Lauren Dukes

Lauren Dukes

Self-Released, 2021

8/10

Listen to Lauren Dukes

A veteran of the Chicago blues, jazz and R&B scene, this debut release from Lauren Dukes showcases her immense talent and takes help from her band of esteemed musicians, including Kris Lohn (bass), Moses Hall (keys) and Kirk Garrison (trumpet), among many others.

“Closure” starts the quick listen with inviting bass as Dukes’ powerful, soulful pipes enter the brass friendly and R&B flavored landscape, and “L-Boogie” follows with an infectious, bluesy energy that benefits from thumping drums, soaring electric guitar, and, of course, Dukes’ diverse and alluring voice.

“Addicted” take the middle spot and flows with warm grooves amid the smooth pop melodies, while “Flawed Perfection” tosses some funky moments into the frisky and charming climate.

The single from the EP, “Hectic Love Week”, exits the listen with well timed organ and a precisely textured template that showcases Dukes’ versatile singing amid psychedelic and funky moments.

Certainly well known in her hometown, with this exceptional and timeless record, Dukes won’t have a hard time making fans all over the globe, and let’s hope an LP is on the horizon, cause this voice warrants more than 5 tunes at a time.

Travels well with: Alicia Walter- I Am Alicia; Amber Weekes- ‘Round Midnight Re-Imagined

Noah Gundersen

A Pillar Of Salt

Cooking Vinyl, 2021

9/10

Listen to A Pillar Of Salt

This is the 5th album from the acclaimed singer-songwriter Noah Gundersen, and it’s another batch of moving and captivating songs that showcase much diversity while still being rooted in his sublime and flawless singing.

“Laurel And Hardy” starts the listen with gentle piano and soft, expressive singing from Gundersen, where a poetic climate unfolds with a powerful and gorgeous dreaminess that’s immediately gripping, and “Body” follows with a fuller display of electronic ideas amid the warm keys, agile drumming and, of course, Gundersen’s soaring pipes that complement the beats.

Closer to the middle, “Exit Signs” showcases a cautious version of singer-songwriter prowess amid the buzzing textures that touch on today’s version of indie-rock, while “Atlantis” brings in Phoebe Bridgers for the pretty duet that’s quite eloquent and emotive. “Blankets”, one of the album’s best, then gets a bit darker in scope while recruiting playful electronica.

Further still, “Sleepless In Seattle” is a soothing and stirring track with aching pedal steel in a more acoustic focused template, and “Always There” exits the listen with mesmerizing piano, slight ambience and Gundersen’s stunning singing in a hazy, surreal finish.

Gundersen sequestered himself in a cabin to make A Pillar Of Salt, and that certainly contributes to the cathartic nature of the listen. An artist who bares his soul in his work, if you aren’t yet familiar with this Great Northwest natives craft, you’re missing out on one of the most luminous talents that exists today.

Travels well with: Penny & Sparrow- Finch; Joshua Radin- The Ghost And The Wall

Roots Of Creation

Dub Free Or Die Vol. 1

BMB, 2021

8/10

Listen to Dub Free Or Die Vol. 1

The reggae rockers Roots Of Creation, i.e. Brett Wilson (guitar, vocals), Tal Pearson (keyboards, melodica), Andrew Riordan (sax, harmony vocals, drum programming, production, key, melodica), Chris Regan (bass, sticky guitar) and Alex Brander (drums, percussion) are in the company of many guests here, as they bring us 16 tracks of dub influenced sounds from their very energetic and diverse vision.

“Are You My Uber” gets the listen off to a great start with much atmosphere, glowing horns and Dub friendly percussion that grooves with plenty of warmth, and “Kamp Kaniff Elixir Dub” follows with a calmer but no less impactful climate of soulful, dreamy song craft that’s as memorable as it is unique.

