt-rock where Klinghoffer’s vocals emit much beauty amid the strategic keys.

Halfway through, strings and keys enter the soft, sublime climate of “Steal You”, while “Mother Nature” builds quickly into an anthemic landscape of gritty yet melodic alt-rock. “Knowing You” then segues into powerful, retro inspired sounds that comes with plenty of atmosphere that almost seems like Klinghoffer’s version of R&B.

As we approach the end, the tense “Don’t Have To” is an intimate dip into piano balladry, and “I Hear You” showcases Klinghoffer’s versatile pipes and mature piano playing where violin, viola and double bass contribute to the cautious and stirring finish.

An artist who has been involved with some really extraordinary music (he’s also played with PJ Harvey, Beck and Gnarls Barkley), I don’t feel like I’m in the minority when I say that Klinghoffer’s best work is happening right now at the onset of his solo career, as evidenced by this remarkable album.

Travels well with: Dot Hacker- Inhibition; The Flaming Lips- King’s Mouth Music And Songs

Todd Mosby

Aerial Views

MMG, 2020

8/10

Listen to Aerial Views

The esteemed guitarist and composer Todd Mosby takes up some great company here, including Tom Eaton, Sean Harkness and Michael Manning, among others, as he continues his theme surrounding natural elements by focusing on air this time around.

The aptly titled “Gliding” starts the listen with intricate, rhythmic guitar work as Jeff Haynes provides deft percussion alongside soulful soprano from Premik Tubbs, and “Across America” follows with a warm melodic appeal as a violin solo from Charlie Bisharat makes an indelible impression.

Near the middle, “Into Starlight” offers a dreamy approach as hazy synth and gorgeous wordless vocals from Lola Kristine help set the mood, while “Sailing Sylphs” benefits greatly from lap steel, violins and Mosby’s sublime acoustic guitar. “Blue Horizons”, one of the album’s best, then moves at a swifter pace where Tony Levin’s bass and Kristine’s piano prowess help illuminate the soothing jazz climate.

Deeper still, the title track emits a timeless quality amid a much larger vocal presence from Kristine as Bisharat’s emotive violin resonates with timeless beauty, and “Shining Lights” exits the listen upbeat and brisk as firm drumming and the only lyrical singing is met with both Eastern and Western ideas.

Certainly classically influenced and not without New Age nods, Mosby and company mesh wood and strings like few other could on Aerial Views, and taking into account Mosby’s history with Indian sounds, and the fact that Will Ackerman produced the effort, you’re not likely to be disappointed here.

Travels well with: Paul Winter- Light Of The Sun; Igor Kogan- In A Big City

Ghostlawns

Motorik

Sub, 2020

8/10

Listen to Motorik

A Welsh collective who arrive with a debut album here, Ghostlawns embrace a formula that’s part guitar driven rock, part key focused ambitiousness and entirely intoxicating in its dizzying execution.

“Breaking Out” starts the album with plenty of electronic ambience as a buzzing display of frisky percussion and alt-rock ideas enter the sleek opener, and “Guppy” follows with a synth fueled adventure that sounds right at home in the ‘80s with its dance-rock appeal.

Toward the middle, “Akademie” move softly, with calm synth amid warm guitar lines in the subdued climate, while “Y Gorwei” finds a dreamy place to reside, where plenty of atmosphere and melody reside amid a shimmering backdrop. “Friday Sky”, the album highlight, then recruits mystery and some spacey sounds as post-punk nods align with a very modern day electro-pop feel.

At the end, “Pen mae’r adar yn canu” offers the sounds of birds alongside a hazy execution of blurry vocals, and “When In Cathays” finishes the album with plenty of playful electronica and a more dense landscape of exciting rock gestures.

An excellent starting point for these Cardiff residents, the members have impressive resumes that includes playing in outfits like Right Hand Left Hand, Gulp, Gentle Wood and others, but let’s hope Ghostlawns continues to thrive, cause there’s much potential in their attention to melody, rhythm and groove on Motorik.

Travels well with: The Holy- Mono Freedom; Kidsmoke- A Vision In The Dark

Selfless Orchestra

Great Barrier

Stock, 2020

9/10

Listen to Great Barrier

A collaboration of musicians from the Perth, Australia community, Selfless Orchestra brings plenty of post-rock ideas to a classically influenced setting where founding members Steven Alyian, Ray Grenfell and Jerome Turle help construct sonically engaging swells of complicated and often powerful instrumentation.

