Maze & Lindholm

Where The Wolf Has Been Seen

Autumn-b, 2018

8/10

Listen to Where The Wolf Has Been Seen

A collaboration between P. Maze of Orphan Swords fame and producer/musician Otto Lindholm, as Maze & Lindholm the pair breed a very atypical landscape armed with double bass and electronics on this fascinating debut.

“Part I” starts the listen with a mysterious atmosphere as dark, cinematic qualities emerge from the low droning of precise texturing, and “Part II” continues the creativity with nearly sci-fi noises that are buried between the ominous landscape and electronic manipulation.

The second half of the listen takes a similar course, where “Part III” pairs experimental stabs into the tense climate, and “Part IV” exits the listen with an unorthodox intimacy amid minimal song craft that’s turned into a refined science.

You’re not likely to hear anything else out there that sounds like Where The Wolf Has Been Seen, as the Brussels pair recruit and execute classical and electronic tonalities with an exciting and captivating vision.

Travels well with: Th/s /s Sh/t- ///; Mnemotechnic- Blinkers

Future Peers

I’m Sorry

Garment District, 2018

8/10

Listen to I’m Sorry

The Canadian outfit Future Peers know their way around a dance influenced and art-rock flavored tune, and here they offer us 6 guitar and synth fueled tracks that aren’t short on hooks and melody.

“Madonna Trash” starts the album with bright and vibrant electro-pop where throwback New Wave ideas are met with some post-punk nods, and “Blood Season” follows with calm moments of beauty as plenty of warm atmosphere unfolds amid a club-friendly appeal.

The back half of the listen offers the darker qualities of “Persistent Time”, where artistic touches on their playful brand of pop are highlighted, while the buzzing synth of “Didn’t I Deny” points towards the ‘80s with a soulfulness buried in the busy execution. “Lines” exits the listen heavy on percussion and synth as some of the best singing present helps makes this the strongest track included.

Spearheaded by Luke Correia-Damude (Vocals & Guitar) and with William Culbert (Drums), Michael Lobel (Synth & percussion) & Antonio Naranjo (Bass & Keys) rounding out the quartet, Future Peers indeed bring some futuristic moments to their often also nostalgic song craft on this really well built EP.

Travels well with: Stiletto Feels- Push Back; Soft People- Absolute Boys

Betty R. Wishart

Moods

Ravello, 2020

8/10

Listen to Moods

The esteemed composer Betty R. Wishart returns with compositions for solo piano that are performed by Jeri-Mae G. Astolfi, where the impressionistic atmosphere illustrates the many possible textures the piano can emit.

“Phantasmagoria” starts the listen with cautious keys that rumble with an imaginative, low appeal, and “Atmospheres” follows with 4 movements that span from upbeat and firm to calm and soothing and with no shortage of melody.

Later on, “Preludes: In Memoriam” unfolds across 8 movements named for important figures like Winston Churchill, Jane Austen and Sylvia Plath, where the landscape shifts from warm and emotive to frisky and exciting with an unparalleled amount of agility. “Vibes”, one of the record’s best, then makes an impression in under 5 minutes across 3 movements that includes some of the quickest, most precise musicianship present as abstract nods and jazz sensibilities are embraced. The the dramatic moments and sublime beauty of “Illusions” finishes the effort, as pedal effects and tonal manipulation highlight the mood.

An exceptional endeavor in the area of solo piano music, each selection here brings the listener on an exhilarating and enlightening journey that truly showcases the boundlessness of the piano.

Travels well with: Stuart Weber- Pieces Of Road; James Lentini- Through Time And Place

Charles Colizza Group

Hug The Devil

Self-Released, 2020

8/10

Listen to Hug The Devil

A Canada native who now resides in New York, Charles Colizza knows his way around a guitar and is well versed in jazz. Always unpredictable, he’s played many different styles and genres, and this debut album has Colizza in the company of Billy Drewes, Jake D’ambra, Nick Panoutsos, and Lukas Akintaya.