Further along, their version of “Seven Nation Army” embraces bright brass and buzzing guitars that make for an alluring, spacey take on the thumping rocker, while “Mammoth” charges ahead with a busy and thick display of classic and prog-rock influences. “White Noise Rain For Sleeping Roots Babies” then, interestingly enough, is just the soothing sounds of rain for 2+ minutes.

Vocals become more prominent late in the album, where “Soulshine” provides a platform for Jesse Wagner’s expressive pipes and Morgan Keating and Kaylea Verville’s cozy harmony vocals amid the flowing sax from Riordan, and another version of “Seven Nation Army”, this time done reggae style, appears with Hayley Jane’s stunning voice guiding the psychedelic nods, lively brass and thick guitar.

Fans of ska, dub and reggae certainly won’t be disappointed here, and the subtle nods to many versions of rock means those with an affinity for guitar music can get on board, too, as Roots Of Creation further cement themselves as some of today’s most exciting reggae inspired rock.

Travels well with: The Expanders- Old Time Something Come Back Again, Vol. 2; John Brown’s Body- Fireflies

The Barefoot Movement

Pressing Onward

Bonfire, 2021

8/10

Listen to Pressing Onward

The exceptional trio The Barefoot Movement are back with 10 new recordings, where Noah Wall, Tommy Norris and Katie Blomarz toss in a few covers amid their diverse formula that’s rooted in bluegrass, but also embraces folk, Americana and even blues.

“Back Behind The Wheel” starts the listen with Wall’s warm fiddle and soaring, pretty vocals guiding the bluegrass tinted climate that’s not short on melody and benefits much from Joshua Hunt’s thumping drums, and “Someday” follows with sublime vocal harmonies in a dreamy setting of folk influenced song craft.

“Anywhere I Plant My Feet” occupies the middle spot and gets playful with Blomarz’s frisky bass and Norris’ mandolin acrobatics, while “Find The Way Back” flows with a calm appeal of warm banjo and soft guitar from Alex Conerly, as very poetic landscape unfolds. “It Won’t Matter Anymore”, a song popularized by Buddy Holly but penned by Paul Anka, then has the band putting a cautious spin on the classic with much beauty that includes Blomarz’s first time stepping into lead vocals on an album.

Close to the end, “Easy” is stripped back with soothing backing vocals, Walls’ eloquent pipes and emotive fiddle, and “Touch The Sky” exits the listen and bursts into a swift and busy bluegrass rocker that emits a punchy and lively spirit that you can’t help but be enamored with.

Conerly and Hunt’s contributions here are very much appreciated, and the trio’s unique chemistry sounds better than ever as they continue to carve out a distinct and memorable place to reside in modern roots rock.

Travels well with: Trout Steak Revival- The Light We Bring; Dori Freeman- Ten Thousand Roses

Dover Quartet

Beethoven Complete String Quartets Volume 2: The Middle Quartets

Cedille, 2021

8/10

Listen to Beethoven Complete String Quartets Volume 2: The Middle Quartets

The Grammy nominated Dover Quartet return with a complete cycle of Beethoven’s string quartets, where Joel Link and Bryan Lee’s violins, Milena Pajaro-van de Stadt’s viola and Camden Shaw’s cello are spread out across 3 discs, as each player brings their respective skills to a very collaborative effort.

Disc 1 offers the sublime and playful string manipulation of “Quartet No. 7 in F major, Op. 59, No. 1”, where the violins dance around the well timed cello amid the busy, flowing moments as well as the calmer bouts of beauty and warmth.

The middle disc leads with “Quartet No. 8 in E minor, Op. 59, No. 2”, which displays both firm and dizzying playing, as well as bare moments that illustrate incredible synergy between the 4, while “Quartet No. 9 in C major, Op. 59, No. 3” showcases mesmerizing bowing techniques that are executed with much poise and a timelessness you won’t forget.

The final disc brings us the gentle and reflective “Quartet No. 10 in E-flat major, Op. 74”, which uses plucked strings superbly as the composition builds into a frisky album highlight, and “Quartet No. 11 in F minor, Op. 95” finishes the listen with tense moments of furious interaction that emits much awe and wonder.

