Roseanna Vitro

Listen Here

Skyline, 2021

9/10

Listen to Listen Here

Way back in 1984, Roseanna Vitro made a grand entrance to the New York City jazz scene with this debut that features Kenny Barron’s incredible piano skills, and here she reissues the classic album that swings and glides with an appeal that’s just as enticing 37 years after it originally was released.

“No More Blues” starts the listen with Vitro’s mature and skilled pipes working well with Barron’s agile piano and Duduka Da Fonseca’s playful percussion, and “You Go To My Head” follows with a timeless elegance as a romantic spirit radiates thanks to Vitro’s soaring voice and the cautious instrumentation.

Further on, “Love You Madly” recruits saxophone from Arnett Cobb in a very charming jazz climate, while “This Happy Madness” highlights guitar from Scott Hardy as warm melodies flow amid much grace. “It Could Happen To You”, the album stand out, then displays a playful interpretation of the classic where Vitro’s versatile singing is front and center.

Deeper yet, the soft and breathy “Sometime Ago” pairs piano acrobatics from Barron alongside Buster Williams’ frisky bass lines, and “Black Coffee” exits the listen powerfully and packed with emotion in a very striking finish.

Now available for the first time digitally, Listen Here set an exceptional career in motion for Vitro, which included a Grammy nomination. Her unique and inviting tone, which includes upbeat scatting on occasion, is again available to a whole new generation of jazz fans on this very welcomed reissue.

Travels well with: Mike Scott- Collecting Things; Henry Robinett Quartet- Jazz Standards Volume 2: Then Again

Sid Richardson

Borne By A Wind

New Focus, 2021

9/10

Listen to Borne By A Wind

The Boston native and esteemed composer Sid Richardson brings us his debut portrait album, where music and literature meet at a very creative and fascinating intersection as many talented artists accompany him on the journey.

“Red Wind: I. A Night In Jaipur” starts the listen with poetic storytelling by Nathaniel Mackey, as plenty of atmosphere adds mystery, and it’s not long until soaring, highly skilled singing from Melissa Hughes enters alongside strategic percussion and well timed horns, and “Red Wind: II. Head Opening” follows with a busier landscape of chamber and jazz ideas as plenty of spoken word is backed by firm drumming from Sam Budish

Later on, “Red Wind: V. Rag” benefits much from playful woodwind as plenty of lively brass and marching band style drumming enters the very agile climate, while “There Is No Sleep So Deep” recruits piano acrobatics from Conrad Tao in a busy versus bare display that amazes us with its unpredictable execution.

“LUNE” and “Astrolabe” bookend the listen, where the former is full of ambience as sounds of wildlife give it a haunting tone that’s glowing with Lilit Hartunia’s violin, and the latter finishes the listen with a controlled chaos approach between flute, clarinet, cello and others that embraces forceful singing and meticulous instrumentation thanks to the Da Capo Chamber Players.

Richardson’s impressive resume includes working with Branford Marsalis, the Buffalo Philharmonic Orchestra and Deviant Septet (who are included here), among others, and Borne By A Wind is another exciting chapter in his body of work that displays a chamber, orchestral and classical vision that few, if anyone, could replicate.

Travels well with: Wang Lu- At Atlas Of Time; George Lewis- The Recombinant Trilogy

Stacey Peasley

Make It Happen

Self-Released, 2021

8/10

Listen to Make It Happen

A Boston family musician, Stacey Peasley is back with her 5th kids’ record, where themes of empowerment, courage and strength surround her very diverse and infectious songwriting.

Peasley starts the listen with the vocally strong and buzzing fun of the title track, where playful percussion adds much to the dance friendly opening, and the highly melodic and rock’n’roll spirit of “Boo Boo” follows and carries an anthemic quality you can’t help but sing along to.

Elsewhere, “Choo Choo”, a song about trains, recruits lively piano and frisky drums in an energetic delivery, while “At The Parade” brings horns amid a festive approach to the rhythmic setting. “Play The Game”, a stand out track, then unfolds like the kid’s version of “We Will Rock You” with its soaring and triumphant demeanor.

Near the end, “Happy Tears” brings a nostalgic climate where saxophone contributes to the soulfulness, and “Soapy Bubbles 2020” exits the listen quirky, memorable and with some ska flavor you can’t help but enjoy.

An effort that might remind you of legends like Joni Mitchell, Alanis Morissette or even Aretha Franklin, Peasley actually began her career as a teenager in the girl group The Chiclettes. And while making music for kids and families may seem like a big leap from those roots, the songstress is making the most important work of her career, and let’s hope it was as much fun to make as it is to listen to.

Travels well with: The Laurie Berkner Band- Waiting For The Elevator; Andrew & Polly- Go For The Moon

Beth Lee

Waiting On You Tonight

Self-Released, 2021

9/10

Listen to Waiting On You Tonight

The Texas based songstress Beth Lee brought her diverse form of roots rock to California to record this 4th album, and she shakes up her formula in the process, where influences from the ‘60s on soundtrack the often intimate and forthright wordplay.