The album leads with “Ground Zero”, where plenty of ambience enters as spacey sounds and much cautious instrumentation resides, and “Mmm…Yeah Sure” follows with a quicker tempo of charming jazz ideas amid a frisky nature that hosts sax solos from both Drewes and D’ambra.

Near the middle, their sublime interpretation of Cole Porter’s “What Is This Thing Called Love” benefits from proficient drumming from Lukas Akintaya as Colizza’s guitar lines are nothing short of extraordinary, while “Line’s Celebration (Birthday Song)” pairs charming saxophone with playfully plucked bass by Nick Panoutsos on one of the album’s best tracks. The record exits on the title track, as skilled improvisation unfolds with each artist displaying their respective talents in spades.

Colizza and company turn in a top notch first album here, where superb texturing and timeless melodies ensure that each track shines in its own light while still being part of a cohesive listen that absorbs well from beginning to end.

Travels well with: Alexander McCabe- I’d Prefer; Chris Rottmayer- Sunday At Pilars

Michael J. Evans

The Adventures Of Florian

Navona, 2020

8/10

Listen to The Adventures Of Florian

Michael J. Evans brings us an extremely detailed effort for his 7th release on the Navona label, where he presents a modern adaptation of the Henry Beston fairytale of the same name. The Adventures Of Florian also brings LGBT characters into focus, helping establish the difference between sexual orientation and gender identity.

Disc 1 consists of 2 acts, where Act 1 flows with a cinematic, orchestral quality that alternates between sweeping strings, bouts of bright percussion and plenty of precise interaction, while Act II moves with an often haunting quality that’s mysterious, inviting and unpredictable.

Disc 2 leads with firm, triumphant dynamics that are certainly powerful and quite playful as the varied instruments dance in and out of each other with an inimitable presence, and Act 4 exits the listen with soaring, stirring and commanding song craft that finishes the fairy tale on a very high point.

A very unique adventure, Evans often assigns each instrument to a character, where the oboe represents Isabella until his shift into Florian, when the soprano sax then defines him. The colorful music is even accompanied by 100+ illustrations by Appoline Etienne, which only adds to the vivid, radiant nature of the record.

Travels well with: Shuying Li- World Map; Quatra Duo- Painted Music

Lee Ritenour

Dreamcatcher

The Players Club, 2020

10/10

Listen to Dreamcatcher

It’s been half a decade since we’ve heard any new studio work from the Grammy Winner Lee Ritenour, and the guitar virtuoso certainly make the wait worth it on these 12 instrumental tracks what weave in and out of jazz, country, and rhythm & blues with incredible proficiency and much power, too.

The title track starts the listen with gentle guitar picking in a dreamy, soothing climate, and “Charleston” follows with dynamic chord progressions in the meticulous, mesmerizing delivery the embraces jazz and blues with much appeal.

Near the middle, “Starlight” flows with plenty of beauty amid its warm melodies, while “Abbot Kinney” moves with louder, classic rock influenced display of strong guitar prowess. “For DG”, one of the album’s best, then recruits a soulful quality that immediately strikes a chord in its agile nature.

As the end approaches, “Low & Slow” finds a hypnotic groove to reside in, and “2020” exits the listen with so much skill and absorbing technique, that it’s certainly not difficult to see why Ritenour has received so much praise in his esteemed career.

The last few years have come with a lot of turmoil for Ritenour, whose home suffered a fire that destroyed most of his life’s work. Right after that tragedy, he went in for heart surgery. With those obstacles just barely in the rear view mirror, he set out to do one thing he had yet to accomplish in this 5 decade career- a solo guitar album. And it sure is a masterpiece.

Travels well with: Frank Kohl- Solitude; Igor Kogan- In A Big City

Yumi Ito

Stardust Crystals

Unit, 2020

8/10

Listen to Stardust Crystals

A Switzerland based songstress, Yumi Ito pens a big band album here for an 11 piece outfit, where neo-classical, art-pop, progressive and jazz ideas unfold with a very precise yet playful delivery.

The album leads with title track, where Ito’s pretty pipes guide the emotionally stirring atmosphere that’s string friendly and cinematic, and “Little Things” follows with vocal acrobatics as graceful, orchestral ideas enter a very elegant setting of meticulous song craft.

