Geoff Stradling & The StradBand

Nimble Digits

Origin, 2024

8/10

Listen to Nimble Digits

The Los Angeles composer, arranger and keyboard player Geoff Stradling pens a modern jazz orchestra listen, where his excellent band helps cultivate global ideas into the 10 tracks.

“Blue Note” starts the listen with the flowing brass and meticulous piano from Stradling that emits plenty of soaring musicianship, and “Brecker Sketch” follows with the dreamy winds complementing the agile drumming of the lively climate.

“Baton Noir” arrives in the middle, and is full of dynamic rhythm, where the winds are spotlighted- especially Alex Budman’s clarient- while “Here In Spirit” find a very intimate place to reside via the soothing and atmospheric waves of coziness.

Further still, “Wrap Party” carries a festive presence, where a frisky appeal radiates tremendous interaction between the colorful horns and animated drums, and “Habanero” exits with Tim McKay’s baritone sax and Erik Hughes’ skilled trombone, which accents the cultured percussion.

An adventurous outing that recruits 31 musicians to the Big Band affair, Stradling’s vision will forever be in demand and memorable.

Travels well with: Martin Budde- Back Burner; Zach Rich- Solidarity

Idit Shner & Mhondoro

Ngatibatanei

OA2, 2024

9/10

Listen to Ngatibatane!

The saxophonist Idit Shner brings alongside an excellent cast for these cultured and rich 8 tracks that rarely sit still.

“Henceforth” opens the listen with Torrey Newhart’s flowing piano and John Mambira’s lively percussion that suits the soulful sax, and “The Change” follows with a warm intimacy that allows Shner’s fluid sax to radiate as the setting gets dreamy.

The middle spot belongs to “Lunar Curve”, where hand clapping and well timed mbira from Taffie Matiure mesmerizes us, while “Conestoga” benefits from Garrett Baxter’s dense bass plucking amid a soothing groove.

Near to the end, “Kraken” enters rock territory with its thick atmosphere of thumping drums from Ken Mastrogiovanni and the animated brass, and “For Now” exits with a festive appeal that’s dance floor ready and emits plenty of lush, cultured songwriting.

An exciting body of work that uses African traditions and Western jazz nods, the melodies, grooves and worldly demeanor makes every track here equally interesting and memorable.

Travels well with: Last Word Quintet- Falling To Earth; Zach Rich- Solidarity

Clare Longendyke

…Of Dreams Unveiled

Self-Released, 2024

8/10

Listen to …Of Dreams Unveiled

The debut album from the pianist Clare Longendyke, the pieces here consist of works by Claude Debussy and commissioned selections via Amy Williams and Anthony R. Green, which contains much emotion and agility.

“Préludes, Livre I: La Cathédrale engloutie”, by DeBussy, opens the listen with a soft intimacy that uses lower registers versus bright tonality, and Williams’ “Piano Portraits, Book I: Yvar” rumbles with a distinct mood, as the mesmerizing spirit draws us in.

Closer to the middle, “Piano Portraits, Book II: Nils”, by Williams, presents plenty of minimal, nearly haunting moments, while “Fugue — suivant « Des pas sur la neige” is an upbeat and swift display of stunning finger acrobatics from the Green composition.

Near to the end, DeBussy’s “Préludes, Livre II: La puerta del Vino” balances atmosphere and melody in unpredictable, rich ways for the album’s best, and Green’s “To Anacreon in the US” exits with a firm rumbling and mysteriousness.

An excellent first album from a talent that anyone with an ear for piano music should be paying attention to, Longendyke bridges classical and contemporary ideas with incredible attention to detail.

Travels well with: Myroslava Khomik- Protest; Richard Crosby- By The Waters Of Memory

Tylor & The Train Robbers

Hum Of The Road

Self-Released, 2024

8/10

Listen to Hum Of The Road

The Idaho country rock outfit Tylor & The Train Robbers return with 10 new, diverse tunes that carry much rock’n’roll spirit and even some emotive balladry.

The warm spirit of the title track starts things off with Tylor Ketchum’s fluid voice alongside Tommy Bushman’s thumping drums for the breezy, rootsy flavor, and “Next Long Haul” follows with a hint of ruggedness amid Jason Bushman’s skilled bass.

“Workin’ Hands” occupies the middle spot and uses swift guitar via Johnny ‘Shoes’ Pisano that suits the driving pace, while “Sailing Song” is an intimate moment that benefits much from Rider Soran’s moody pedal steel and Tylor’s distinct vocals.