A collection of work that isn’t short on intensity or emotion, even though Dover Quartet made their debut just 5 years ago, they deliver like they’ve been playing together for decades, and certainly do justice to these classic compositions with their technical proficiency and sublime balance of mood and texture.

Travels well with: Buchbinder- Beethoven Piano Concertos; Peter Gregson- Patina

Allen Ravenstine

Rue Du Poisson Noir

Waveshaper, 2021

9/10

Listen to Rue Du Poisson Noir

The veteran synth wizard and former Pere Ubu member Allen Ravenstine finishes his The Tyranny Of Fiction project with Rue Du Poisson Noir, where this 4th piece of the journey bridges avant-garde and electronic exploration with jazz nods in attendance.

“Doff Downie Woot” starts the listen with frisky percussive sounds and spoken word from Windsor King, as a busy landscape builds with both electronic and acoustic noisemakers on hand, and “Open Season” follows with hypnotic keys, animal like yelping and sci-fi friendly electronics to highlight the ultra creative climate.

Approaching the middle, the precise guitar manipulation and thumping drum of “Brothers Grimm” seem suited for a horror flick in the future, while “Time & Tide” relies on Victor Hugo Morales Avilán’s sublime piano prowess for the gentle album standout. The title track then showcases Issar Shulman’s agile bass plucking amid the jazz friendly saxophone from William Schrade.

Deeper still, “Wireless” offers a playful beat that aligns with the upbeat brass that’s as lively as it is infectious, and “Bossa Nova” continues with minimalism turned into an art form that’s rhythmic, glitchy and charming in an iconoclastic sort of way.

A truly exceptional listening experience, The Tyranny Of Fiction consists of Electron Music, Shore Leave, Nautilus and Rue Du Poisson Noir, and collectively they illuminate Ravenstine’s inestimable and unconventional approach to songwriting that could never sit comfortably in a single genre, and we’re all better off for that.

Travels well with: Allen Ravenstine- Electron Music; Allen Ravenstine- Nautilus

Allen Ravenstine

Nautilus

Waveshaper, 2021

9/10

Listen to Nautilus

Allen Ravenstine shifts into a longer listen for this 3rd installment of The Tyranny Of Fiction, where his avant-garde approach is even more atypical, and recruits Bob Doidge (trumpet), Frank Greco (trumpet), Giacomo Liguori (percussion), William Blakeney (digital synth, mellotron, bass, guitar, piano) and others for the highly creative 10 tracks.

“Fog (Devil’s Island Mix)” starts the listen with the sounds of water alongside soft guitar and spoken word, as accordion-like sounds enter the calm landscape that also brings piano and strings, and “A Day At The Beach” follows with moody keys, the sounds of a phone ringing, fireworks, and, later on, strategic trumpet amid the plucked bass from Issar Shulman.

Further into the adventure, the title track leads with soft droning before cozy beats enter alongside the calming ambience, while “Java Head” opens with orchestral strings before Donata Greco’s dreamy flute complements the cautiousness. “Tuxedo Moonlight”, the album’s best, then textures itself around a hypnotic climate and wordless vocals that are executed with precision.

The final 2 tracks don’t disappoint either, where “Moonlight Marimba” indeed showcases playful marimba, and “Red Skies” extends into sci-fi like territory, as strings and a darker spirit wraps itself around the sonic manipulation that few others could replicate.

A body of work that certainly stems from the previous 2 installments of the series and also points towards his time in Pere Ubu, Nautilus makes excellent use of acoustic and electronic sounds, and truly illustrates that Ravenstine is as prolific as he is innovative.

Travels well with: Allen Ravenstine- Shore Leave; Allen Ravenstine- Electron Music

Allen Ravenstine

Shore Leave

Waveshaper, 2020

9/10

Listen to Shore Leave

The 2nd portion in the 4 part series that makes up The Tyranny Of Fiction from the ex-Pere Ubu synth wizard Allen Ravenstine, Shore Leave finds the artist utilizing piano strategically alongside plenty of New Age nods in his inimitable, electronic formula.