In the middle, “Ballad For The Unknown” benefits from moody violin as warm vibraphone helps illuminate the sublime beauty, while “Unwritten Stories” glides with pop melodies amid a frisky jazz spirit that recruits bass clarinet from Enrique Oliver as well as exciting wordless vocals.

The final two tracks are among the best, and include "When The Lights Go Down”, where a dreamy execution unfolds with deft saxophone prowess, and “Spaziergang in Prag” exits the listen heavily textured with plenty of cultural influences that collide with an inventive and creative approach.

Ito has a knack for intimate and versatile songwriting, and these 8 very eclectic originals showcase a unique talent that will draw the listener in immediately.

Travels well with: Benny Sings- City Pop; Ganna Gryniva- Dykyi Lys

Alexander McCabe

I’d Prefer

WAMCO, 2020

8/10

Listen to I’d Prefer

Alexander McCabe has an impressive resume that includes playing with the Ray Charles Orchestra and the Chico O’Farrill Afro-Cuban Big Band. Here, the saxophonist, pianist and composer returns with his 4th album as leader, where he handles alto-sax on primarily originals while taking some help from an esteemed cast.

“You Really Don’t Care” starts the listen with Anne McCabe’s smooth, expressive vocals guiding the playful and warm jazz opener as George Coleman’s tenor sax really illuminates the timeless spirit of the song, and “A Christmas Song” follows with soulful keys from Paul Odeh as the soft, intimate vocals suit the reflective climate.

At the halfway point, “Together Again”, the lone cover, is full of mature melody as the rhythm section of Chris Haney and Jeff Brown anchor the tune well, while “Miss Maritza”, the first of two instrumentals, brings Coleman back on sax in a shuffling and busy display of dance friendly jazz.

The last two tracks are among the best and includes the key acrobatics of the love letter to their city, “New York City”, and “Out Front Blues” exits the listen with an impromptu blues delivery that’s dizzying in its exciting, inimitable execution.

If you’ve seen shows like Breaking Bad, Nurse Jackie and Skins, you’ve already heard McCabe’s work, and here we get to explore his talent in a broader spectrum that makes for a captivating and easily enjoyable listen.

Travels well with: Chris Rottmayer- Sunday At Pilars; David Boswell- The Story Behind The Story

Chris Rottmayer

Sunday At Pilars

Pilars, 2020

8/10

Listen to Sunday At Pilars

A Wisconsin resident and jazz pianist, composer, and vibraphonist, Chris Rottmayer enjoyed a twenty year career bringing his talents to Walt Disney, and here he’s in the company of Jack Wilkins, Walt Hubbard and Charlie Silva across a dozen originals and standards titled Sunday At Pilars.

“Meteor” starts the album with immediately inviting drums from Hubbard as tenor sax acrobatics from Wilkins solidify the opener as a timeless jazz tune, and “Weave Of Dreams” follows with a calmer pace as Rottmayer’s sophisticated keys follow suit to the warm brass.

Closer to the middle, “My Foolish Heart” pairs precise drumming with melodic piano on the soothing landscape, while “Emily” benefits much from Silva’s contagious bass plucking amid the gentle musicianship. “Nostalgia In Times Square”, an album highlight, then swings with a playfulness that will get you headed for the dance floor.

Rottmayer continues the strong song craft until the end, where “Cherokee”, a Ray Noble tune, alternates between rhythmic and soulful to swift and frisky in its dynamic execution, and “Break Rules For Pilar” exits on an original, where a brief, bouncy display of fun and memorable songwriting finishes on a high note.

This is Rottmayer’s 3rd album, and his straight forward jazz approach makes for a groove friendly and swingin’ good time while also providing plenty of reflection to be had and enjoyed.

Travels well with: David Boswell- The Story Behind The Story; Dave Stryker- Eight Track III

Collage Project

Off Brand

Panoramic, 2020

9/10

Listen to Off Brand

A trio composed of Aidan Plank on bass, and guitarists Dan Bruce and Dan Lippel, the musicians first started collaborating 20 years ago, and as the appropriately titled Collage Project they flirt with classical, jazz and many other ideas on this dynamic and solo friendly adventure.

