Shannon Gunn

On A Mountain

Self-Released, 2021

9/10

Listen to On A Mountain

The jazz world suffered a terrible loss last year when Shannon Gunn passed way much too soon. An artist who accomplished so much in her decades as a vocalist and composer, she actually never released an album of her own. On A Mountain, which was recorded in 2002, fills that void, and truly honors her legacy with 9 compositions that highlight her inimitable style and welcomes some of today’s best jazz musicians, too.

“From You” starts the listen with soft keys and bare percussion, as Gunn’s diverse and fluid pipes guide the sparse climate, and “Carla’s Blues” follows with Brad Turner’s soulful trumpet and Pat Labarber’s tenor saxophone complementing the powerful and playful delivery.

Deeper into the listen, “Wild Is Love” showcases Gunn’s frisky pipes alongside the flowing jazz dynamics, while “I’ve Grown Accustomed To His Face” moves sublimely, with a poetic and eloquent execution that benefits much from Neil Swainson’s precise bass plucking. “On A Mountain”, one of the album’s best, then showcases Renee Rosnes’ agile piano alongside the adventurous brass and timeless jazz formula.

Approaching the end, “Mean Joe” showcases Billy Drummond’s proficient drumming to complement the subdued melodies, and “Everything I Love” exits with strong attention to detail, where charming vocal scatting and Labarbera’s tenor sax finish the record on a very high note.

A body of work that’s complicated yet easy to digest, Gunn further solidifies herself as a legend in the area of jazz vocalists, and On A Mountain certainly embraces all the traits that made her such an icon.

Travels well with: Levi Dover Sextet- Imaginary Structures; Le GGRIL- Sommes

Keiko Shichijo

W.A. Mozart

Bridge, 2021

9/10

Listen to W.A. Mozart

The fortepiano extraordinaire Keiko Shichijo presents us with a reimagining of Mozart’s work that ranks up there with one of the best solo Mozart performances to date, where she uses an original Frère et Soeur Stein d’Augsbourg à Vienne dated 1802.

“Fantasia in D minor, K 397” starts the listen with Shichijo’s fluent and versatile keys dancing with glorious, fascinating skill that’s as mesmerizing as it is memorable, and “Sonata in D major, K. 311” follows with swift and exciting playing that hardly seems like only piano is present, as Shichijo weaves in and out of precise, adventurous moods.

“Sonata in G major, K. 283” occupies the middle spot and balances firm moments with flowing beauty, while “Rondo in A minor, K. 511” resides in calmer areas of warmth and wonder. “Sonata in A minor, K. 310” exits the listen, and illustrates profound talent as the progressions are nothing short of captivating.

There just isn’t a second here that you won’t admire, as Shichijo illuminates the bright, poetic and pristine compositions with her inimitable and absorbing craft, which makes for an essential listen for those with an ear for Mozart or classical piano music.

Travels well with: Christina Petrowska Quilico- Retro Americana; Bruce Crossman- Heaven To Earth Border House

Shujaat Khan/Katayoun Goudarzi

This Pale

Lycopod, 2021

8/10

Listen to This Pale

Katayoun Goudarzi, an Iranian-American singer, and Shujaat Husain Khan, a sitarist and an esteemed Indian composer, pair up here for 6 age-old love poems of Rumi, where appearances by Shaho Andalibi on ney, and Shariq Mustafa’s tabla provide even more allure to the cultured, emotive tracks.

“Wild” starts the listen with Khan’s intricate sitar work alongside Mustafa’s well timed tabla, as Goudarzi’s pipes enter 2 minutes in and bring much elegance and expressiveness, and “One” follows with Andalibi’s ney acrobatics leading the song into a precisely textured climate as Goudarzi’s diverse vocals show much range.

“Tender” lands in the middle, and focuses on the sitar, as Khan injects a very poetic quality, while “Sweetest” displays superb ney navigation amid the complicated sitar and subtle tabla.

The final 2 tracks, “Still Here” and “All I’ve Got”, continue the worldly theme, as the former finds a dreamy place to reside with the gentle singing, and the latter exits the listen with all the players taking their turn in the spotlight on the mesmerizing and absorbing finish.