“Boundless, Measureless” starts the listen with barely audible ambience as quivering strings enter the building atmosphere, and “Time Is A Flower Part I (The Dream Refused To Stay The Same)” follows with a serene landscape of sublime post-rock that escalates into a tense display of exploration where vocals are used like an instrument.

As we get into the middle, “False Bodies Part I (Innocence)” makes great use of bare keys as gorgeous strings add much sophistication, while “False Bodies Part II (Ignorance)” goes the opposite direction with an abrasive mashing of orchestral and thundering haze that’s as intimidating as it is ominous. “Bleached”, an album stand out, then spends 7 minutes moving from warm piano into a sublime display of cautious drums amid aching strings.

The last two tracks exit the listen perfectly, where “Whalesong” is an unusual, cinematic moment of adventurous manipulation, and “Eden Is Lost” unfolds across 10 minutes of cathartic, fascinating and occasionally thick droning that embraces metallic sensibilities.

There’s some substantial resumes on hand here, as members of the Perth Symphony Orchestra, Karnivool, Injured Ninja, The Weapon Is Sound and many others comprise Selfless Orchestra, and the result is an album that takes a post-rock template and branches into countless, exciting avenues you won’t regret exploring.

Travels well with: Cosse- Nothing Belongs To Anything; Christopher Sky- What It Is, It Isn’t

Frank Kohl

Solitude

Self-Released, 2020

8/10

Listen to Solitude

The always impressive Frank Kohl returns with his 6th album, where the veteran guitar player tosses in 5 covers as he tackles the always challenging solo jazz record with the aptly titled Solitude.

Kohl starts the listen with the soothing melodies of “Dreams In Color”, where his intricate guitar playing seems effortless in his capable hands, and “I Got It Bad” follows with Kohl’s inimitable delivery on the Duke Ellington tune.

Closer to the middle, “A Call For Peace” flows with much beauty and grace in its reserved nature, while “Fly Away” glides with a meticulous rhythm that few, if anyone, could replicate. “City Lights”, a late album highlight, then has Kohl dancing around melodies in his interpretation of the Oscar Peterson original.

As we near the end, “My Shining Hour” offers sublime, timeless jazz and “Once I Loved” finishes the listen with Kohl’s version of the bossa nova classic that illustrates his deft picking skill.

An album that Kohl has envisioned his entire life, he now joins the ranks of Joe Pass, Martin Taylor and John Stowell in pulling off a first rate and universally embraceable solo guitar record.

Travels well with: Igor Kogan- In A Big City; David Boswell- The Story Behind The Story

3D Jazz Trio

Christmas In 3D

DIVA, 2020

10/10

Listen to Christmas In 3D

The powerhouse trio of Jackie Warren, Amy Shook and Sherrie Maricle, i.e. 3D Jazz Trio, bring us 10 very heartfelt and exquisitely fleshed out holiday songs here, where their motto of ‘Fiercely swinging on purpose, with purpose’ is certainly enforced and executed with plenty of variety.

The trio start the album with a playful rendition of “Winter Wonderland” that will be sure to get your body moving as Warren’s piano skills shine bright in the groove filled environment, and “Up On The Housetop” follows with Maricle’s drum prowess providing an ideal backbone to the soulful atmosphere that embraces a calypso arrangement.

Near the middle, “O Christmas” offers a busy display of sublime synergy between the esteemed musicians, while “Please Daddy (Don’t Get Drunk This Christmas)” illustrates Shook’s fiddle acrobatics in the timeless bluesy, country album highlight. “I Wonder As I Wander”, another exceptional track, then swings with a lively pulse that tips it hat to Brazilian flavor and Jobim, specifically.

Two of the most well known Christmas songs finish the listen, as the ladies pull of a spirited, gospel version of “Silent Night”, where Shook’s acoustic bass adds much to the landscape, and “Have Yourself A Merry Little Christmas” exits the listen percussive strong amid a firm opening that leads into a superbly swinging finish.

Even though all these traditional songs are presented here without vocals, you’re likely to not even notice as the trio mesmerize us with their innovative interpretations and agile interplay that helps make this a flawless Christmas album.

Travels well with: The DIVA Jazz Orchestra- Diva + The Boys; Rebecca Angel- For What It’s Worth

Deborah Silver

Glitter & Grits

NTL, 2020

9/10

Listen to Glitter & Grits

A Mississippi native with a stunning voice and the ability to make any song her own, Deborah Silver returns with a handful of classics that span jazz, country and Americana, among other genres, and she’s got an all star cast along for the ride, i.e. Ray Benson’s band, Asleep At The Wheel.