The final 2 tracks don’t disappoint, either, where “On The Go”, the album’s best, is scrappy yet cautious of top notch Americana that uses harmony vocals, and “Ton Of Trails” exits the listen with an acoustic guitar focused moment of poetic singing and gripping pedal steel.

Another excellent outing, Tylor and company bring harmony, rhythm and heartfelt qualities to classic country plus many other ideas that won’t take long to appreciate.

Travels well with: Grant Langston- aLAbama; Breezers- Hideaway

The Chess Project

New Moves

CZYZ, 2024

8/10

Listen to The Chess Project

The brainchild of Marshall Chess, the interpretations of blues legends are fleshed out by an all star cast and includes songs picked out of the family’s vault.

“Boom Boom Out Go The Lights” starts the listen with Bernard Fowler’s gritty voice alongside Ralph Rosen’s fluid harps skills for the rhythmic opener, and “Moanin At Midnight” follows with a dense groove via Skip McDonald’s spirited guitar amid Keith LeBlanc’s lively drums.

“Tell Me” arrives in the middle, and benefits from Eric Gales’ meticulous electric guitar and Alan Glen’s lively blues harp, while “Mother Earth” showcases Mark Kaplan’s soulful tenor sax amid some funky gestures.

Arriving near the end, “Smokestack Lightning” recruits Paul Nowinski’s skilled acoustic bass that complements Fowler’s howling pipes, and “Help Me” exits with Reggie Griffin’s proficient keys and synth and Mohini Dey’s playful bass lines that suit the stylish finish.

A record of strong riffs and timeless blues sensibilities, Chess handpicked the band, and they truly do justice to these classic tunes that will appeal to blues fans far and wide.

Travels well with: Eric Gales- Crown; Jeff Rogers- Dream Job

Boston Modern Orchestra Project

Paul Moravec: The Overlook Hotel: The Suite From ‘The Shining’

BMOP, 2024

8/10

Listen to Paul Moravec: The Overlook Hotel

An ensemble who are approaching their 100th record, the Boston Modern Orchestra Project tackle a variety of themes from the highly elaborate mind of Paul Moravec.

The title track opens the listen with a distinct mood, where mystery and ominousness thanks to the firm keys, string manipulation and eerie percussion that won’t go unnoticed. Group vocals do enter as well, and the lively brass certainly adds to the colorful climate.

“Scorpio Dances” and “Serenade” occupy the middle spots. The former swirls with an infectious energy and animated spirit, while the latter is a sublimely intimate and poetic album highlight that displays bright winds and graceful strings.

The final track, “Brandenburg Gate”, then showcases Gabriela Diaz’s swift violin, Sarah Brady’s dreamy flute, Jan Halloran’s agile clarinet and Terry Everson’s strategic trumpet for the dynamic and exciting exit.

Gil Rose handles conducting duties, and guides the orchestra through versatile and meticulous interaction for this imaginative and timeless body of work.

Travels well with: Boston Modern Orchestra Project- Joan Tower Piano Concerto- Homage To Beethoven; Boston Modern Orchestra Project- Walter Piston: Concerto For Orchestra

Ezra

Ezra

Adhyâropa, 2024

9/10

Listen to Ezra

A quartet consisting of two professors, a world renowned mandolinist and a rising banjo wizard, Ezra bring classical, jazz, rock, and bluegrass to these highly technical 9 tracks that make up their debut.

“Smoke In The Valley” opens the listen with Max Allard’s intricate banjo, before Craig Butterfield’s skilled bass enters, and “Jarrah” follows with Jesse Jones’ warm guitar that guides the rootsy, flowing dynamics of the cozy climate.

In the middle, “Contrabuffoon” benefits much from Jacob Jolliff’s meticulous mandolin playing that turns into a thicker, rich album highlight, while “Cowboy Walks” is an intimate moment of gentle beauty from the graceful and stirring strings.

Approaching the end, “Beedabumbum” meshes the four’s inimitable talents with a cautious and melodic presence, and “Dix-neuf” exits with chunky banjo, dense bass plucking and upbeat mandolin that makes an indelible impression.

A very progressive take on chamber and bluegrass ways, influences from Punch Brothers, Hawktail and Uncommon Ritual won’t be hard to notice, as the string acrobatics make for an exceptional first album.