The motivation for the album stemmed largely from all the hate and xenophobia present following the President elect taking over in 2017, which was very concerning for Goudarzi and Khan. Rumi’s work covers a wide array of emotions, and Goudarzi and company certainly retain that human spirit in their interpretations with a spiritual, haunting and often moving experience that unfolds with profound beauty.

Travels well with: Esbe- Under Cover; Helsinki-Cotonou Ensemble- Helsinki-Cotonou Ensemble

George David Kieffer

The Ambassador’s Wife And Other Stories

Navona, 2021

9/10

Listen to The Ambassador’s Wife And Other Stories

The composer George Kieffer aligns himself with the City of Prague Philharmonic Orchestra here, where inspiration from the songs stems from Kieffer’s life, including dreams and literature, and he evens pens a tune for the Olympians, too.

“From Here” starts the listen with intimate and warm strings before graceful keys enter the flowing climate, and “The Wonder Of All Things” follows with soothing keys that emit much beauty as a sublime cinematic quality unfolds.

Further down the line, “The Clown Elegy” quickly builds into an upbeat and energetic display of strings, winds and percussion, while “Saturday” emits a soaring and glowing spirit of rich melodies. “Christmas In Manhattan/Her Manhattan”, one of the album’s best, then illustrates much timeless song craft, where the instruments blend together with charming precision.

“Forgiveness” and “C’est La Vie” exit the listen, as the former presents emotive strings and twinkling keys, and the latter pairs piano with accordion for the lush and creative finish that later on fuses strings into the textured formula.

Kieffer’s stories are nothing short of luminous, and with the City of Prague Philharmonic Orchestra’s classical, orchestral and chamber influenced skills present, it makes for a captivating listening experience.

Travels well with: Jan Järvlepp- High Voltage Chamber Music; Bruce Crossman- Heaven To Earth Border House

Jan Järvlepp

High Voltage Chamber Music

Navona, 2021

8/10

Listen to High Voltage Chamber Music

The revered composer Jan Järvlepp enlists some very impressive outfits to flesh out these 4 compositions, where Järvlepp’s first full length string quartet is present on the aptly titled listen.

The Sirius Quartet start the listen with the 3 movements of “Quintet 2003”, where their fascinating string delivery meshes violins, viola and cellos in way you’re not likely to hear anywhere else, and “Woodwind Quintet” follows with Arcadian Winds bringing their flutes, English horn, clarinet, French horn and flugelhorn to an initially busy, swift delivery, but then segues into sublime intimacy with much restraint.

The back half of the listen offers the very distinct and agile “Bassoon Quartet”, where 3 bassoons and a lone contrabassoon make for a playful, buzzing climate, as well as a soft, cinematic delivery, and String Quartet return at the end, and they bring tense moments as well as flowing melodies to their inimitable and stunning execution.

An accomplished listen that recruits much energy and also introspective moments, too, Järvlepp’s neoclassical nods certainly add much to the landscape, and the presence of so many instruments ensures something for everyone, though it’s pretty likely the entire journey will resonate.

Travels well with: Various Artists- Pinnacle Vol. 2; Bruce Crossman- Heaven To Earth Border House

Various Artists

Pinnacle Vol. 2: Contemporary Chamber Words

Navona, 2021

8/10

Listen to Pinnacle Vol. 2: Contemporary Chamber Words

A collection of 8 composers who bring their modern chamber ideas to themes about the cycle of life and nature, this second installment in the Pinnacle series cultivates plenty of melodies, as the compositions explore classical and orchestral ideas with many esteemed players contributing their talents.

Kong-Yu Wong’s “A Moon Of Own” starts the listen and brings Gabriela Diaz’s sublime violin and Yoko Hagino’s precise piano to a very intimate and warm setting, and “String Quartet ‘Euphoria’” follows with violins, viola and cello dancing around each other with much skill and adventurousness in the Santiago Kodela song.

Further on, John A. Corollo’s “Piano Etude No. 2 ‘Sightless’” showcases Lucie Kaucká’s agile and diverse skills in the bare but also swift moments, while “String Quartet No. 1 ‘Nile’” utilizes strings in playful, dynamic ways that illustrate much emotion and versatility.

Deeper still, Sarah Wallin Huff’s “DodecaFunky” blends Sarah Brady’s charming flute with Hagino’s fluid piano on the album highlight that’s both dreamy and bouncy, and “Armenian Stirrings” finishes the listen with Rana Moore’s clarinet and Hagino’s keys meeting at a very soothing intersection of nearly meditative synergy between the pair.