The title track starts the 5 song listen with warm keys against light atmosphere, where Ravenstine’s precise delivery is quite stirring, and “In Order Of Memory” follows with light touches of percussion from Giacomo Liguori amid Ravenstine’s unconventional vision that makes for a fascinating EP highlight.

Deeper into the affair, “Pink Dust At The Point” brings in waves of atmosphere and glowing synth, where Victor Hugo Morales Avilán’s grand piano recruits much sophistication for the rich climate, while “Ninety Miles To The Spanish Harbor” puts further emphasis on Avilan’s piano prowess as much beauty and grace unfolds.

“Fleche D’or (Golden Arrow)” finishes the listen and is the most adventurous track, where many abstract noises enter the busy and focused exploration that benefits from William Blakeney’s digital synthesizer, as well as soundbites and low buzzing.

Largely considered one of the most unique synth players ever, Ravenstine furthers his legacy with a sonically engaging and musically mature effort that continues the theme of the series while also being distinctly different from Volume 1, Electron Music.

Travels well with: Allen Ravenstine- Electron Music; Lucie Vítková and James Ilgenfritz- Aging

Allen Ravenstine

Electron Music

Waveshaper, 2020

8/10

Listen to Electron Music

A multi-instrumentalist with an ultra creative mind, Allen Ravenstine’s presence on synthesizer and saxophone was a key ingredient for the formula that made Pere Ubu such an influential outfit across so many decades.

Electron Music, the first of 4 releases collectively titled The Tyranny Of Fiction, sees Ravenstine building an electronic foundation, where world recordings, live instrumentation and samples all make for an exciting and unpredictable starting point.

“Far Go” starts the listen with a light haze of atmosphere before graceful keys and dreamy theremin make for a light setting, and “Going Upriver” follows with a darker buzzing of sci-fi like prowess that’s both ominous and mysterious.

Halfway through, ““Firefly” benefits from flowing string work that segues into very playful synth where a flurry of well timed noises make a big impression, while “110 In The Underpass” moves with a gentle, cinematic quality of reflective soundscapes. The EP exits with “5@28”, where thick waves of fuzz are met with strategic manipulation of space as the 9+ minutes twists and turns charmingly.

An effort that’s quite ambient while embracing chamber ideas amid the heavy use of synth, Ravenstine is in his 70’s now, and he brings a lifetime of experience and skill to this highly adventurous project.

Travels well with: Steady Circuits- … Of One Of Many Worlds; Lucie Vítková and James Ilgenfritz- Aging

Robin Tucker

The Way Out

Self-Released, 2021

8/10

Listen to The Way Out

An up and coming artist from Atlanta, don’t let Robin Tucker’s young age fool you, cause the classically trained pianist, singer and songwriter plays with a sophistication and creativity that far exceeds his years on this sophomore album.

“The Warning” starts the listen with elegant keys and much atmosphere, where a buzzing rock presence enters with plenty of gritty melody, and “As I Burn” continues the formula with much power and warmth that unfolds with tuneful singing amid the agile drumming.

In the middle, “Avery” unfolds with a calmer approach of modern rock ideas alongside some of the best singing present, while “Medical Emergency” uses strategic piano along with ample beauty that explores Tucker’s darker vision.. “Sacrifice” continues the gentler theme of this portion of the listen, where poetic, falsetto singing builds into an emotive rocker with Cheryl B. Engelhardt’s captivating singing complementing the mood.

“Angels” arrives near the end, and is textured with both tense rock and playful pop nods, and “Reignfall” exits the listen with Tucker’s classical background illuminated as spare moments are balanced with an underlying ominous tone that gives Tucker’s work a very distinct feel.

An extremely diverse outing that uses classical, pop, grunge and alt-rock that might closely resemble Evanescence, Tucker certainly retains a youthful approach, but it’s one that’s quite mature, sometimes raw and always interesting. At just 20 years old, this is a talent to keep a close eye on.