The aptly titled “I’ve Got Rhythm” starts the listen with dancing keys, soulful sax and shuffling percussion supporting Silver’s soaring, charming vocals, and “That Old Black Magic” follows with a smooth delivery from Silver as playful plucked bass aids much in the retro climate.

Further along, “Ballin’ The Jack”, a duet with Ray Benson, has her pretty pipes complementing Benson’s gritty approach as spirited guitars and frisky fiddle are along for the R&B fun, while the vintage quality of “Get Happy” make an impression that’s glorious and even recruits a fiddle solo. “Embraceable You”, an album highlight on the back half of the record, then resides in ballad territory as Silver’s versatile singing guides the romantic climate.

Near the end, Mickey Raphael lends his harmonica prowess to two exceptional tunes, the jazz friendly “Don’t Get Around Much Anymore”, and “Deep In The Heart Of Texas”, which finishes the listen with a bouncy appeal of hand clapping and rural melodies that shine in the boogie-woogie demeanor.

A survivor of a rather lengthy battle with Covid, Silver also beat a rare bone disease that left her in a wheelchair for a year. Always the philanthropist, she often donates proceeds of her record sales to charity, and she’s even directly involved with ALS research. From dealing with some of life’s most difficult moments to rising up the Billboard charts, Silver again proves that few people are ever going to belt out a tune the way this talented songstress does.

Travels well with: Sue Anne Gershenzon- You Must Believe In Spring; Sharon Isbin- Affinity

Jay Carlis

Here We Are

Self-Released, 2020

9/10

Listen to Here We Are

A Philadelphia singer-songwriter and guitarist who’s inspired by the work of Jason Isbell and Robert Hunter, this first solo album from Jay Carlis brings us an intimate and very skilled take on Americana where Ross Bellenoit contributes a variety of instruments alongside plenty of other Philly musicians.

Carlis starts the listen with the warm, acoustic strumming of “Unwind”, as his soulful, smooth pipes enter the breezy Americana that benefits from both banjo and organs, and “Change My Mind” follows with a rootsy appeal as backing vocals from Brittany Ann Tranbaugh complement the inviting atmosphere.

Elsewhere, Maura Dwyer’s fiddle prowess makes an impact on the reflective “Every Passing Day”, while “Writing On The Wall” is a lush and very dynamic display of folk-friendly song craft that’s never predictable and certainly timeless.

The finals 2 songs are among the best, and include Katie Barbato’s gripping vocals alongside Carlis’ emotive delivery on the soaring “Fire And Flood”, and “Hey Juniper” exits the listen with a lullaby quality as the eloquent love song finishes the listen on a very high note.

Carlis spends most of his music focus as lead singer and principal songwriter for The Barrel Fires, a Philly rock band, but let’s hope he still finds time to explore his more rural musical interests, cause he’ got a knack for the genre and even incorporates some of the spirit from his formative years admiring The Grateful Dead into this excellent debut.

Travels well with: Ross Bellenoit- Where Does The Light Go?; RB Morris- Going Back To The Sky

Panaviscope

Like The Sun

How Bad Pretty Bad, 2020

8/10

Listen to Like The Sun

The recording moniker of Alex Duloz, the Switzerland resident plays all instruments and sings as Panaviscope, where his multi-faceted version of pop unfolds with a very peculiar and always entertaining vision.

“Like The Sun” starts the listen with bright, pop influenced song craft as expressive falsetto vocals enter the beat friendly opener, and “Sham” follows with an initially darker approach as the rhythmic tune builds into a club friendly display.

Closer to the middle, “Talking To Flowers” is both busy and sparse, where precise drumming complements the waves of synth, while “My Sky” is a stylish and playful peek at Duloz’s creative nature with hip-hop influences. “The Joy Of Grasping”, one of the album’s best, then offers an upbeat and punchy peek into quirky indie-pop that’s instantly adorable.

As we near the end, “A Sea Of Papers” produces many textures in under 4 minutes that buzz, soar and are buried in his artistic nature, and “Animaux Sombres” exits the listen being sung in French, where a pretty landscape develops around a myriad of tuneful ideas.

Duloz has said that he hopes his songs will inspire people to dance in clubs and also dream in their beds on a rainy day, and I’d say he easily achieved that with this charmingly eccentric album.