Although each composition here is uniquely different, they flow seamless from one to the next, and are sure to resonate well with anyone who enjoys contemporary chamber sounds.

Travels well with: Various Artists- Polarities Vol. 2; Various Artists- Sustain Vol. 2

Christina Petrowska Quilico

Retro Americana

Navona, 2021

9/10

Listen to Retro Americana

The piano wizard Christina Petrowska Quilico takes on a stunning project here, where she covers a centuries worth of North American piano music from the composers Henry Cowell, Frederic Rzewski, George Gershwin, Bill Westcott, Meredith Monk and Art Tatum.

“Six Ings” starts the listen with 6 movements that showcase Quilico’s intimate and exploratory nature with incredible progressions, and “WINNSBORO COTTON MILL BLUES” follows with a low rumbling that spends 9 minutes mesmerizing us with a swirling execution.

The middle tracks belong to Gershwin and Westcott, where the former has the keys dancing around light melodies with much attention to detail, while the latter emits plenty of sublime beauty, as well as playful and stylish blues friendly moments.

Nearing the end, Monk’s 4 pieces unfold with a diversity that welcomes reflective moments alongside frisky bouts, and “I’ll Never Be The Same” and “Don’t Get Around Much Anymore” exits the listen with incredible meticulousness that does justice to Tatum’s innovative jazz piano playing.

Quilico has released 50+ records(!), and this body of work offers interpretations that showcase her unparalleled piano playing with wonder and awe.

Travels well with: James Dashow- Synchronies; Bruce Crossman- Heaven To Earth Border House

Peter Gregson

Patina

Deutsche Grammophon, 2021

8/10

Listen to Patina

The producer, composer and cellist Peter Gregson makes this 5th album a highly unique effort, where a string ensemble, piano, cello and electronics blur the lines of electronica and classical sounds and are intended for Dolby Atmos Spatial Audio Listening.

Gregson starts the listen with much ambience, where his stunning cello skills lend itself to a dreamy, absorbing delivery of unimaginable beauty on “Hidden”, and the title track follows with a warm and intimate delivery, where the manipulated strings tell a reflective story without any words.

Elsewhere, “Sense” sprinkles in gentle keys that mesh well with the stirring strings and charming synth, while “Cluster” flows amid a glowing cinematic quality that pairs light electronics with agile string work.

Approaching the end, “Schema” builds into a lush, cathartic exploration of stunning textures, and “Over” cultivates the most romantic selection, where Gregson’s creativity offers much adventurousness as well as restraint in the most meticulous way possible.

Gregson uses his cello as his voice here, and essentially rewrites what classical music entails, as the esteemed film and television soundtrack artist explores the theme of absence with his atypical view of timbre, tone and structure that help make Patina such a memorable listen.

Travels well with: Seong-Jin Cho- Chopin: Piano Concerto No. 2 Scherzi; Lucas Meachem- Shall We Gather

Noel McKay

Blue Blue Blue

Self-Released, 2021

8/10

Listen to Blue Blue Blue

A veteran singer-songwriter and guitarist, Noel McKay resides in Nashville now but previously spent time in Austin, and he brings influences from both those locations into the very diverse and well thought out Americana of Blue Blue Blue.

“The 50 Loneliest Places In The Nation” starts the listen with McKay’s breezy vocals in a warm, Americana inspired climate that’s certainly indebted to earlier times, and “Sleeping In My Car” follows a soft folk presence that recruits graceful piano to the country spirited climate.

Closer to the middle, the rugged yet tuneful “Open All Night” brings Brennen Leigh on harmony vocals and Jenee Fleenor’s fiddle acrobatics to the album highlight, while “Blue, Blue, Blue” is a bare, sublime and poetic display of McKay’s timeless skill alongside Gary Newcomb’s strategic pedal steel. “Get A Bag Of Ice”, another excellent selection, then bounces with a rural playfulness that showcases Jay Weaver’s precise bass lines and Dave Racine’s agile drumming.

Further yet, “Pawnee Waltz” indeed will get your body swaying to the romantic mood that benefits from Melissa Carper’s harmony vocals, and “You Oughta Write A Song About That” exits the listen with a charming folk finisher that revolves around song ideas that fans offer McKay following his shows.