Travels well with: Mars Hall- Is Anybody Out There?; The Pink Dust- Dark Seas

Joanne Shaw Taylor

The Blues Album

Keeping The Blues Alive, 2021

9/10

Listen to The Blues Album

The UK blues rocker Joanne Shaw Taylor places herself in some exceptional company on this 5th album, where Joe Bonamassa and Josh Smith handle production duties and also play on the record.

“Stop Messin’ Round” starts the listen with Taylor’s soaring guitars and gritty pipes populating the rhythmic and timeless blues rocker, and “If That Ain’t A Reason” follows with Taylor’s powerful pipes surrounded by a dynamic rhythm section, soulful backing vocals and well timed brass.

Further down the line, “Don’t Go Away Mad” shuffles with a playful energy that’ll get your body moving, and features the always impressive Bonamassa complementing Taylor’s fluid singing, while “Can’t You See What You’re Doing To Me” displays the intricate guitar work amid moody keys and bouncy bass lines. “Two Time My Lovin’” is then full of rugged melodies and a sing-along quality that is so well done, it alone is worth the price of admission.

Close to the end, Mike Farris makes an appearance on the expressive balladry of “I Don’t Know What You’ve Got”, and “Three Time Loser” exits the listen on a lively romper, where firm piano, thumping drums, meticulous guitar and Taylor’s infectious singing finishes just as strong as she started.

Still a youngster compared to her peers, Taylor’s unparalleled guitar playing and incredible pipes make every interpretation here exceptional, and the help she takes from Reese Wynans (keyboards), Greg Morrow (drums), Steve Mackey (bass), Steve Patrick (trumpet), Mark Douthit (sax) and Barry Green (trombone) make The Blues Album a must for fans of anything resembling the blues.

Travels well with: Kenny Wayne Shepherd Band- Straight To You Live; Joe Bonamassa- Now Serving: Royal Tea Live From The Ryman

Daniel Pesca

Promontory

Neuma, 2021

9/10

Listen to Promontory

The composer and pianist Daniel Pesca knows how to elicit the most amount of range and richness out of a piano, as evidenced by this diverse and profound body of work that features the compositions of Augusta Read Thomas, Aaron Travers, Alison Yun-Fei Jiang and even Pesca originals, too.

Travers’ “Olcott Park” starts the listen with mysterious and moody keys that have the capacity to rumble playfully and also sprint with firmness, and Jiang’s “Isles: As Birds Bring Forth The Sun” follows with incredible finger acrobatics that are as mesmerizing as they are intimate.

Further on, “Watercolors: A Pair Of Cats”, an original, flows with an unpredictability that can be bare as well as frisky in its strategic climate, while “Bell Illuminations” balances a charming cinematic quality amid cautious key manipulation.

Closer to the exit, “Hyde Park Boulevard: The Lagoon At Dusk” recruits much beauty that’s sometimes sparse and other times very forceful, and “Hyde Park Boulevard: Promontory Suite” finishes the listen aglow in meticulous sounds from Pesca’s estimable vision that captures the spirit of the Chicago neighborhood where he spent much of the pandemic.

Pesca navigates the many facets of his instrument with an intellectual attention to detail, and the colorful, sensitive and minimal versus elaborate textures make for an arresting listen.

Travels well with: Pan Project- Pan Project; Richard Carr- Over The Ridge

Angel Roman & Mambo Blue

Festive Interplay

Self-Released, 2021

9/10

Listen to Festive Interplay

A composer, arranger and bassist, Angel Roman knows his way around a jazz tune that flirts with Afro-Latin sounds, pop, soul and funk, and here he brings 10 originals of his inimitable formula with a large cast of esteemed Austin players.

“Why Not” starts the listen with plenty of energy, as Jose Aponte’s fluid drumming complements Nicholas Litterski’s quick keys and the soaring brass present that gets funk friendly, and “Collective Cha” follows with Joel Guzman’s key acrobatics and Samuel Lopez’s cultured percussion adding much diversity to the timeless rhythm.