Travels well with: Soft People- Absolute Boys; Pyjamarama- Simple Living

Majamisty Trio

Organic

Mistyland, 2020

8/10

Listen to Organic

A trio from Serbia consisting of Maja Alvanovic, Ervin Malina, and Lav Kovac, the aptly titled Organic flows in and out of dreamy jazz sensibilities, where the interaction between the keys, bass and drums is nothing short of beautiful.

“Heritage” starts the listen with flowing keys from Alvanovic as subtle percussion from Kovac provides much ambience in the hazy opener, and “Longing” follows with warm melodies populating the cautious environment.

In the middle, “Duda Jam” is a brief moment of nature-esque sounds that are quite meditative, while “Jungle” spends over 8 minutes mesmerizing us with bass acrobatics from Malina before atmospheric keys and crisp percussion enter.

“Absence”, one of the best tracks, then unfolds with dynamic chemistry from the trio as lush melody flows with a reflective spirit, and “Because Of Rain” exits the listen with both tension and grace as a more firm landscape builds from the sophisticated vision.

Often an intimate experience and not without a cinematic demeanor, Organic is an eloquent and meticulously textured journey, where the 3 musicians work well off each other’s strengths, leaving the listener elevated, perhaps even euphoric.

Travels well with: Ashley Locheed & Chris Rottmayer- So In Love; Adam Glaser Trio- Wide Awake

Damiá Timoner

Jerry’s Smilin’

Zoho, 2020

8/10

Listen to Jerry’s Smilin’

If the title doesn’t give it away, the Spain based guitarist Damiá Timoner offers us a tribute album here, but not a traditional one in that he also includes songs by different composers who were in The Grateful Dead at some point over the decades.

“Brown Eyed Woman” starts the listen with warm, inviting guitar as the melodies flow out with seeming ease, and this follows with the extremely detailed “Ramble On Rose”, as well as Bob Weir and John Barlow’s “Cassidy”, which illustrates intricate picking in a dreamy setting.

In the middle, “Lady With A Fan/Terrapin Station” brings the longest track at 9 minutes, where Timoner delivers a breezy, almost meditative performance, while “Blow Away” is nothing short of sublime in its cautious yet playful demeanor that’s more firmly based in rock.

Further down the line, Ron McKernan’s “Operator” unfolds with grace and warmth amid blues nods and a memorable riff, and “Touch Of Grey”, one of Garcia’s most known songs with the refrain ‘I Will Get By/ I Will Survive’, exits the listen with no shortage of the Dead’s spirit as Timoner puts his own mark on the classic tune.

Timoner takes some liberties with the songs by changing the key and altering the pitch, however, considering how often The Grateful Dead are covered note for note, it makes this effort a whole more interesting, ensuring smiles from everyone willing to visit.

Travels well with: Swingadelic- Bluesville; Jay Willie & James Montgomery- Cadillac Walk

Sonny Green

Found! One Soul Singer

Little Village Foundation, 2020

9/10

Listen to Found! One Soul Singer

Although you probably have never heard of Sonny Green, one listen of this debut album and you won’t forget his inimitable craft as the soul singer belts with the best of them across this blues, gospel, and R&B flavored album that hosts Kid Andersen on guitar and production duties.

“I’m So Tired” starts the listen but it certainly doesn’t seem like he’s tired as Green’s soulful growl is met with bright horns on the funk filled fun, and “If Walls Could Talk” follows with frisky rhythm as Green’s pipes illuminate the festive spirit.

As we get towards the middle, “Cupid Must Be Stupid” offers a punchy and dynamic display of timeless R&B nods, while “Blind Man” makes great use of warm guitar lines as a restrained but powerful execution from Green’s pipes is both stirring and inspiring and comes with plenty of blues. “If You Want Me To Keep On Loving You”, a late album highlight, then benefits from organs amid the melodic guitar solos as Green reworks the tune he penned in 1971 with much flair.

At the end, “I Got There” bounces with plenty of grooves to get your body in motion, and the sax solo from Gordon Beadle is nothing to spit at either, and “Be Ever Wonderful” finishes the listen with a more bare approach as Green pulls off an amazing performance with his passionate singing.

Amazingly, Green is 77 years old, but you certainly wouldn’t know it from his sturdy set of pipes. After a lifetime of honing his skills in Los Angeles, and releasing a string of 45’s in the ‘60s and ‘70s, though this first album might be many decades later than he intended, at least he’s finally in a place to show the world his unparalleled talent.