McKay was discovered by Guy Clark in 1993, and he’s also played in McKay Brothers and The Laughing Dogs along the way. On this solo effort, his exceptional company helps illuminate his fluid, sincere and sometimes humorous vision, which will settle in nicely with fans of folk, country, roots and honky tonk.

Travels well with: Tylor & The Train Robbers- Non-Typical Find; Brennen Leigh- Prairie Love Letter

James Dashow

Synchronies

Ravello, 2021

9/10

Listen to Synchronies

The esteemed composer James Dashow returns with his second double album on the Ravello label, where the Helix! New Music Ensemble accompanies him on the intimate, diverse and uniquely textured compositions.

“First Tangent To The Give Curve” starts the listen with Daniele Rol’s precise piano and atmospheric computer interacting with much mystery and unpredictability, where low ebbs are met with meticulous tinkering, and “A Sheaf Of Times, Septet” follows with flutes, violin, cello, clarinet, percussion and Fran Snyder’s intricate harp all working together for the very charming and atypical chamber display.

In the middle, “Messages From Ortigia” mixes flutes, bass clarinet, David Bursack’s viola and Lucia Bova’s harp for an unclassifiable delivery where the electronics give it a cinematic feel, while “Mnemonics” is just Mario Buffa’s precise violin alongside quadraphonic electronic sounds that give it a haunting demeanor.

The flute heavy “Oro, Argento & Legno” provides a dreamy versus sci-fi feel that makes this the album standout, and “Archimedes, suite from the planetarium opera” exits the listen on one of the most adventurous tracks, where hexaphonic electronic and pre-recorded acoustic sounds weave in and out with an other worldly approach

Though this might be a small ensemble effort, Dashow and company make some very distinct sounds in the area of chamber, orchestral, classical and electronic music, as the manipulation of sound and space is certainly appreciated and nothing short of exceptional.

Travels well with: Bruce Crossman- Heaven To Earth Border House; Nicki Roman- Unquiet Waters

Bruce Crossman

Heaven To Earth Border House

Navona, 2021

9/10

Listen to Heaven To Earth Border House

The Australian composer Bruce Crossman brings east and west together on this highly modern effort, where a poetic and worldly delivery brings in some unique instruments that illuminate his innovative vision.

The Shy Like Blushing Flowers portion of the album starts with a low rumbling as Michael Kieran Harvey’s well timed keys and Timothy Phillips’ unpredictable percussion flows amid the mysterious text from Tang Xianzu, and after the brief "Interlude 1”, with Anna Fraser’s strong mezzo-soprano, “Garden Of Fire” continues the avant-garde climate. Fraser’s soaring pipes are stunning here, as Linda Yim’s piano acrobatics and Claire Edwardes’ playful percussion make this the album highlight.

The back half of the listen offers the indeed unusual “Strange Invincible Perfume”, where Chiu Tan Ching manipulates a guzheng to elicit the most amount of charm out of the strings, as Edwardes’ strategic percussion illuminates the atypical climate.

The title track exits the affair, and brings Hyelim Kim on taegúm (a bamboo flute) and Yi Ji- Young handling gayageum (plucked zither with 12 strings) amid Kate Fagan’s soft text, as the wind and strings are used flawlessly.

The traditional Korean and Chinese instruments pair well with the Western percussion and chilling soprano here, and it makes for an extremely atypical and exciting listen.

Travels well with: Nicki Roman- Unquiet Waters; Gregory W. Brown- Fall And Decline

Tyshawn Sorey & Alarm Will Sound

For George Lewis/Autoschediasms

Cantaloupe, 2021

8/10

Listen to For George Lewis/Autoschediasms

A musician and composer who’s well versed in both jazz and classical ideas, Tyshawn Sorey aligns himself with the Alarm Will Sound ensemble for 3 lengthy compositions that further illustrate his knack for avant-garde contemporary classical sounds and atypical chamber influences.

“For George Lewis” starts the listen with atmospheric keys as the intimate and exploratory 53 minutes unfolds with an often cinematic version of the orchestra manipulating harmonies and notes with an unparalleled attention to detail and mood.

“Autoschediasms 2019, no. 4: St. Louis” occupies the middle spot and manages to tweak strings into a sci-fi sort of delivery, as unpredictable keys complement the busy, fusion qualities that push and pull with fascinating tension.