“Never Far” claims the middle spot and emits much sublime beauty as the soulful sax and John Mills’ dreamy flute work together cautiously in the ballad, while the upbeat and playful “Not Sure So Sure” showcases the ensembles Latin influences with much precision. “3 Sisters” then focuses on the piano, where Carmelo Torres’ percussion works fluidly alongside the 3/4 time.

Close to the end, “Indi-Go-Go” displays Brannen Temples’ frisky drumming that aligns with Damian Garcia’s meticulous piano and the dynamic brass amid the Brazilian nods, and “Who Knows Maybe Tomorrow” exits the listen with a gorgeous and warm spirit guiding the bolero that offers an incredible solo.

This is the 4th album from Roman and Mambo Blue, and, like everything they’ve done, it’s rhythmic, worldly and illustrates all the hallmarks of jazz that we can never tire of in its very distinct and accomplished vision.

Travels well with: Ray Obiedo- Latin Jazz Project: Vol. 2; Antonio Adolfo- Jobim Forever

Pan Project

Pan Project

Neuma, 2021

9/10

Listen to Pan Project

A very cultured ensemble consisting of gamin (piri, saenghwang, taepyeongso), Jeff Roberts (guqin), Ned Rothenberg (shakuhachi, bass clarinet), Ying-Chieh Wang (erhu), Woonjung Sim (Korean percussion) and Sae-Yeon Jeong (vocals), as Pan Project they bring several East Asian traditions to their inimitable formula, where their native instruments illuminate their deep ties to Chinese, Korean and Japanese heritage.

“Kangwon” starts the listen with strategic percussive sounds as winds enter with much beauty, and, further into the track, well timed, plucked strings add much to the organic formula. “Yi Gu Ren” then follows and brings a bare delivery of strings and winds interacting with a very poetic approach.

Deeper into the listen, “Sugungga (Song Of The Sea Palace)” unfolds across 5 installments that welcome Jeong’s expressive storytelling to the often unpredictable and squealing moments, while “Si Xiang Gi” drones a bit with much ambience as a blurry, mysterious landscape unfolds.

The final track, “The Bell Runs Deep Blue”, textures twinkling percussion, soothing winds and subtle strings amid much cautious atmosphere, as the respective strengths of the players is quite appreciated.

‘Pan’ actually means ‘coming together’ in Korean, and that certainly applies to the vision here, as this cross cultural experience also unites improvisation with experimental ideas, effectively putting an entirely new spin on world music.

Travels well with: Richard Carr- Over The Ridge; Juraj Kojs- Imagine

Chris Mardini

Chris Mardini

Polar Bear, 2021

8/10

Listen to Chris Mardini

A New York City artist who plays like a seasoned vet on this debut album, Chris Mardini hovers around alt-rock, classic rock, indie-rock and even hip-hop on this very eclectic and highly accomplished version of bedroom-pop.

Mardini places “I’ll Try” in the lead off position, where a cautious form of psychedelia enters the calmer moments versus loud bouts of alt-rock flavor, and “Skin Tight” continues the creativity with a very modern approach of soulful, intimate songwriting that benefits from punchy drumming as the setting gets a bit dreamy, too.

“Sleepless” occupies the middle spot, and showcases Mardini’s expressive pipes as a stylish version of indie-rock presents itself, while “Herd” utilizes synthetic drumming and moments of hip-hop as the beat driven track illustrates much diversity.

Moving towards the end, “Shadows” finds a calm place to reside, where a slick execution could easily land on the FM dial, and “Lost” exits the listen with a bare, poetic beginning that builds into a emotive and anthemic rocker that finishes the listen much too soon.

Amazingly, Mardini recorded this album at just 19 years old, although you’d never know it by the quality of the songs. An excellent introduction, this youngster’s got a bright future ahead of him in music, and I doubt you’ll disagree after spending any time with these timeless songs.