“For Manny” starts the listen with plenty of harmonies as complicated acoustic guitar and bass weave in and out of each other amid electric guitar stabs and a charming off-kilter presence, and “Free #2” follows with electric and acoustic guitar along with Plank’s bass on a soft, soothing excursion into skilled improvisation.

Further along, “Adaptation Dance”, a Bruce original, recruits Noa Even on saxophone where there’s no shortage of funky grooves, while “Free #8”, the last improvised piece on the album, has Even, Bruce and Lippel all seemingly playing independent pieces that manage to coalesce into one cohesive unit. “Hard Boiled Donut”, one of the record’s best selections, then showcases Chris Anderson’s trombone skills amid the frisky jazz climate.

The album exits on “Quartet For Bela”, where the 4 movements tip their hat to the Hungarian composer Béla Bartók, as Plank and Lippel cultivate reflective melodies that you won’t forget anytime soon.

Certainly an essential listen if you’re a fan of guitar music, Collage Project are also well versed in chamber and rock sensibilities on this fascinating effort that parallels the greatness achieved by Nels Cline.

Travels well with: Wendy Richman- Vox/Viola; David Liptak- Dove Songs

Wendy Richman

Vox/Viola

New Focus, 2019

8/10

Listen to Vox/Viola

Perhaps best known as being a founding member of the International Contemporary Ensemble, Wendy Richman offers us her debut effort of recordings she commissioned for voice and viola and one performer, which allows us the premiere of artists like Ken Ueno, Arlene Sierra and Jason Eckardt, plus many more.

The album leads with the stirring and emotive “He Wishes For The Cloths Of Heaven”, where Richman’s expressive pipes glide along the meticulous viola in the Christian Carey composition, and “Veiled”, by Stephen Gorbos, follows with the addition of electronics to the sublime texturing.

Close to the middle, David Smooke’s “Extraordinary Rendition” is particularly interesting with its droning, atypical rhythm and manipulations of tonality amid the vocally acrobatic display, and “Cricket-Viol”, by Arlene Sierra, mimics a cricket’s natural chirping with much beauty in its wordless singing.

As we approach the end, “to be held…” benefits from lengthy pitches of viola, voice and electronics wrapped up in a soothing, meditative quality, and Ken Ueno’s “Song For Sendai” exits the listen with Richman’s strong viola prowess and inimitable vocals interacting together with much charm and eloquence.

Richman has an impressive resume that includes playing at Carnegie Hall and festivals around the world, as well as being an educator, and here she displays much ingenuity and unparalleled skill with her profound song craft.

Travels well with: David Liptak- Dove Songs; The Crossing- Rising w/The Crossing

David Liptak

Dove Songs

New Focus, 2019

8/10

Listen to Dove Songs

A composer and educator whose work has been interpreted by the San Francisco Symphony, St. Paul Chamber Orchestra and the Rochester Philharmonic Orchestra, among many others, here David Liptak offers a collection of chamber works, where classical ideas are richly textured and executed with much imagination.

The title track starts the listen, where unpredictable piano from Alison d’Amato and expressive soprano vocals from Tony Arnold populates the pretty atmosphere that’s full of vivid storytelling, and “Impromptus” follows with Renée Jolles handling moody violin that aligns with warm keys from Margaret Kampmeier in a setting that’s capable of being haunting yet stirring.

The remainder of the listen includes the guitar fueled “The Sighs”, where careful picking and gorgeous strumming fill the 7 movements with Dieter Hennings Yeomans exploring graceful melancholy , and “Sonata For Cello And Piano” exits the listen with sublime interaction between Steven Doane and Barry Snyder.

Liptak illustrates much diversity in these 4 compositions, as his articulate, eloquent and universally embraceable vision is illuminated by the exceptional musicianship that is Dove Songs.

