Michael Compton

Wooden Spoon

Missing, 2022

9/10

Listen to Wooden Spoon

The Seattle singer-songwriter Michael Compton started this record as a bedroom project with homemade drum looping before it turning into a collaboration with Steve Fisk (The Posies, Harvey Danger, Nirvana), bassist Yuuki Matthews (Shins, Crystal Skulls) and drummer Michael Musburger (Posies, Fastbacks).

“Shapes” starts the listen with bright and swirling indie-pop that glides with much warmth and melody, and “Headband” follows with a bit of dreaminess, where Compton’s soaring, expressive pipes are met with intricate drumming and strategic keys.

Elsewhere, “Connect The Dots” thumps a bit firmer amid a cinematic appeal and vivid storytelling, while “When Your Ship Comes In” finds itself in more dense areas of fuzzed out alt-rock.

Arriving near the end, the elegant and stirring “Le Domestique” benefits much from cello and backing vocals from Lori Goldston and Jacquie Dillon, and “Better To Replace” exits the listen and showcases fluid bass lines and a bit of atmosphere that’s a little jangly and a whole lot memorable.

Although he might best be known for his work in the Pacific NW record industry, this is actually Compton’s 20th release on his own label, and it’s as diverse as it is timeless, and is great enough to bring to mind legends like Elliott Smith, Dinosaur Jr. or Built To Spill.

Travels well with: Thomas Comerford- Introverts; Eamon Ra- Meat Bones Chemicals Electricity

Danceland

Pink Lem

Pinkfoot, 2022

8/10

Listen to Pink Lem

The Toronto jam band Danceland are spearheaded by Joe Ferland and his wife Jale, and this first batch of songs in over a decade for Ferland were birthed as a result of his mother’s passing. A Deadhead in his youth, Pink Lem explores similar ideas, and embraces psychedelia and Americana along the way.

“Bluewater Sky” starts the listen with swift drumming and warm strumming as well timed keys and harmonic singing make for a glorious opening, and “Don’t Act Surprised” follows with a charming, thumping approach that touches on folk-rock amid the rootsy melodies.

“Protection Mantra” and “Down On Me” occupy the middle spots, where the former gets a bit mysterious in a dreamy, Eastern influenced sort of way, while the latter finds itself in intimate areas of gentle guitars, expressive singing and well timed pedal steel.

Close to the end, “Not Without A Fight” emits very pretty singing amid the emotive and soothing song craft, and “4:20” finishes the listen with plenty of retro-rock nods that jangle a bit and possess plenty of ‘60s sensibilities.

Joe and Jale welcome Frank Dias (bass), Burt Gidaro (keyboards), Brad Park (drums, percussion), Brad Cassel (vocals, percussion) and Michael Eckert (pedal steel) to the affair, and it’s a playful effort that also touches on funk and space-rock moments while still staying very much true to their roots as the Cherry Garcia Band, which alone gives you great insight into this excellent debut.

Travels well with: Ever More Nest- Out Here Now; Sleepyard- Head Values

Natasha Stojanovska

Uncommon Voices

Navona, 2022

8/10

Listen to Uncommon Voices

The pianist and composer Natasha Stojanovska dives into the music of Eastern European female composers with this body of work, and it brings the sounds of Croatia, North Macedonia, the former Soviet Union, and other Eastern European countries into elements of western musical tradition.

Maria Szymanowska’s “Nocturne In B Flat Major” opens the listen with gentle and pretty progressions that are quite alluring in their precise delivery, and “Piano Sonata No. 1”, by Zara Levina, follows with very calm musicianship that unfolds with a mesmerizing quality as it builds into a lush execution.

In the middle, the dancing keys of “Sonata No. 2 In A Flat Major” displays a profoundly meticulous demeanor of Stojanovska’s skill in the Dora Pejacevic original, while “Pieces For Piano” is a bit more firm and rumbles slightly amid Bojana Petrovic Aleksova’s vision.