Travels well with: Dean Olsher- Letters Of Transit; Aaron Irwin Trio- (after)

Stephen Bluhm

Out Of The Nowhere, Into The Here

Self-Released, 2024

8/10

Listen to Out Of The Nowhere, Into The Here

The sophomore album from the singer, songwriter and performer Stephen Bluhm, the songs here place aside the electronics from his debut, and instead are steeped in chamber-pop ideas.

“Any Little Things” starts the listen with Bluhm’s warm piano and soft voice that emits much beauty and grace, and “Wissahickon” follows with a calm, dreamy approach of poetic songwriting.

In the middle, the melodic gestures of “Easter” welcomes soulful brass to the strategic minimalism, while the upbeat “Existential Crisis” uses Francesca Hoffman’s airy flute amid the rich album highlight.

“All The Love You Want” lands near the end, and benefits from cozy acoustic guitar and stirring strings for an orchestral appeal, and “There Was A Light” exits with a folk presence that has Bluhm hitting some night notes via the frisky keys and subtle pop nods.

Bluhm handles vocals, Steinway Grand, guitar, pipe organ, Wurlitzer, and glockenspiel, and several guests accompany him for a classical, orchestral and chamber experience that’s fueled by his distinct baritone pipes and timeless nature.

Travels well with: Jeremy Wilms- The Fighter; Catbells- Partly Cloudy

Wonder Women Of Country

Wonder Women Of Country

Self-Released, 2024

8/10

Listen to Wonder Women Of Country

A supergroup of female stars in the area of country sounds, Kelly Willis, Melissa Carper and Brennen Leigh come together for 6 well thought tracks.

The cozy and retro spirit of “Fly Ya To Hawaii” brings in Chris Scruggs’ warm pedal steel the complements the ladies’ vocal harmonizing, and “Another Broken Heart” follows with Willis’ expressive pipes alongside Goeff Queen’s aching pedal steel and the soulful backing vocals.

“Won’t Be Worried Long” and “A Thousand Ways” occupy the middle, where the former showcases Carper’s gritty yet tuneful voice and Leigh’s glowing mandolin, while the latter recruits Ginny Mac’s playful accordion and plenty of rhythm for the dance floor friendly climate.

The last track, “I Have Met My Love Today”, is the lone cover, and puts Timmy Campbell’s drums to good use across the heartfelt mood of the John Prine tune.

All 3 ladies have excellent resumes of their own, and their combined talents make for an essential listen for fans of country from any era.

Travels well with: Brennen Leigh- Prairie Love Letter; Melissa Carper- Ramblin’ Soul

Henriëtte Bosmans/Ethel Smyth/Dora Pejačević

Trailblazers

Acis, 2024

9/10

Listen to Trailblazers

Molly Gebrian and Danny Holt come together for these pieces by Henriëtte Bosmans, Ethel Mary Smyth and Dora Pejačević that include strong attention to detail and meticulous, captivating interaction.

Bosmans’ “Sonata In A Minor” opens the listen with firms keys and graceful strings from Gebrian’s stunning viola, where much beauty and emotion is poured out via the duo’s dynamic energy and warmth.

Smyth’s “Sonata In A Minor, Op. 5” occupies the middle spot, and showcases Holt’s mesmerizing finger acrobatics, as the fluid keys align with the violin for a distinct and memorable beauty.

Pejačević’s “Sonata In E Minor, Op. 35” exits the listen, and presents an alluring intimacy that has Gebrian’s viola tugging on the heartstrings amid the thoughtful progressions on piano.

All 3 sonatas here were originally written for cello, and the duo interpret all the movements with agility, maturity and a very timeless nature thanks to their stunning performances.

Travels well with: Trinity Boston Church/Colin Lynch- The Great Glad Tidings Tell: Carols From Copley Square; Ian Pomerantz/Byron Schenkman- Art Songs Of The Jewish Diaspora

New Riders Of The Purple Sage

Hempsteader

Omnivore, 2024

8/10

Listen to Hempsteader

The American country rock outfit New Riders Of The Purple Sage were born out of the psychedelic scene of San Francisco in the late ‘60s. The tracks captured here are from 1976 at the Calderone Concert Hall in Hempsteadk New York, and illustrate the band in its prime via 18 live selections.