The final track, “Autoschediasms 2020: Video Chat Variations”, might be the most ominous of the 3, where the chilling textures are blurred into a meshing of strings, winds and brass in a controlled chaos sort of climate. Further on into the 25 minutes, the setting does slip into gentler moments of jazz influenced song craft, where soulful horns and aching strings conclude the journey.

A fitting tribute for George Lewis, who served as a mentor for Sorey, together with the always impressive Alarm Will Sound outfit, this is a collaboration of the highly imaginative kind, and it’s one that never out welcomes its stay.

Travels well with: Douglas J. Cuomo- Seven Limbs; Tom Nazziola- Distant Places

Nathan Evans Fox

Wasted Love

Self-Released, 2021

8/10

Listen to Wasted Love

A singer-songwriter and multi-instrumentalist who was raised in Western North Carolina, Nathan Evans Fox is versed in both folk and country sounds, and here he brings a variety of ideas to themes of religious and cultural examination.

“One Of These Days” starts the listen with much warmth, as Fox’s expressive pipes are met with soft keys and a soulfulness you can’t help but admire, and “Mercedes Benz” follows with a breezy version of Americana, where crisp drumming and rugged guitar make an indelible impression.

Further along, “Good Trucks” offers a charming country tune that benefits much from Mike Harris’ slide guitar prowess, while “These Four Walls” flows with immense beauty amid Lindsay Foote’s background vocals. “Damn Hard”, one of the album’s best, then mixes grit with a rural appeal that sounds right at home in Fox’s current Nashville surroundings.

Making our way to the end, “Put Money Down” is a calmer, nearly ‘70s inspired tune that’s full of eloquent wordplay, and the title track exits the listen with sophisticated piano in a poetic, artistic and very mature finish to a very genuine record.

A listen that’s certainly indebted to his Appalachian roots, Fox plays acoustic and electric guitar, fiddle, keys, banjo, pedal steel and percussion on this 4th album, and in addition to Harris and Foote, Drew Lloyd plays bass and Will Kissane sits behind the drum kit.

Wasted Love was birthed after much tragedy in Fox’s life, and it’s a reflective and cautious outing, but ultimately one packed with good feelings, which we could all benefit from now more than ever.

Travels well with: Anya Hinkle- Eden And Her Borderlands; Tommy Womack- I Thought I Was Fine

Mark Kirschenmann

Cybersonic Outreach

New Focus, 2021

8/10

Listen to Cybersonic Outreach

A trumpeter and composer, Mark Kirschenmann creates 8 improvised tracks here, where he tweaks his instrument with pedals and plugins, often altering it in ways that make it unrecognizable, and he’s got some careful electronic noises on hand, too, for the iconoclastic affair.

“Long Walk” starts the album with nearly 9 minutes of low buzzing, unusual trumpet manipulation that emits reed like sounds, and “The Cascades” follows with a sci-fi like presence, where Kirschenmann somehow makes the trumpet seem like a flute/piccolo with his inimitable approach.

Halfway through, “Dust For Vocaloid Trumbots” uses vocals like an instrument amid the cinematic backdrop, while “Out Of Bounds” presents harmonized arpeggiations in unorthodox, mesmerizing ways that few could replicate.

“Our LightHouse” arrives near the end, and recruits a distinct quivering in an almost soulful sort of way, and “Lamentation For My Mother” exits the listen amid droning paired with the almost squealing of the brass that might make you think of a keyboard from the ‘70s.

A fascinating display that maneuvers pitch, timbre, and technology, Kirschenmann’s unique vision makes for an unpredictable journey through his creative mind, and it results in a daring listen.

Travels well with: loadbang- Plays Well With Others; Borderlands Ensemble- The Space In Which To See

Dori Freeman

Ten Thousand Roses

Blue Hens, 2021

8/10

Listen to Ten Thousand Roses

A Virginia songstress who certainly embraces her surroundings with her music, Dori Freeman brings along names like Ric Robertson (electric, acoustic, baritone and bass guitars), Nicholas Falk (drums, percussion, vocals) and Victor Furtado (acoustic and electric banjo), among others, for these 10 tracks that shift from the heartbreak of her earlier work to life as a wife and a mother.