The album exits on a pair of originals, where the emotive and stirring “Phantasy No. 2” and “Phantasy No. 1” possess a tremendous amount of heart and soul.

Stojanovka does an excellent job of spotlighting these overlooked and under appreciated artists, and her very proficient finger acrobatics will greatly appeal to fans of piano music.

Travels well with: Anna Kislitsyna- Piano Spectrums; John Mitchell’s Quartets- Seasons

Benjamin Shorstein

Fantasy For Violin & Piano

Navona, 2022

8/10

Listen to Fantasy For Violin & Piano

The composer Benjamin Shorstein explores emotion and character on this highly engaging listen that takes form and structure into consideration as Lucia Luque handles violin and Marcelo Balat plays piano on a listen that’s sometimes improvised.

The improvised title track begins the listen with a nearly ominous approach that rumbles a bit, where the strings are quite absorbing and the agile keys are never short on melody or unpredictability.

The middle track is just Balat’s stunning piano skills that populate “Sonata For Piano”, and they sure do mesmerize with flowing finger acrobatics that are dizzying, sometimes dreamy, and quite charming.

“Partita For Solo Violin” exits the listen, and it’s full of spellbinding string gestures that can be firm, gentle and emotional, and are performed with an unparalleled attention to detail.

Shortstein manipulates melody and dissonance here with fascinating results, and it makes for a very inviting chamber affair that uses piano and violin with much care and exploration.

Travels well with: The Great Necks- Impressions Of Spain; Peter Dayton- Stories Out Of Cherry Stems

Michel De La Barre

Premier Livre De Piéces Pour La Flute Traversiére, Avec La Basse Continue

Navona, 2022

8/10

Listen to Premier Livre De Piéces Pour La Flute Traversiére, Avec La Basse Continue

The 4 musicians of The Opus Project come together to illuminate the work of Michel De La Barre, a French flute extraordinaire and composer, and they sure do put a dynamic spin on the rarely heard, unsung suites.

“Suite I En D La Ré, Tierce Majeure” opens the listen with dreamy baroque flute from Joanna Marsden and Christophe Gauthier’s harpsichord interacting with much beauty and playfulness across the 8 movements, and “Suite II En G Ré Sol, Tierce Majeure” follows with a soothing, breezy quality that benefits much from Margaret Little’s precise viola da gamba.

In the middle, the mysterious demeanor of “Suite III En E Si Mi, Tierce Mineure” makes great use of Daniel Zuluaga’s theorbo with much grace, while “Suite IV En G Ré Sol, Tierce Mineure” flows with a highly meticulous chemistry between the strings and winds that’s quite cautious and reflective.

The last track, “Suite V En D La Ré, Tierce Mineure”, is quite possibly the best, and radiates a very calming, poetic quality that allows all 4 players to shine with their respective talent.

A very detailed body of work, The Opus Project maintain their position as one of Canada’s leading Early Music quartets here, while shining a spotlight on the first person to publish solo flute music.

Travels well with: Benjamin C.S. Boyle- Spirits In Bondage; Michael Murray- Passages

The Crossing

Born

Navona, 2022

9/10

Listen to Born

The conductor Donald Nally leads the Grammy winning chamber choir The Crossing through compositions by Michael Gilbertson and Edie Hill here, where themes of extinctions, relationships and their complexities, loss, and love are explored with much beauty.

Gilbertson’s “Born” starts the listen with the sublime voices harmonizing with incredible fluidity and a sublime delivery of uplifting, expressive singing for nearly 10 minutes.

Hill’s “Spectral Spirits” lands in the middle, and emits both bare, emotive moments of quick solo singing, as well as fuller bouts with the choir interacting with much warmth and grace.

“Returning”, by Gilbertson, exits the listen, and is heavy on atmosphere that unfolds with a spirited, dreamy demeanor that’s as mesmerizing as it is timeless.