Travels well with: The Crossing- Rising w/The Crossing; Dimensions Vol. 3; Works For Large Ensemble

Griffith Hiltz Trio

Arcade

GB, 2020

9/10

Listen to Arcade

The Griffith Hiltz trio had to detour from their usual recording of live off the floor to make this social distanced album, where Nathan Hiltz, Johnny Griffith and Neil MacIntosh documented their portions in basements and laundry rooms before layering it together to produce their most experimental outing to date.

After the listen opens up with the video game sounds of the brief “Movie Theme III: Transmogrification”, “Do Not Engage” follows with playful synth against jazz ideas in the highly unusual fusion that’s not short on sax prowess from Griffith.

Closer to the middle, “Ladies From The Eighties” indeed feels indebted to earlier decades as warm brass and frisky synth align for a soulful meets futuristic approach, while “Paper War (For Mike Post)” glides with a very modern jazz delivery that’s immediately memorable. “Rocket Surgeon”, a highlight late in the album, then flows both gracefully and adventurously, as the three blend seemingly opposing ideas into one cohesive formula.

Deeper yet, the prominent drumming from MacIntosh on “Thunder Ninja” helps illuminate its unique atmosphere, and “End Of The Line” exits the listen very much on the electronic side of the equation as the trio illustrate their retro roots.

An appropriately titled outing, imagine placing contemporary jazz sounds in an ‘80s video game with some hints of sci-fi and you get an idea of how interesting things become. Griffith Hiltz Trio are no strangers to praise, as their 2009 album was heralded as Best Album Of The Year by Jazz FM, and it wouldn’t surprise me one bit if Arcade sees a similar fate.

Travels well with: Modasaurus- 4K; Doxas Brothers- The Circle

Berlin

Strings Attached

August Day, 2020

8/10

Listen to Strings Attached

If you were within earshot of any radio in the mid ‘80s, you’ll remember Berlin’s smash hit, “Take My Breath Away”, which many will know as the ballad from Top Gun. Berlin enjoyed a thriving career in the ‘80s with a string of hits, but like many bands from that era, they dissolved before the decade was up.

After lead singer Terri Dunn reformed the band in the late ‘90s, Berlin has stayed quite busy with 4 albums, the most recent being last year with original members John Crawford and David Diamond. This aptly titled 9th album, also recorded with Crawford and Diamond, has Berlln re-recording select tunes from their catalog, with, well, Strings Attached.

“Take Your Turn” starts the listen on a firm note where dramatic strings lead with plenty of grace as the quick instrumental rises and falls with much precision, and “The Metro” follows with club friendly beats colliding amid the playful strings as a very fun version of this staple draws us in immediately.

The band stack some of their big hits on the first half, including the synth-pop anthem “No More Words”, which still carries the urgency of the original version, while “Take My Breath Away” finds itself equally as emotive and dreamy as it did 34 years ago with the proficient strings present.

On the back half of the listen, “Sex (I’m A…)” brings dual gender vocals to the bright pop landscape, while “Like Flames” leads with much instrumental, sublime beauty before building into a throbbing New Wave rocker with soaring vocals from Dunn. “Hideaway”, one of the album’s best, then exits the listen with Nunn’s vocal range explored alongside powerful, timeless instrumentation.

An excellent way to put a unique spin on these classic tunes, having Crawford and Diamond on board, who together with Nunn are the founding members, is a quite fitting way for Berlin to continue their legacy into 2020 while also appealing to new listeners.

Travels well with: Animotion- Raise Your Expectations; The Psychedelic Furs- Made Of Rain

The Bats

Foothills

Flying Nun, 2020

9/10

Listen to Foothills

Few bands have lasted as long as New Zealand’s The Bats, who, amazingly, have held the same line up for 38 years now. On this 10th album, Paul Kean, Robert Scott, Kaye Woodward and Malcolm Grant bring us 12 new tunes, where their timeless and always exceptional brand of pop sounds just as inviting as it did in 1982.

“Trade In Silence” has the quartet offering warm and melodic, jangly indie-pop where folk qualities enter the opener, and “Warwick” follows with a quicker pace of spirited guitar work and frisky drumming that embraces vocal harmonies.