Travels well with: George Benson- Weekend In London; Deltaphonic- The Funk, The Soul & The Holy Groove

Dan Friese

Jane Songs

Self-Released, 2020

8/10

Listen to Jane Songs

It’s been a busy year for the Eugene, Oregon troubadour Dan Friese, who just released an EP in the spring prior to this debut album. A multi-instrumentalist and poetic lyricist, Friese takes up company from Eric Carne, Bill Bambach and Irina Markevich across these 10 introspective tunes.

“Start Breathing In” starts the listen with acoustic guitar and harmonica as Friese’s smooth pipes steer the kind of blues, sort of country and definitely folk influenced opener, and “I Can’t Say” follows with a calmer display of soulful song craft that even flirts with psychedelia.

Halfway through, “Inner Child” gets a bit playful amid warm harmonica and rugged rhythm, while “Open” is a raw but pretty display of reflective guitar and cautious xylophone. “The Beginning” then focuses on piano as moody guitars complement the pensive instrumental.

The last two tracks are among the best, and include the agile acoustic guitar and percussion from Carne of “Stop Bringing Everybody Down”, where Friese’s inviting vocals are met with Markevich’s soothing violin, and “This Life” retains the violin on a chamber folk friendly exit.

Friese has a knack for storytelling, and he’s no slouch at playing the guitar either. His unique brand of Americana might just remind you of names like Jeff Tweedy or Jim James, and who’s going to have a problem with that?

Travels well with: The Jayhawks- XOXO; John Hiatt- The Eclipse Sessions

Twin Flames

Omen

Self-Released, 2020

8/10

Listen to Omen

A pair of folk artists from Canada who embrace many different ideas in their well thought out songwriting, Jaaji and Chelsey June, i.e. Twin Flames, return with a 3rd album that’s rich with flutes, traditional drums, and even throat singing.

The album leads with “Battlefields”, where a warm atmosphere blends into the duo’s soft, sublime vocal delivery that guides the beat heavy, pop focused landscape with harmonies in Inuttitut, and “Pisuppunga” follows with a dreamy folk-rock spirit where expressive singing from Jaaji is key as much beauty is present.

Close to the middle, the lone cover, “Grace Too”, a tribute to Gord Downie, has Chelsey handling most vocal duties with woodwinds and much grace that collides with bouts of cultured alt-rock in the very unique landscape, while “Giants” resides in bare piano balladry, amid stirring, emotive power. “Follow Me”, one of the record’s best, then offers a rhythmic and punchy take on modern rock, where grit and melody meet at a very interesting intersection.

Near the end, the title track recruits Andree Levesque Sioui, Nina Segalowitz, and Charlotte Qamaniq for a vocally strong and poetic display of both busy, profound musicianship and quiet ebbs of sophistication, and “Shadows” continues with a dramatic execution of strings, keys and Chelsey’s soaring pipes.

Few outfits are as diverse as Twin Flames, and their eloquent wordplay that surrounds global warming, addiction and mental health only adds to the appeal of Omen. Jaaji and Chelsey, who are married, also bring plenty of intimacy to this highly atypical experience that draws us in immediately.

Travels well with: The Trews- Civilianaires; The Tragically Hip- Now For Plan A

Confusionaires

From The Headache To The Heartache

Self-Released, 2020

9/10

Listen From The Headache To The Heartache

Canada’s Confusionaires aren’t your run of the mill rockabilly band, and From The Headache To The Heartache isn’t your typical heart on your sleeve album. Rather, the trio offer both twangy sounds and punk fueled energy in their also blues and vintage rock’n’roll flavored formula on this lively sophomore album.

“Many Miles To Go Go” gets the listen off to an impressive start with spirited rockabilly, where raw vocals are met with plenty of melodies and deft slide guitar, and this strong musicianship continues to the county influenced rocker “Blue For Two”, as well as the surf rock of “I Like Cars”.

In the middle, “Romantic Mystery” gallops with a rural spirit amid some of the best singing present, while “Graveyard Shift At The Rumor Mill” moves with a bit of mystery in its textured, instrumental climate. “Crazy Is Just What I Do”, the album’s best, then resides in retro-rock territory with no shortage of gritty melody.

Near the end, “I Got A Heart” swaggers with a rootsy display of swinging energy, and “Sometimes I’m Bad” finishes off the listen rugged and tuneful, where the trio’s dynamic chemistry makes an indelible mark.