Much like everything The Crossing have done, this body of work is raw, inspiring, powerful and articulate, and certainly will garner them many more much deserved accolades.

Travels well with: Benjamin C.S. Boyle- Spirits In Bondage; Peter Dayton- Stories Out Of Cherry Stems

Benjamin C.S. Boyle

Spirits In Bondage

Navona, 2022

8/10

Listen to Spirits In Bondage

The American composer Benjamin C.S. brings poetry and music together here, where he illuminates their kinship with several top notch singers and Laura Ward’s superb piano playing across these 2 discs.

“Lenoriana, Op. 4” opens the listen with Randall Scarlata’s powerful baritone alongside the agile keys across the 9 movements of expressive singing and charming music, and “Zelda’s Dream” continues the emotive climate with Kelly Ann Bixby’s stunning soprano guiding Ward’s very dreamy finger acrobatics.

Further on, “Trois Chansons, Op. 11” spotlights Sarah Shafer’s soaring soprano as Ward mesmerizes us with her heartfelt playing, while “Chansons De Diane, Op. 24” rumbles with Irini Kyriakidou’s soprano and Bryan Hymel’s tenor that welcomes ebullient moments of firm, exciting musicianship.

Deeper still, “Folksongs From Another World, Op. 25” illuminates Hannah Ludwig’s mezzo-soprano across 5 chapters of stirring, cautious folklore that can also get tense, and “Spirits In Bondage, Op. 40” exits the listen with baritone from Dan Teadt that elicits a lower register of harmonic beauty.

A very well thought out record that’s very distinct with its tonal language and illustrates much diversity with the many vocalists, the incredible fluidity with Ward’s incredible piano won’t go unnoticed, either.

Travels well with: Peter Dayton- Stories Out Of Cherry Stems; Michael Murray- Passages

Apollo Chamber Players

MoonStrike

Azica, 2022

8/10

Listen to MoonStrike

The always impressive Apollo Chamber Players return with works by Jennifer Higdon, Jerod Impichchaachaaha’ Tate and Pierre Jalbert, where a celebration of storytelling, space and folklore are illuminated by the outfit’s dynamic string interaction and narration by John Herrington.

Higdon’s “In The Shadow Of The Mountain” opens the listen with stirring and poetic strings unfolding with beauty and awe, where they spotlight the sounds and colors of the Great Smoky Mountains, where Higdon was raised.

In the middle, Tate’s “MoonStrike” displays swift, dizzying string prowess that also welcomes Herrington’s spoken word, who happens to the first American Indian citizen to fly in space. Deeper into the 7 movements, the setting turns dreamy amid the floating melodies, before finishing up on dense, quivering and firm playing.

The final track, “L’espirit du Nord (Spirit Of The North)”, by Jalbert, exits the listen with dancing strings and incredible attention to detail that meshes 3 French-Canadian folk songs into very adventurous, contemporary sounds.

The Apollo Chamber Players consists of Matthew J. Detrick (violin), Anabel Ramirez Detrick (violin), Whitney Bullock (viola) and Matthew Dudzik (cello), and this 6th album continues their inestimable, multi-cultured, rhythmic chamber sounds that we could never tire of.

Travels well with: Apollo Chamber Players- With Malice Toward None; John-Henry Crawford- Dialogo

Lynn Swisher Spears

I Am

Self-Released, 2022

8/10

Listen to I Am

A collection of songs that surrounds themes of women’s hopes, dreams, heartaches and joys, Lynn Swisher Spears brings us 21 original tunes across 2 discs that are interpreted by 13 top notch vocalists.

“I Am” opens the listen with a bluesy ballad, where Rissi Palmer’s gorgeous pipes are complemented by acoustic guitar and bass, and “Betsy’s Garden” follows an up tempo ballad that showcases Abigail Dowd’s expressive pipes amid warm piano and soft guitar.