Freeman starts the listen with much atmosphere on “Get Can’t You Off My Mind”, where her alluring and comforting voice guides the warm country rocker that welcomes banjo and agile drumming, and “The Storm” follows with a sweet folk song where Freeman’s diverse pipes are met with flowing keys and spirited guitar work.

At the halfway point, the retro flavored “Nobody Nothin’” benefits from dreamy guitar as Freeman’s pretty voice makes this one of the album’s best, while “Appalachian” indeeds brings a mountainous theme with breezy melodies populating the timeless Americana.

The title track arrives near the end, and offers a swift and upbeat vintage appeal of jangly folk sounds, and “Only You Know” exits the listen with electric guitar from Adam Agati, as Freeman hits some pretty high notes with her country, folk and rootsy formula.

Freeman’s work resides in an area of music that’s often steeped in songs about failed love, but her motherhood themes are certainly just as easy to enjoy, and along with her exceptional help she further cements herself as an artist worthy of much attention for the Americana inclined.

Travels well with: Ric Robertson- Carolina Child; K.C. Jones- Queen Of The In Between

Flor Bromley

Pachamama

8 Pound Gorilla, 2021

8/10

Listen to Pachamama

The Peruvian star Flor Bromley brings us another batch of multilingual tunes for families and kids, and she’s even got legends like Laurie Berkner, and Justin Lansing, of The Okee Dokee Brothers, plus many more for the 21 track adventure.

The title track starts the listen with the famous Peruvian folk-pop artist Wendy Sulca on hand for the pan flute friendly and cultured opener, and it isn’t long until Laurie Berkner appears on the Serrucho flavored and higly melodic “The Ocean”.

Elsewhere, “Peas And Carrots” welcomes the rap star SaulPaul for the playful hip-hop, while “Totora Horse” features Justin Lansing as pan flute, banjo and violin help make for a rural spirited sing-along. The aptly titled “Move It” will then certainly get your body groovin’ alongside the frisky accordion.

Further still, “Princesa Tika” flows with a punchy folk-pop spirit that easily makes this one of the album’s best, and “Muévete” exits the listen with accordion acrobatics, swift drumming and Bromley’s charming singing working together with much rhythm.

Bromley’s also in the company of Elena Moon Park (violin), Andy Blanco (drums), and George Sáenz (accordion), among others, and it makes for a very diverse, worldly and wise 3rd album of Latin fusion that’s as infectious as it is festive.

Travels well with: Mi Amigo Hamlet- Happy Land is Tierra Feliz; The Harmonica Pocket- Sing Your Song

Sarah McQuaid

The St Buryan Sessions

Shove And A Spade, 2021

8/10

Listen to The St Buryan Sessions

This 6th album from the multi-instrumentalist and singer-songwriter Sarah McQuaid might be her most substantial to date, as she adjusts to the pandemic with a live recording in a church in the English village she calls home. The audience was empty, of course, as she plays multiple guitars and piano with her inimitable presence.

“Sweetness And Pain” starts the listen with expressive and poetic singing, where McQuaid’s flowing voice is without any instruments, and “The Sun Goes On Rising” follows with warm acoustic guitar accompanying the stirring vocals as a folk climate enters with much beauty.

Further on, “One Sparrow Down” uses a floor tom drum amid the powerful singing, while “What Are We Going To Do” displays agile guitar playing to complement McQuaid’s versatile delivery. “Time To Love”, a particularly lovely track, then gets dreamy with a bare quality of timeless and absorbing musicianship.

Landing near the end, “The Day Of Wrath, That Day” radiates reflective guitar work that brings a little tension into the atmospheric instrumental, and the aptly titled “Last Song” exits the listen with McQuaid navigating the intimate waters with precision and awe.

Martin Stansbury recorded the album, and did a superb job capturing McQuaid’s sublime delivery as the songs span her 20+ year career and she even tosses in a couple previously unrecorded covers. Though I rarely feel that live albums are a good starting point for the first time listener, no one is going to complain about their first taste of McQuaid if it happens to be this gorgeous body of work, and the longtime fans will of course be spending plenty of quality time with these 15 tracks.

Travels well with: Ana Egge- Between Us; Mark Erelli- Blindsided

Leslie Mendelson

If You Can’t Say Anything Nice…

Royal Potato Family, 2021

8/10

Listen to If You Can’t Say Anything Nice…

A Brooklyn singer-songwriter with a penchant for the softer sounds of the ‘70s, Leslie Mendelson crafts a very personal and political record here, where she handles vocals, keys, guitar and harmonica, and takes help from Steve McEwan (guitar, vocals), Lorenzo Wolff (bass) and Zach Jones (drums).