A record that just begs to be heard live, there isn’t a moment here that isn’t exciting and infectious as Confusionaires tip their hats to the past with some of today’s best rockabilly.

Travels well with: The Beaumonts- This Is Austin; The Neptunas- Mermaid A Go Go

Bonnie Whiting

Perishable Structures

New Focus, 2020

8/10

Listen to Perishable Structures

The esteemed percussionist and composer Bonnie Whiting brings us a very unique effort here, where speaking percussionists handle storytelling as it examines the relationship between percussion and spoken narrative.

The Whiting original, “…perishable structures that would be social events: IV. Varése”, starts the listen with a brief display of playful yet reserved drumming that makes great use of space, and Frederic Rzewski’s “To The Earth” follows with poetic storytelling amid bare, charming percussion that becomes quicker and gets more hypnotic, nearly meditative, into its 10 minutes.

The back half of the record offers Richard Logan-Greene’s “Your Thoughts While Listening”, where low rumbling sets the mood for a cinematic appeal that’s the only composition without vocals. The final track, “Exercise For Hands Right, Left And Deserted Mouth: no. 4 Speaking Percussionist And Ditties”, by Susan Parenti, exits the listen with several percussive instruments coinciding with what seems like a one sided conversation that evolves into an off kilter and disjointed exploration of fascinating demeanor.

An effort that’s appreciated for both its percussive and spoken elements and that bridges the gap between the two mediums with an abstract and always exciting execution, Whiting pulls of an ambitious endeavor here.

Travels well with: andPlay- Playlist; Hilary Hahn & Hauschka- Silfra

Chris Matheos'

Inverse Universe Dreams In Blues & Jazz

Self-Released, 2019

8/10

Listen to Inverse Universe Dreams In Blues & Jazz

A bass player, composer and author of over 20 instructional books to his credit, Chris Matheos brings his vast experience and skill to this 16th album as bandleader.

“Disgruntled Dolphin” starts the listen with playful, warm instrumentation as bluesy fun enters from Rusty Zinn’s strong guitar prowess, and “Ruffin’ Up Santa” follows with soulful singing amid a calmer, but certainly just as inviting, setting.

Later on, “308 Reasons” offers frisky jazz moments amid the sublime vocal work, while “Sally (Crashed Her Mustang)” makes great use of bright brass alongside plenty of funk spirit. “Uphill Slope”, an album stand out, then moves with a soft, hazy approach that complements the soaring, emotive singing and searing guitar solo.

Deeper still, “Jellyfish Stomp” swings with an instantly memorable delivery that will get your body moving with ease, and “Surfer Girl (Takes A Spill)” finishes out the listen percussive strong and with no shortage of grooves present in its infectious climate.

There’s a whole lot of talent on hand here, including Johnny Burgin, Denny Dias, and Deborah Del Mastro, among many others, and Matheos steers his songs in and out of his ‘Bluesion’ formula that’s always unpredictable, highly enjoyable and is as timeless as it is unique.

Travels well with: Johnny Burgin- Live; Bob Margolin- This Guitar And Tonight

THE JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS

Big Band Holidays II

Blue Engine, 2019

8/10

Listen to Big Band Holidays II

An album that was recorded live with Wynton Marsalis at the helm as well as an esteemed list of contributors, the ensemble deliver new and traditional arrangements of holiday staples on this accomplished effort.

“It’s The Most Wonderful Time Of The Year” starts the listen off with lively horns and a bouncing, festive spirit in the traditional, and “Cool Yule”, with Catherine Russell, follows with her smooth vocals guiding the jazz flavored fun.

Elsewhere, “O Tannenbaum” brings in Aretha Franklin for a piano friendly, soulful delivery of timeless beauty that’s specific to this release, while “(Everybody’s Waitin’ For) The Man With The Bag” puts an ultra playful spin on the classic, as Veronica Swift offers her pretty vocals.

Near the end, “Silver Bells” has Russell back again with an elegant display alongside flutes and trombones, and “Silent Night” ends the listen with a more guitar focused track as Denzal Sinclaire add his deep vocals.

A very diverse listen that recruits plenty of solos while also finding swinging fun alongside gospel influences, some of these interpretations might just be the best you’ve heard yet.

Travels well with: Wynton Marsalis- Black Codes (From The Underground); Wayne Shorter- The Soothsayer