Elsewhere, “Wednesday’s Blue” burns slow, with keys, sax, bass and percussion that’s soaked in sultry blues thanks to Taz Halloween, while “Four-String Gibson” enters folk territory with its strong attention to detail and acoustic guitar, fiddle and mandolin that are joined by Penne Sandbeck’s heart-wrenching vocals.

On the back half of the listen, “One Can Only Hope” recruits slide guitar and snarled singing from Halloween for raw and emotive album highlight, though “No Greater Gift” is a close second with its stirring cello from Shana Tucker and Isabel Valls’ absorbing voice in the poetic 6/8 time.

Spears is essentially immersing herself into research in relation to her transformation of a more authentic version of herself as a transgender woman, and she advised each vocalist to make these songs their own, and it allows for a very diverse, engaging and enlightening peek into the human experience

Travels well with: Deidre McCalla- Endless Grace; Kim Beggs- Steel And Wool

Kirk Fletcher

Heartache By The Pound

Ogierea, 2022

8/10

Listen to Heartache By The Pound

The blues guitar wizard Kirk Fletcher returns with a 7th solo album, where 10 well thought out tracks were fleshed out at the legendary FAME studious in Muscle Shoals, Alabama and welcomes 3 different bands and plenty of guest musicians, too.

“Shine A Light On Love” opens the listen with bright horns, meticulous guitar and soulful vocals guiding the powerful blues climate, and “Afraid To Die, Too Scared To Live” follows with thumping drums and a bit of cautiousness in the rhythmic demeanor that hints at R&B.

Close to the end, “The Night’s Calling For You” offers an intimate and groove friendly display of gentle song craft, while “Wrapped Up, Tangled Up In The Blues” emits warm melodies and Fletcher’s smooth, soaring pipes amid well timed backing vocals and spirited guitar.

Nearing the end, “I Can’t Find No Love” brings darker wordplay to very stirring musicianship that’s got plenty of timeless blue flavor, and “Hope For Us” exits the listen with a more dense execution of grit and beauty.

Fletcher returns to his gospel and blues roots here, where he delivers songs about everyday life that we can all relate to, and his inimitable guitar playing and sturdy pipes make for a superb blues record.

Travels well with: Albert Castiglia- I Got Love; Phantom Blues Band- Still Cookin’

Robert Paterson

In Real Life

American Modern, 2022

8/10

Listen to In Real Life

It’s been a busy year for Robert Paterson, who released 2 albums that are very different in nature. While he offered us string quartets on the aptly titled String Quartets 1-3, In Real Life instead explores online dating with much comedy in a very theatrical setting, and takes help from lyrics and libretto by David Cote and conducting from Steven Osgood.

“A Regular Woman” opens the listen with Marnie Breckenridge’s soaring soprano guiding the firm keys and intricate strings, and “Late Bloomer” follows with fluid winds and pretty piano complementing Breckenridge’s gorgeous singing.

Jorell Williams steps in on vocals by track 6, where the rockin’ mood of “Ain’t No Frog” allows his baritone to shine playfully, while “Die With Me” is a more lush, even dreamy delivery of vivid storytelling and uplifting song craft.

“Extraordinary” exits the listen, and it’s a duet with both Breckenridge and Williams, as the conversational interplay between the pair is as unpredictable as the music, and weaves in and out of tense, tuneful and twinkling moments.

A very interesting idea, the songs here portray five women and five men filling out their dating-site profiles, sets it to music, and essentially illuminates all the humor, romance and forthrightness that comes with searching for a mate in a charming, operatic demeanor.

Travels well with: Robert Paterson/The Indianapolis Quartet- String Quartets 1-3; Tom Nazziola- Distant Places

Robert Lee

Cha-Ran

Three Pines, 2022

8/10

Listen to Cha-Ran

The bassist and composer Robert Lee brings us all originals here that were inspired by Korean folk stories that are quite romantic and often possess a fantasy angle.