Travels well with: Dennis Lloyd- Some Days; Quinn Sullivan- Wide Awake

Buchbinder

Beethoven Piano Concertos

Deutsche Grammophon, 2021

10/10

Listen to Beethoven Piano Concertos

Rudolf Buchbinder just might be the greatest Beethoven interpreter alive, and here he spreads 5 Beethoven Piano Concertos across 3 discs, and he’s got a few different orchestras with him for the occasion.

Disc 1 starts with the dancing keys of the fluid and charming “Concerto No. 1 in C major op. 15”, where the flowing strings complement the incredible finger acrobatics from Buchbinder, and “Concerto No. 2 in B flat major op. 19” follows with much beauty amid the graceful strings and sublime keys, which features Mariss Jansons on his last live recording.

The 2nd disc offers the playful and animated “Concerto No. 3 in C Minor op. 37”, where a busy landscape of rumbling moments is met with bright instrumentation, while “Concerto No. 4 in G major op. 58” gets dreamy with airy woodwinds, mesmerizing keys and a fascinating attention to detail. The German ensemble the Staatskapelle Dresden are on hand for this portion of the listen, and their contributions are nothing short of awe inspiring.

The final disc is just one track, and it’s the best, as “Concerto No. 5 in E flat major op. 73” recruits the Wiener Philharmoniker and Riccardo Muti for a very diverse finish that’s prone to bouts of more intense moments, as the focused playing radiates so much skill and timelessness.

An absolute must for fans of Beethoven or those who admire piano led songwriting, Buchbinder and company make the most of every second here, and even at well over 2 hours, it never out welcomes its stay.

Travels well with: Peter Gregson- Patina; Luca Meachem- Shall We Gather

Project Fusion

Bach, Glazunov, Bozza, Maslanka

Bridge, 2021

8/10

Listen to Bach, Glazunov, Bozz, Maslanka

An adventure of exceptional saxophone skill, Dannnel Espinoza (soprano), Matthew Amedio (alto), Michael Sawzin (tenor) and Matthew Evans (baritone) all bring their brass to compositions by J.S. Bach, Alexander Glazunov, Eugéne Bozza and David Maslanka on this incredible chamber affair.

The album opens with the warm and precise interaction between the 4 on Bach’s “Chorale: Durch Adams Fall, BMV 18 (1713/15)”, which isn’t short on exploration either, and this segues into the playful and fluid “Saxophone Quartet in B-flat Major, Op. 109”, where the players certainly do justice to Glazunov’s work with no shortage of melody and timelessness.

The back half of the listen leads with the frisky and dreamy “Andante et Scherzo”, which bounces around with much allure and charm as the players handle their instruments with meticulousness, and Maslanka’s “Recitation Book” exits the listen with a stirring, cinematic quality that illuminates the beauty and diversity of the saxophone in the very capable hands present.

An extremely rich and dynamic effort, all 4 members bring a wealth of talent and experience to the equation, and it makes for a delightful listen that will appeal to fans of chamber sounds and who appreciate the many facets of the saxophone.

Travels well with: David Maslanka- The Red Door; Keiko Shichijo- W.A. Mozart

Mark Rogers

Rhythm Of The Roads

Self-Released, 2021

8/10

Listen to Rhythm Of The Roads

Although this may be the sophomore album from Mark Rogers, the veteran musician actually started his music career in Los Angeles way back in 1982. With an industry heading one direction, and the music Rogers was playing going the opposite way, he returned to Virginia and put music in the rearview mirror for many years.

Now older, wiser and with much life experience, Rogers births a distinct form of folk-rock, where players like Jimmy Masters, Powell Randolph, Larry Berwald, Alan Parker and many more are in attendance.

Rogers strategically places the breezy, warm acoustic guitar of “Fifty Dollar Fine” in the lead off position, where his soaring pipes glide alongside Randolph’s precise drumming, and “Waiting For Maria” follows with an elegant form of Americana that’s smartly rhythmic amid some cultured influences from much further south.