“Panama Red” opens the listen with playful and spirited interaction between the lively instruments and flowing group vocals, and “Little Old Lady” follows with swift guitar and yodeling for the raw, mountain-esque delivery.

Further into the set, “Ashes Of Love” is quite harmonic, where lively drumming and melodic guitar suit the gritty yet tuneful vocals, while “Whiskey” is dance floor ready, and shuffles with a nostalgic energy.

Closer to the end, some funk flavor enters the clever interpretation of “Hard To Handle”, and the crisp and twang friendly “Dead Flowers” invites a sing-along immediately and finishes with much throwback fun.

At their inception, New Riders Of The Purple Sage’s lineup featured several Grateful Dead members, and it’s no surprise that their live act was in high demand. The covers here by Delbert McClinton, Hazel Dickens and Jack Tempchin, plus others, are excellent, and the original tunes don’t disappoint either, as John Dawson (guitar, vocals), David Nelson (guitar vocals), Buddy Cage (pedal steel), Stephen Love (bass, vocals) and Spencer Dryden (drums) transport us to their progressive, flourishing ways.

Travels well with: Stephen Stills- Live At Berkeley 1971; David Crosby & The Lighthouse Band- Live At The Capitol Theatre

Dean Olsher

Letters Of Transit

Adhyâropa, 2024

8/10

Listen to Letters Of Transit

The composer/performer, arts and culture correspondent for NPR News, Dean Olsher brings us a striking body of work, where inspiration by the letters of transit that drive the plot of Casablanca unfolds across 8 very diverse selections.

The title track starts with the mesmerizing guitar from Rez Abbasi, which suits George Farmer’s skilled bass in the very warm climate, and “Forget I Was Ever Here” follows with Rachelle Garniez’s expressive voice alongside Olsher’s meticulous according for the intimate mood.

Halfway through, “Solace” benefits much from Satoshi Takeishi’s playful percussion and Meg Okura’s stirring violin via the heartfelt album highlight, while the fuller and rhythmic “Manhattan” places Jerome Harris on bass and makes great use of David Bertrand’s moody clarinet.

Approaching the end, “Mentre L’erbetta” focuses much on Olsher’s meticulous accordion amid the bright guitar tone and string acrobatics, and “Lullaby” exits with an initially bare tune that quickly builds into a rich and timeless jazz appeal.

An extremely dynamic peek at folk sounds from around the world, Olsher and company embrace chamber, orchestra and swing moments for an enlightening and thoughtfully good time.

Travels well with: Aaron Irwin Trio- (after); Dana Kaufman- Emily & Sue

Trinity Church Boston/Colin Lynch

The Great Glad Tidings Tell: Carols From Copley Square

Acis, 2024

9/10

Listen to The Great Glad Tidings Tell: Carols From Copley Square

Christmas holds a particularly special meaning for The Choir of Trinity Church Boston, which goes back to candlelit services in 1909, and here with children at the center of their musical and liturgical center, we’re treated to 20 selections under Colin Lynch’s conducting.

“Angels We Have Heard on High” starts the listen with the soaring voices amid warm and fluid musicianship that uses thumping drums, and “Coventry Carol” follows with incredible solos and intimate gestures that flow with beauty.

Further along, the gospel flavored “Have you Seen the Baby Jesus?” uses call and response singing with plenty of charm, while “O Come, all ye Faithful” enlists booming horns in a triumphant climate of meticulous singing.

Deeper still, “The Holy Boy” recruits moody keys and an emotive presence, and “Toccata-Gigue on the Sussex Carol” exits with a similar approach of intricate keys and strong attention to tone and execution.

A record that truly captures the spirit of the holiday season, there’s much joy and gloriousness present, as the choir and Jerrick Cavagnario’s well placed organ make an instant and lasting impression.

Travels well with: Ian Pomerantz/Byron Schenkman- Art Songs Of The Jewish Diaspora; Michele Kennedy- Agave: In Her Hands

Will Liverman/Jonathan King

Show Me The Way

Cedille, 2024

9/10

Listen to Show Me The Way

The baritone Will Liverman and pianist Jonathan King come together for this celebration of women composers and American song, where several guests accompany them through 2 discs of modern classical sounds.

“You Showed Me The Way” starts the listen with Liverman’s expressive pipes and King’s elegant keys making for much mature beauty, and “A Sable Jubilee” follows with flowing keys that suit the powerful singing in the Jasmine Barnes piece.