The title track starts the listen with twinkling strings and stirring vocals from Carolina Alabau, as Kris Ramakrishna’s flamenco guitar and Adem Mehmedovic’s warm piano make for a very unique climate, and “The King And The Mountain” follows with precise plucking from Lee amid Tetyana Haraschuk’s intricate drums and Marco Pisani’s gentle guitar.

“Jade” and “Seun-Sul” occupy the middle spot, where the former brings much intimacy via Songah Chae’s spellbinding piano and Mateo Falgas’ sublime voice, while the latter showcases Marc-Oliver Poingt’s proficient keys alongside Lee’s careful bass plucking.

“Kaelo” exits the listen with the best track, where Nina Nicolaiewsky’s gorgeous singing and the cozy bass interact with a cautious, alluring demeanor.

A very remarkable listen that takes the listener on a journey into another avenue due to its emotional gestures and highly artistic vision, Cha-Ran resonates long after the music stops.

Travels well with: Jacob Chung- Epistle; Carn Davidson 9- The History Of Us

Giovanni Costello

In Alto Mare

GLM, 2022

8/10

Listen to In Alto Mare

The veteran musician Giovanni Costello returns with a 6th album, where his jazz sensibilities flirt with pop and funk in very sophisticated, enticing ways.

The title track opens the listen with a lively climate of breezy melodies, a warm beat and soaring vocals that will get you on the dance floor, and “Era Bella” follows with a calmer pace that benefits from Nicolo Fragile’s graceful keys and Fausto Leali’s esteemed pop sensibilities.

“Amani” lands in the middle and emits an animated energy that spotlights Daniele Moretto’s bright brass amid Marco Mariniello’s playful bass, while “Blues” gets quite dreamy, where Costello’s expressive pipes are complemented by Fragile’s agile keys and Francesco Corvino’s precise drumming.

Approaching the end, “Non avere paura” contains an infectious beat to illuminate the dynamic pop sensibilities, and “La donna cannone” exits the listen intimate, poetic and with a sublime presence in the piano balladry.

An extremely well produced affair, there’s much style present, as Costello and his band put forth love, peace and sense of community on this very fluid effort.

Travels well with: Mulo Francel- Mountain Melody; Andreas Hinterseher- Stay Away And Play!

Tony Tyrrell

Conviction

Self-Released, 2022

8/10

Listen to Conviction

The debut album from the Irish singer-songwriter Tony Tyrrell, the troubadour brings along an all star cast of players for this very mature and diverse listen.

“Enemy Of Love” opens the listen with Tyrrell’s warm, deep vocals in the dreamy climate that benefits from Chanele McGuinness’ pretty pipes, and “Happy Daze” follows with a poetic appeal that recruits precise drums from Jay Dickson and Declan McClafferty’s cozy guitar playing.

In the middle, “Turning Into You” showcases John McCullough’s sublime keys in the intimate album highlight, while “To Know You” makes great use out of Marty Smyth’s strategic bass in the soulful, elegant landscape.

“Slip Away” and “Love On Those Steps” exits the listen, where the former is a bit bouncy, even frisky and dance-able, and the latter brings a bit of haunting quality amid the thumping drums, cryptic guitar and agile keys.

An excellent first time on his own, Tyrrell resides somewhere between folk and modern rock on the softer side of the spectrum, and it will be exciting to hear what this former member of The Afternoons does next.

Travels well with: Matt Simons- Identity Crisis; Fritz Michel- On The Rocks

Rebecka Sofia Ahvenniemi

Soundtrack Of An Imaginary Opera

Ravello, 2022

8/10

Listen to Soundtrack Of An Imaginary Opera

The Finland native and current Norway resident Rebecka Sofia Ahvenniemi doesn’t approach opera with a typical vision, and here she injects philosophy, artificial language and acoustic ideas into the very distinct listen.

“Beauty Hurts” opens the listen with Elisabeth Holmertz, Martina Starr-Lassen, and Ørjan Hartveit’s lovely, expressive voices as Jutta Morgenstern’s violin and Agnese Rugevica’s cello add much elegance to the mysterious climate, and “Punish Me Please” follows with Ole André Farstad’s guitar and Erik Håkon Halvorsen’s synthesizer adding much atmosphere to the animated and lush display.