Approaching the middle, the galloping spirit of “Just So You Know” benefits much from Rogers’ soothing pipes and intricate guitar picking that takes nods to classic country, while “Rain Parade” emits a dreamy quality to the flowing folk sounds and thicker electric guitar that borders on alt-rock. “Strange Anticipation” then offers a mature climate that flirts with Bossa Nova, as Rogers shows us just how versatile he is.

The late album highlight, “Leaving”, creates a very memorable version of country rock where bouncy bass lines from Masters make a big impression, and “Flying” exits the listen with no shortage of vocal harmonies as Rogers packs rural melodies and some firm electric guitar into the charming finish.

It’s not hard to think of names like Springsteen, Petty or Cash when listening to Rhythm Of The Roads, which could never be a bad thing, and the Latin moments and even subtle jazz traces make for a very diverse outing for Rogers, who, even if he got a much later start than intended, sure is making up for it with sincere and timeless song craft.

Travels well with: Jon Patrick Walker- The Rented Tuxedo & Other Songs; Ben Bostick- Grown Up Love

Parker Millsap

Be Here Instead

Okrahoma/Thirty Tigers, 2021

8/10

Listen to Be Here Instead

The singer-songwriter and guitarist Parker Millsap takes on an adventurous idea for this 5th album, where him and his band recorded the album studio live, and utilized pedal effects, keys and drum machines across the sometimes sparse and other times firm dynamics.

“Rolling” starts the listen with Millsap’s soulful pipes guiding the curious brand of Americana that’s got plenty of retro flavor amid the organ, and “The Real Thing” follows with a folk-rock approach as Millsap’s soaring pipes and intricate acoustic guitar highlight his vivid storytelling that takes help from Erin Rae’s pipes.

In the middle, “In Between” offers a bare intimacy that’s quite poetic, while “Dammit” builds into a cathartic rocker that’s almost gospel rooted in its powerful climate. “Now, Here”, one of the best tracks, then uses a strategic drum machine to help cultivate a dreamy landscape of warmth and mystery.

Near the end, “Always” takes us back to the ‘70s with its laid back delivery and smooth textures, and “Being Alive” exits the listen with a soft, buzzing guitar alongside the introspective feel to the cautious finisher.

An artist who is constantly evolving, Millsap still anchors his tunes in folk and Americana sensibilities, and the addition of light fuzz, moments of pop, and subtle grooves makes for an unpredictable and charming effort.

Travels well with: Andrew Combs- Ideal Man; Steve Earle & The Dukes- Ghosts Of West Virginia

Danko Jones

A Rock Supreme

M Theory, 2019

8/10

Listen to A Rock Supreme

The Canadian trio Danko Jones return with the aptly titled A Rock Supreme, where their unwavering love for all things rock’n’roll is apparent both musically and lyrically.

“I’m In A Band” starts the listen with a thumping garage rock anthem about the pros of being in a band, and “I Love Love” follows with a more hard rock approach that tips its hat to the ‘80s with both style and proper execution.

Moving along, “Dance Dance Dance” certainly will get your body moving with it textured grooves and ‘70s nods, while “Lipstick City” flows with a firm rock’n’roll spirit that’s part power-pop, part proto-punk and entirely memorable. “Party”, one of the album’s best, then moves and shakes with sing-alongs and a contagious energy that’s certainly festive.

At the end, “That Girl” gets a bit darker in scope, though certainly in a playful sense, and “You Can’t Keep Us Down” ends the affair energetic with a fist pumping, pit friendly rocker that these guys will probably never tire of playing for a crowd that will never tire of listening.

A record with absolutely no filler or token ballad, Danko Jones provide strong riffage, tempos more akin to punk, and a swagger and grittiness that’s 100% rock. A Rock Supreme has no intention of reinventing the wheel, but these 3 do a great job of rewriting the past.

Travels well with: AC/DC- Back In Black; Guns N’ Roses- The Spaghetti Incident?