Closer to the middle, the acoustic guitar friendly “Another Door” builds into an emotive delivery, while “Red Car” resides in dreamy territory as keys from Woodward add much to the pretty atmosphere. “Field Of Vision”, one of the album’s best, then recruits scrappy indie-rock where Kean’s playful, bouncy bass makes an indelible mark.

Later on, “Smaller Pieces” illustrates the dynamic rhythm section from the veterans, and “Electric Sea View” finishes out the listen with no shortage melody as keys and backing vocals add much to the precise execution.

As always, Scott provides well crafted lyrics to the tunes, and the hooks, melodies and interaction between the members is also exceptional. Not only will few bands ever exist as long as The Bats, but few will ever be as consistently great, too.

Travels well with: David Kilgour And The Heavy Eights- End Times Undone; Sotto Voce- Safety

The White Stripes

Greatest Hits

Third Man, 2020

9/10

Listen to Greatest Hits

This was my first time listen to a record from The White Stripes, and it looks like I started in a good place as 26 tunes from their career are collected on this first anthology release.

The duo place “Let’s Shake Hands” in the lead position where Jack’s fuzzed out guitar and Meg’s thumping drums pair well with the garage-rock meets classic rock setting, and this energy continues to the gritty yet tuneful pace of “Fell In Love With A Girl”, as well as the bluesy spirit of the retro tinged “Screwdriver”.

I was able to find a couple tunes near the middle I was already familiar with, “We’re Going To Be Friends” and Dolly Parton’s “Jolene”. The former, a fantastic acoustic ballad that was famously used in Napoleon Dynamite (I always thought it was Modest Mouse), while the latter retains the emotive demeanor of the original country hit while occasionally finder louder areas to reside.

Closer to the end, Jacks’s versatile pipes and Meg’s proficient drumming illuminate the unmistakable riff and precise song craft of “Blue Orchid”, while “I Think I Smell A Rat” presents a dramatic and often more abrasive position of their dynamic chemistry. The pair elect to put their biggest tune, “Seven Nation Army”, as the closing track instead of the first slot, which not be much of a surprise considering their always unorthodox way of doing things.

If you’re a fan, you’ve already got all these songs spread out across multiple releases, but here they’re all in one convenient spot. And for the few first time listeners out there, if you’re like me, you’ll quickly see just why Jack and Meg saw the success they did, cause this is some top notch, contagious rock’n’roll.

Travels well with: The Gories- The Shaw Tapes; Black Rebel Motorcycle Club- Specter At The Feast

Hustle & Drone

What An Uproar

Self-Released, 2019

8/10

Listen to What An Uproar

An outfit that includes former keyboardist for Portugal. The Man, Ryan Neighbors, the Portland trio Hustle & Drone ended up scrapping the first 25 tunes penned for this sophomore album, instead writing these darker compositions that document the current state of their electro-pop vision.

“Dark Star” starts the listen with atmospheric electronica as soothing vocals enter the moody pop tune, and “Stranger” follows with layered, artistic, electro-pop ideas that take nods to the ‘80s FM dial.

Further along, things change drastically as “God Daughter” offers gentle piano balladry sans vocals, and this transitions into the hushed “Stuck Inside Of The Rain”, where expressive singing highlights the sparse environment.

Though the album dips into much calmer areas, “Raw As The Sun” returns to vibrant pop with a busy, buzzing display of beats amid the club friendly sounds, and the title track continues the pace with creative and energetic song craft that might make you want to pull out your old NIN records.

“Never Sleep Alone” exits the listen soulful and gentle, where soft percussion complements the emotive vocals of the forthright, sometimes gloomy exit.

Certainly a less accessible offering than their previous work. Hustle & Drone stay true to their artistic integrity here, and it results in one of the most interesting records of 2019 in the area of synth-pop.

Travels well with: Swans- leaving meaning; Joy Division- Closer

Taiwan MC

Special Request

Chinese Man, 2020

8/10

Listen to Special Request

Taiwan MC cut his teeth in the company of the Cool & Deadly collective, and these days he’s off to a flourishing career that includes worldwide appearances as he returns here with the sophomore album, Special Request.