“Who Is Your Daddy? Who Is Your Mommy?” occupies the middle spot and benefits much from Owen Weaver’s well timed percussion, while “Leave Life” allows the soaring voices to radiate much beauty alongside the stirring strings and subtle synth.

The bonus track, Es dringen Bluten”, is quite adventurous and brings video game friendly noises to the unpredictable strings and synth flourishes that nearly sounds sci-fi.

Ahvenniemi takes a very iconoclastic approach to her craft, and it sure makes for an unorthodox but very exciting body of work.

Travels well with: Stuart Weber- Pieces Of Road; James Dashow- Soundings In Pure Duration Vol 2

Peter Mulvey & Sistastrings

Love Is The Only Thing

Righteous Babe, 2022

9/10

Listen to Love Is The Only Thing

The singer-songwriter and guitarist Peter Mulvey aligns himself with the fellow Milwaukeeans Sistastrings for the effort, where an anti-fascist theme surrounds loss, tension and the love that guides us through it.

“Shenandoah” opens the listen with a very intimate interpretation of the 19th century ballad, where Mulvey’s expressive pipes and gorgeous acoustic guitar illuminates the bare climate that leads into a fuller display of soaring strings, and “Soft Animal” follows with a cozy mid-tempo track of folk friendly guitar and stirring cello.

Deeper into the listen, “Early Summer of ‘21” offers an upbeat and indeed summery display of soothing vocal harmonies and atmospheric strings, while “On The Eve Of The Inaugural” enters waltz territory with Mulvey’s vivid storytelling that benefits much from well timed drums and a bit of gospel influence.

Close to the end, “February Too” flows with a romantic spirit that pairs elegant strings with playful guitar, and “Love Is The Only Thing” exits the listen with one of the fuller tracks, where firm drums, strummed guitar and dreamy strings complement the loud choruses and rowdy verses.

The Sistastrings consists of Monique Ross (cello, background vocals) and Chauntee Ross (violin, background vocals), and Nathan Kilen handles drums, percussion and background vocals. Together, along with Mulvey’s always thoughtful and absorbing vision, they make for much appreciated folk/Americana formula that’s nothing short of exceptional.

Travels well with: Pieta Brown- Freeway; Peter Mulvey- There Is Another World

Happy Traum

There’s A Bright Side Somewhere

Lark’s Nest, 2022

8/10

Listen to There’s A Bright Side Somewhere

The fingerstyle guitarist Happy Traum returns with his first new record in 7 years, where 13 tracks embrace blues, folk, and Americana and welcome a large cast of A-list musicians who have been playing with Happy on and off for years.

The title track opens the record with intricate guitar playing as Happy’s warm, inviting vocals guide the gospel/folk climate that welcomes Larry Campbell on mandolin, and “Santa Cruz Blues” follows with a duet between Happy’s Santa Cruz guitar and Eric Parker’s skilled drumming.

Elsewhere, “Living With The Blues” showcases John Sebastian’s spirited harmonica and Cindy Cashdollar’s dobro in the indeed bluesy and soulful album highlight, while “Farewell” puts a very bluegrassy spin on the Dylan classic with Tony Trischka’s banjo and Larry Campbell’s fiddle amid very well timed backing vocals.

Arriving near the end, “How Are Things In Glocca Morra?” offers a solo guitar track that really spotlights Happy’s inimitable guitar playing in the cozy demeanor, and “Love Song To A Girl In An Old Photograph” exits with Byron Isaacs on bass and Cashdollar’s haunting slide guitar in the very stirring finish.

Happy’s got a long list of talents that includes not only guitar and singing, but writing and instructional video producer, and his acoustic finger picking is quite fascinating on this charming, memorable comeback album.