Further along, Margaret Bonds’ “Four Songs” showcases the incredible range of Liverman amid the meticulous and dreamy keys, while “Ah, love is a jasmine vine,” from Cabildo, op. 149” emits Nicole Cabell’s stunning soprano alongside Lady Jess’ stirring violin and Tahirah Whittington’s elegant cello.

Landing near the end, Sarah Kirkland Snider’s “Everything That Ever Was” presents sublime intimacy thanks to Renée Fleming’s soprano that complements Liverman’s deep delivery, and the upbeat and playful “If I Can Help Somebody” blends the keys and voices with tremendous care and warmth and features an appearance by Terry Liverman, the mother of Will.

A project with plenty of world premieres, Liverman’s beaming performance and King’s sensitive finger prowess keep us very engaged through the entire 87 minutes.

Travels well with: Jonathan Tetelman- The Great Puccini; Yuja Wang- Rachmaninoff

Ian Pomerantz/Byron Schenkman

Art Songs Of The Jewish Diaspora

Acis, 2024

8/10

Listen to Art Songs Of The Jewish Diaspora

An effort that reveals a treasury of Jewish art song, Ian Pomerantz, Byron Schenkman, and Sarah Freiberg come together for these well thought out selections.

“Three Sephardic Songs” begins the listen with Pomerantz’s soaring voice alongside Schenkman’s stirring piano in the very emotive climate, and “Six Chansons Populaires” follows with the booming vocals and frisky keys making for an adventurous moment.

Further along, the dizzying keys of “Lazar Weiner” allows for eloquent wordplay and diverse key progressions that can be swift and melodic, while “Psalm 119” is particularly intimate and powerful thanks to the expressive pipes and poetic keys.

Close to the end, Freiberg’s engaging cello guides the dreamy mood of “Impressions: 2”, and “Wiegala” exits with the calm textures blending the keys, vocals and cello with unparalleled beauty.

The pieces here have largely not been documented in the digital age and have lingered in archives up until now. They represent queer, female, refugee, Sephardi, Ashkenazi, and Mizrahi lineage, and are fleshed out with intense, ominous and even heartfelt gestures from a trio of esteemed musicians.

Travels well with: Michele Kennedy- Agave: In Her Hands; Shawn Crouch- Chaos Theory

Nadah El Shazly

The Damned Don’t Cry

Asadun Alay, 2024

8/10

Listen to The Damned Don’t Cry

The Cairo resident, composer, producer and vocalist Nadah El Shazly pens the soundtrack to a film by Fyzal Boulifa, where 12 worldly tracks flow with much richness and diversity.

“Claustrophobic Love” starts the listen, and uses Nicolas Royer-Artuso’s well timed violin amid the haunting electronics for a mysterious mood, and “Fight With Auntie” follows with Jonah Fortune’s low bass that suits the darker textures of the 69 seconds of exploration.

Further along, “Mausoleum” radiates Sarah Pagé’s dreamy harp for a very pretty demeanor, while “Adi” manipulates space and tension with sublime minimalism via Shazly’s gorgeous singing.

Arriving close to the end, “Haircut” carries a distinct dreaminess that blends the strings with a poetic mood of grace, and “End Credit” exits with the harp and violin interacting in a stirring fashion that incorporates a light buzzing.

An atypical chamber experience that balances organic versus synthetic gestures, every moment here is sonically engaging, unpredictable and unconventional.

Travels well with: Farah Kaddour- Badā; Ruiqi Wang- Subduing The Silence

Arne Eigenfeldt

A Walk To Meryton

Redshift, 2024

8/10

Listen to A Walk To Meryton

The Canadian composer Arne Eigenfeldt enlists John Korsrud, Meredith Bates, Barbara Adler and Jon Bentley for these iconoclastic forms of jazz that embrace Musebots for the synthetic contributions.

“Room For A Moment” opens the listen with smooth talking amid soothing and light buzzing that radiates a cinematic quality, and “For As You Are” follows with more focus on percussive sounds via the descriptive wordplay.

Halfway through, “Estate Of Two” carries both bright tones and lower registers thanks to the synthetic versus organic gestures, while “Readiness Of Four” blends Korsrud’s soft trumpet with hushed sax Bentley.

Close to the end, “Of Threadbare Morality To Listen” lands near the end, and flows with subtle harmonics that allows the rich brass to shine, and “Pleasure To Suffer” follows with ambient sounds placed amid the elegant musicianship and dreaminess.