“Mr. Babylon” starts the listen and finds an interesting, energetic place to reside where hip-hop and reggae meet, and “Hold It Down” follows with plenty of atmosphere as synth and beats interact playfully amid a dance-friendly delivery.

Elsewhere, “Fire” brings in Landa Freak on the spacey, busy and dynamic landscape of adventurous song craft, while “Life Ain’t Easy”, with Jamalski, recruits plenty of rhythm into its atypical reggae spirit. “Number One”, one of the album’s best, then pairs nearly operative singing with fluid rapping amid a sci-fi influenced climate.

As we near the end, “"Nah Leave Me Corner” embraces much breezy, island flavor in its vocally strong, laid back execution, and “One Last Dance” benefits greatly from Anouk Aiata’s soulful pipes in the indeed lively mood that will get your body moving.

A record that covers multiple genres, fans of reggae, hip-hop, rap, rock and even psychedelia will find much interest here, as Taiwan MC enlists plenty of heavy hitters on this vibrant 2nd album.

Travels well with: Baja Frequencia- Hot Kats; Chinese Man + Scratch Bandits Crew + Baja Frequencia- The Groove Sessions Vol. 5

Jesse Ryan

Bridges

Fwé, 2020

9/10

Listen to Bridges

Though this is the first album from the Toronto resident and saxophone extraordinaire Jesse Ryan, you certainly wouldn’t know it from his skilled meshing of jazz and Afro-Caribbean textures. A true cultural journey, he even brings in musicians from both Canada and Trinidad and Tobago, which is where Ryan was born.

“Big Ole’ Shoes” starts the listen percussively strong as Ryan’s agile saxophone and Andrew Marzotto’s guitar lines guide the rhythmic opener, and “Brides” follows with dreamy guitar by Sean Clarey as a light yet complicated setting unfolds with plenty of timeless jazz appeal.

At the halfway point, “Right To Be Wrong” offers a quick prelude of spoken word by Brainerd Blyden-Taylor, that segues into the formal track which recruits the Mt. Cullane Tambrin Band for a soulful and soothing ride of plucked bass and intimate brass.

Deeper yet, “The Way” allows Joanna Majoko’s sublime vocals to shine in the melodic and warm setting, while “Seeds” displays piano acrobatics amid Lucian Gray’s strong guitar prowess and strategic congas from Nicolas Frangini-Salvo.

Ryan plays both alto and soprano saxes, and does so quite well on this first record where all tracks are originals and unfold with no shortage of culture, rhythm and melodies you can’t help but admire.

Travels well with: The Nimmons Tribute- To The Nth; Richard Whiteman- Very Well & Good

The Nimmons Tribute

Volume 1- To The Nth

Self-Released, 2020

9/10

Listen to Volume 1- To The Nth

A tribute album to the Canadian legend Phil Nimmons, who is often referred to as the ‘Dean of Canadian Jazz’, the 8 esteemed players on hand offer new arrangements of classic Nimmons compositions spearheaded by pianist and composer Sean Nimmons, who happens to be Phil’s grandson.

“Nufsicisum” (read it backwards) starts the listen with warm brass, jumpy keys and frisky drums in the inviting jazz landscape, and “Night Crawler” follows with spirited solos in the highly melodic delivery of timeless song craft.

There’s only 8 tracks here, but each one shines in its own light, including the cautious and aptly titled “Swing Softly”, while “Holly” continues the gracefulness with plenty of beauty amid its dreamy execution.

Some of the best tracks reside near the end, including the dynamic and playful “Rista’s Vista”, which is a Sean Nimmons original, and “Liese” exits the listen in piano balladry where a stirring atmosphere unfolds with immense skill and impact.

Phil Nimmons is now 96 years old, and has over 400 compositions to his credit. I’m sure he's quite impressed with these renditions of his work, where former students, colleagues, and friends of Phil- some of which are Juno Award Winners- certainly do justice to his incredible work.

Travels well with: Richard Whiteman- Very Well & Good; Dave Young Quartet- Ides Of March