Travels well with: Tom Paxton, Cathy Fink, Marcy Marxer- All New; Steve Goodman- The Best Of Steve Goodman

Odie

Full Color Book Of Cats

Song Club, 2022

9/10

Listen to Full Color Book Of Cats

A modern folk outfit spearheaded by the vocalist Emily Brown, the 6 tunes here contain plenty of punk grit and were penned between 2016-2019 and fleshed out in a cabin and bedrooms in California and Utah.

“Garfield (May 17, 1987)” opens the with a warmly textured version of neo-folk that showcases melodic singing, crisp drums and a bit of a jangle, and “Going Along For The Ride” continues the inviting demeanor with intimate, expressive singing that escalates into a punchy version of indie-rock that’s still very pretty.

“How You Gonna Love Me” and “Basic Conversation” land in the middle, where the former alternates between dense buzzing that touches on alt-rock and calmer moments of cautious song craft, while the latter gets a bit dreamy in between the infectious guitar crunch.

Deeper still, “Learning 2 B Rude” balances tension with grace in the EP’s best that touches on punk, and “Both Sides Now” exits the listen with both tender and firm moments of thicker guitars amid Brown’s diverse and soaring pipes.

Brown is accompanied by Andrew Wiggins (guitar), Kyle Benson (guitar, bass, keyboards, vocals), Jake Lyman (guitar, bass, vocals), Jesse Q-T (drums) and Logan Hone (woodwinds) for the affair, and it’s a heartfelt, honest and delightful experience that ends entirely too soon.

Travels well with: Emily Brown- A Fish Of Earth; Alyssa Pyper- Salt Crust

Steve Knight

Persistence

Self-Released, 2022

8/10

Listen to Persistence

The Chicago resident and guitarist Steve Knight brings us an impressive debut, where Justin Peterson plays bass and Jeff Stitley handles drums across a dozen tracks, seven of which are originals.

“Suspects” opens the listen with calm and soothing guitar as the light drumming complements the gentle tone fluidly, and “Cisco” continues with playful bass playing that glides alongside the melodic guitar superbly.

Closer to the middle, the title track blends the guitars and drums with a stylish and very dynamic jazz climate, while “Chop Chop” gets frisky, meticulous and beams with a swift jazz meets blues energy.

“Workshop” lands near the end, and bops and shakes with an infectious demeanor, and “Sharps Disposal” exits with incredible musicianship that swirls with tumbling drums, hypnotic guitar and strategic bass playing.

An excellent first album that’s highly technical and delivered with grace and adventurousness, Knight and company put a charming spin on the covers, and the originals are quite impressive, too, as they embrace pop, funk, blues and R&B elements into the timeless formula.

Travels well with: Dan Olivo- Day By Day; Bill Ortiz- Points Of View

Ray Blue

Work

Jazzheads, 2019

8/10

Listen to Work

The New York tenor saxophonist returns with 3 originals and plenty of adventurous versions of standards as Ray Blue delivers an old school flavor in these creative jazz tunes.

The title track starts the listen with lively percussion as Blue’s strong sax skills guide the jazz effort, and “Lift Every Voice And Sing” follows with a shuffling pace of keys, brushed percussion and brass on the playful track.

Near the middle, “Mellow Mood” does indeed reside on the calmer side with dynamic interplay between the piano, percussion and saxophone, while “Amsterdam After Dark” dips into a stylish, slightly darker setting as trombone from Roy Wilkins enters the formula.

Near the end, “Our Day Will Come” flows with a lively pace that’s danceable, and “Everything Happens To Me” glides with some of the best melodies on the album. “That’s All (Duo)” ends the listen with just Blue and Kirk Lightsey on keys as the gorgeous exit complements the entire record.

Blue has a significant catalog in his 20 years of playing music, and Work is certainly at the top of the list with its classic swing and retro sounds injected into the timeless execution.

Travels well with: Dave Miller Trio- Just Imagine; Bernie Mora & Tangent- No Agenda