Lee starts the listen with the title track, where fuzzy guitar and crisp drumming align well with her sweet yet gritty vocals on the charming Americana that takes nods to girl groups of the past, and “Yale St And 45” follows with warm acoustic strumming alongside spirited electric guitar in a breezy roots rocker.

The middle tracks offer us the aching pedal steel of the bluesy and emotive “Birthday Song”, while “Pens And Needles” is a charged blast of rural rock that you’ll be singing along to immediately, “Understand Me”, an exceptional tune, then flows with a soulful, bluesy display of timeless song craft where Lee pours her heart out.

The final 2 tracks include “Too Little Too Late” and “All The Way”, where the former actually hints at alt-rock in Lee’s inimitable execution, and the latter exits soft and agile, where a dreaminess highlights a vulnerable landscape.

Known for her songs about break ups, there’s certainly similar themes present here, and the variety of textures will appeal to anyone with an ear for Americana, rock’n’roll, soul, country or even punk. While we’ve all got our own favorite Austin musicians, spend any amount of time with Waiting On You Tonight and Beth Lee will land right at top of that list with her rugged, sincere very tuneful stories.

Travels well with: Lilly Winwood- Time Well Spent; Sarah Morris- All Mine

Jillette Johnson

It’s A Beautiful Day And I Love You

Moss Rose, 2021

9/10

Listen to It’s A Beautiful Day And I Love You

A Nashville songstress who, despite just being in her early 30s, has a lengthy career in the music industry that goes back to playing shows of original music at just 12 years old, this first album in four years has Jillette Johnson expanding her musical palette into bolder and bigger ideas.

“Many Moons” starts the listen with mysterious atmosphere as Johnson’s warm keys and versatile vocals enter the playful folk influenced opener, and “Angelo” follows with a fuller display of cautious and soaring rock where her vocals shine bright amid loud guitars and crisp percussion from Dan Knobler and Jamie Dick.

Close to the the middle, the title track moves initially calmer with much beauty as a poetic approach builds into an emotive outpouring, while “I Shouldn’t Go Anywhere” displays Johnson’s fluid form of Americana that emits organic song craft with much care. “Forgive Her”, a particularly great song, then unfolds with a very precise version of folk-pop that’s quite dreamy and instantly lovable.

Deeper yet, “What Would Jesus Do” brings some bluesy flavor to a fuller execution that benefits from Joe Pisapia’s finger acrobatics, and “Letting Go” exits the listen with piano balladry as Johnson’s eloquent delivery is so well done, it only makes sense that she’s been writing songs since the age of 8.

Johnson finds herself in a very unique position here, where her intimate and forthright indie-folk prowess is met with vibrant moments of pop melodica that’s suitable for the FM dial. Now a fully independent artist and steering her creative instincts with no outside influence, she’s making the best music of her career, and let’s hope there’s more on the horizon soon.

Travels well with: Chris Wilhelm- This Too Shall Pass; Lilly Winwood- Time Well Spent

Courtney Yasmineh

Songs From The Open Road

Self-Released, 2019

8/10

Listen to Songs From The Open Road

The veteran singer-songwriter Courtney Yasmineh has had an impressive career, and on this 9th album she offers us covers of tunes that have shaped her humble and forthright journey into life as a musician that began after leaving home at just 17.

The 12 track record leads with “Running From Mercy”, where Yamineh’s soft, strummed guitar suits her pretty, poetic vocals that possess an inimitable grit, and “Trouble In The Fields” follows with a timeless folk spirit where Yasmineh’s storytelling unfolds with a soulful approach.

Further along, “I Don’t Want To Talk About It” is a soft and sweet 3 minutes of warm melodies, while “Goin’ Back To Harlan” gets a bit more forceful and darker as strategic drums add much to the cautious climate. “The Times They Are A-Changin’” only makes sense to appear here as the songstress certainly takes influence from Bob Dylan, and she turns in a powerful interpretation of the classic.

As we near the end, “Speed Of The Sound Of Loneliness” is a bare and eloquent display of timeless appeal, and “Hallelujah” exits the listen with a very expressive delivery that just might be the most stirring version of the Cohen tune yet.

Now 5 decades into her craft as a songwriter, Yasmineh is also a mother of 3 and more recently an author. She’s lived most of her life in Minnesota, and her work sounds right at home alongside The Jayhawks, Haley Bonar or even Paul Westerberg, and that could never be a bad thing.

Travels well with: Haley- Pleasureland; The Jayhawks- XOXO

Forest Sun

Stubborn Breathing Heart

Self-Released, 2021

8/10

Listen to Stubborn Breathing Heart

The New York native and now California resident Forest Sun makes his own brand of DIY Americana, where his deeply rooted folk influences are met with blues, reggae, and gospel, among many other ideas.