“Lay It All On Me” starts the listen with pounding keys and bright, soulful singing as Mendelson meshes pop ideas with warm, graceful songwriting, and “Medication” follows with a very personal, vulnerable ballad where her gorgeous pipes are met with agile piano.

Coasting towards the middle, the folk friendly “Would You Give Up Your Gun” displays intricate acoustic guitar alongside soft singing, while “All Come Together” offers a bouncy, upbeat and playfully melodic album highlight. “I Need Something”, another eloquent tune, then gets dreamy with Mendelson’s breezy and sophisticated formula flowing with a charming demeanor.

“Flesh And Bone” arrives near the end, and enters darker areas of sublime, stirring song craft, and “My Dark Peace” exits the listen gentle, articulate and packed with intimacy that gives us a peek into Mendelson’s creative vision.

A very well thought out listen that bridges pop, Americana and folk ideas, Mendelson has already been Grammy nominated for her 2009 debut, and this excellent outing is likely to see just as much praise with its timeless nature and substantial, memorable melodies.

Travels well with: Laura Nyro Live In Japan- Tree Of Ages; Mark Erelli- Blindsided

Christopher Tignor

A Light Below

Western Vinyl, 2019

8/10

Listen to A Light Below

An extremely prolific artist with nearly 10 albums under his belt, Christopher Tignor delivers an expressive and highly creative listen with A Light Below, where violin processing, synth, tuning forks, triangles, hi-hat and bells comprise the effort.

“Flood Cycles” starts the listen with ambient, experimental ideas that touch on classical influences but never in any traditional ways, and “Your Slow Shadow, My Inevitable Night” follows with a more abrasive approach of sound manipulation that’s both blurry and dark.

Elsewhere, “A Mirrored Reliquary” showcases Tignor’s adept violin skills in the inimitable delivery, while “I, Autocorrelations” moves with a swift pace of beat friendly, violin acrobatics amid electronic maneuvering.

The album exits on the nearly 11 minutes of “What You Must Make Of Me”, where a tuning fork provides much intrigue, as noise is handled with the utmost precision and with an artistic quality that’s present across the entire listen.

An experience that resides somewhere between post-rock, neoclassical and electroacoustic, A Light Below is probably unlike anything you’ve heard before, but you’ll certainly want to hear it again.

Travels well with: Heron- Sun Release; Colin Stetson- Hereditary

Poetica

Poetica

Mpress, 2021

9/10

Listen to Poetica

The debut album from the Poetica project, the esteemed artist Rachael Sage is paired with the 3 time Grammy nominated cellist Dave Eggar, and they’ve brought along a small army of contributors for the very unconventional spoken word album.

“Unconditional” starts the listen with a healthy amount of atmosphere, as Sage’s poetic spoken word flows alongside Eggar’s cello, James Mastro’s dobro and Russ Johnson’s trumpet amid a dreamy, nearly haunting climate, and “Beginning” follows with Phill Faconti’s electric guitar and Gabe Kedd’s trumpet complementing the vivid storytelling of the cinematic delivery.

Deeper into the listen, “Lamentation” finds a bare space to reside, where Sage’s prose is met with Eggar’s moody, stirring cello, while “Days Of Awe” offers a more firm landscape, as Faconti’s crunch guitar is met with a pair of cellos and Doug Yowell’s ocean snare. “How Songs Are Born”, one of the record’s best, then has Sage’s pipe getting mysterious alongside dobros, Hammond organ and Gerry Leonard’s chilling electric guitar.

Approaching the end, the charming programming and Chuck Palmer’s cajon skills make for the very stylish and playful display of “Pulpit”, and “Untitled” exits the listen string and beat heavy, where Jack Petruzelli’s Hammond and harmonium help cultivate a very atypical finish.

Similarities to Leonard Cohen and Patti Smith won’t be hard to spot here, as Sage and Eggar blur the lines of jazz, folk and classical with an intimate, hazy and highly creative vision that you can’t help but be in awe of.

Travels well with: Rachael Sage- Character; Grace Pettis- Working Woman