Bates’ well timed violin adds even more elegance to the affair, as Eigenfeldt’s use of intelligent, generative music aligns with the atypical jazz ideas.

Travels well with: James Rolfe- Wound Turned To Light; Christopher Whitley- Describe Yourself

Tina Schlieske

The Good Life

Shifting Paradigm, 2024

8/10

Listen to The Good Life

The first record of jazz standards from the inimitable vocalist Tina Schlieske, the musicians Cody McKinney, Pete Hennig, Bryan Nichols, Brandon Wozniak and Jake Baldwin are in attendance for the 8 reimagined selections.

The title track starts the listen with Schlieske’s soulful pipes alongside Nichols’ mature keys and Henning’s brushed drums for the elegant opener, and “Witchcraft” follows with Baldwin’s upbeat trumpet that aligns with plenty of rhythm and melody and Wozniak’s playful tenor sax.

Halfway through, “My Baby Just Cares For Me” shuffles with a frisky energy via McKinney’s lively bass and the seductive vocals, while “Do Nothing Till You Hear From Me” is intimate, pretty and showcases Schlieske’s diverse pipes.

“You Go To My Head” and “Lilac Wine” exit the listen, where the former sprinkles mature piano over every precise note sung, and the latter finishes with stirring balladry that uses light brass, calm keys and stylish bass amid the emotive singing.

Although she might best be known for rock and Americana sounds, this reworking of jazz classics presents sophisticated and fusion ideas that illustrate another avenue of Schlieske’s talents.

Travels well with: Chris Rottmayer- Being; Alla Boara- Le Tre Sorelle

NYFOS Records

The Singles: Volume 1

NYFOS, 2024

8/10

Listen to The Singles: Volume 1

A release that collects from over 20 years of archives and singles, the pianist and NYFOS artistic director Steven Blier welcomes plenty of guests for the 14 well thought out tracks.

“El dulce de América” starts the listen with Oren Fader’s warm guitar that complements Jennifer Aylmer’s soaring soprano and Blier’s playful keys, and “En sourdine” follows with Bernarda Fink’s expressive mezzo-soprano that creates much intimacy alongside Blier’s soft keys.

Deeper into the program, “Abendlied” welcomes Kate Lindsey’s stunning mezzo-soprano amid the agile key progressions of the dreamy album highlight, while the playful “We’re Crooks” employs Gregory Utzig’s cozy guitar and the animated keys that suit Hal Cazalet’s frisky tenor and David Costabile’s fluid baritone.

Close to the end, “One Life To Live” is a live piece that pairs Lorraine Hunt Lieberson’s flawless pipes with Blier’s diverse finger acrobatics, and “Come Sunday” exits with Lucia Bradford’s gripping mezzo-soprano and the stirring piano making for an emotive finish.

A release where each track radiates in its own light, the singing quality is unmatched, and the poetry, history and humor present is very much appreciated, too.

Travels well with: NYFOS- Paul Bowles: A Picnic Cantata; Yarn/Wire- Andrew McIntosh: Little Jimmy

Terri Hendrix

Project 5.4: Who Is Ann?

Self-Released, 2019

8/10

Listen to Project 5.4: Who Is Ann?

Terri Hendrix has had a busy year, with several releases that, although stylistically different, all share the common thread of her atypical and high creative song craft.

This installment, the Who Is Ann EP, sits closest to electronica, where loops, samples and talking are all part of the artistic and adventurous template.

“Drive” starts the listen vocally strong with warm harmonies as the music resides close to Americana with timeless folk storytelling as Hendrix injects spoken word, and “Happy” then steers right into electronica and poetry from Hendrix in the feel good tune that isn’t short on grooves.

The last 3 tunes are just as interesting, and include the playful percussion and sweet strumming of “Move”, which will certainly get your body moving, as well as the culturally strong and beat driven “Woman”, where hushed vocals run alongside the frisky tempo. “Grieve” ends the EP with emotive singing and soft, agile musicianship in the orchestral and piano heavy exit.

Although it may seem odd to use pedal steel and mandolin alongside ‘80s indebted keys, Hendrix and company do a fine job here while addressing weighty issues, both personal and political. An extremely prolific songwriter as of lately, Hendrix continues to produce all substance and no flash with her timeless, relevant art.

Travels well with: Lori McKenna- The Tree; Mary Gauthier- The Foundling