“Keep On Rollin’” starts the listen with soft female singing alongside Sun’s laid back approach that flows with some breezy island flavor, and “Where Is My Home” follows with a soothing blues spirit amid the soulful song craft.

As we approach the middle, the bright horns of “Something You Got” brings funk fun to the party, while “Let Your Love Shine” offers hints of reggae to a very positive message that’s aglow with rhythm. “What It Takes”, an exceptional track, then displays strong songwriting with warm acoustic guitar, expressive singing and a poetic climate.

Close to the end, the calm melodies of “Already Home” make an immediate impression, and “On My Way To You” exits the listen with much beauty as a soft and eloquent landscape unfolds with timelessness and poise.

It’s hard not to think of Jack Johnson when listening to Stubborn Breathing Heart, and Sun’s formula is diverse enough to also bring to mind Steve Earle, ALO or even Jolie Holland. Ultimately an artist forging his own path, these 12 songs are a fine introduction to a troubadour with a massive amount of talent.

Travels well with: Peter Mulvey- There Is Another World; Mark Erelli- Blindsided

Chris Trinidad

Chris Trinidad Y Cancion Tagalog

Iridium, 2020

8/10

Listen to Chris Trinidad Y Cancion Tagalog

A composer, arranger, educator and multi-instrumentalist, Chris Trinidad turns in a very diverse effort here, where a handful of esteemed musicians help him flesh out Afro-Cuban Danzon, Bolero and even Kundiman sounds as he reworks music rooted in Philippines and Cuba lineage.

“Alin Mang Lahi (Any People)” starts the listen with bright flute from John Calloway as Trinidad’s bass prowess guides the cultured rhythm, and “Mutya Ng Pasiq (The Maiden Of The River Pasig)” follows with soulful violin work from Kimwell Del Rosario as Raphael Geronimo’s conga work adds much to the orchestral meets world music display.

Near the middle, “Sampaguita (The Flower Of Manila)” flows with a vibrant spirt as Calloway’s flute and Bo Razon’s tres complement Trinidad’s sparing but effective vocals, while “Sa Ugoy Ng Duyan (In The Rocking Of The Cradle)” moves cautiously, but with much beauty amid Del Rosario’s violin and Razon’s okonkolo. “Iyo Kailan Pa Man (Yours Forever)”, an album highlight, then recruits Reggie Padilla on tenor saxophone as Trinidad brings cabasa to the jazz flavored climate.

The final 2 tracks, “O llaw (My Star)” and “Bayan Ko (My Country)”, are equally interesting, where the former is full of Latin influences that benefits much from David Lechuga’s guitar skills, and the latter welcomes some of the best singing on the record thanks to Raquel Berlind, as sax, bombo contribute to the eclectic finish.

Trinidad has a history in jazz studies, and he brings his large arsenal of ideas to this enlightening, exciting and unpredictable effort that you’ll never tire of, as each subsequent listen yields new avenues of interest.

Travels well with: Naima Shalhoub- Siphr; Marla Leigh- Rhythms Of Tof Miriam

Various Artists

The Next Waltz- Volume Three

The Next Waltz, 2021

9/10

Listen to The Next Waltz- Volume Three

The Next Waltz series continues their ‘no digital shenanigans’ approach to recording on this 3rd installment, where 10 tracks of pure analog sounds flow from an all star roster of musicians laying it down on tape at The Bunker, which is label owner and musician Bruce Robison’s studio.

Jack Ingram starts the listen with the warm and soulful “Times Like These”, where his smokey, inimitable vocals are complemented by pretty female singing, spirited keys and, of course, Ingram’s proficient guitar, and Flatland Cavalry’s “War With My Mind” follows not long after with violin and pedal steel highlighting the reflective Americana.

The middle tracks offer us the cautious piano and sublime duet “Tennessee Blues”, where Bruce Robison and Kelly Willis deliver stirring balladry, while Charley Crockett’s “I Can Help” brings snappy, blues flavor to the rhythmic setting. Though there isn’t a bad tune present, Shinyribs’ “Bitch Better Have My Money” is particular noteworthy with its playful approach that’s both dance and pop-friendly.

The always impressive Robert Ellis exits the listen with “I Must Be In A Good Place Now”, where his expressive singing aligns perfectly with the graceful piano as his soft guitar lines accent the very sophisticated finish.

A listen with absolutely no filler, this is an organic experience not to be missed by fans of rootsy, Americana, country and folk influenced song craft, and who appreciate the art of playing music sans studio trickery.

Travels well with: Sadler Vaden- Anybody Out There?; Daniel Romano- Modern Pressure

Herb Deutsch

Encounters

Ravello, 2021

8/10

Listen to Encounters

An esteemed educator, composer and author, Herb Deutsch is in the company of The American Chamber Ensemble here, as 10 tracks unfold with a variety of strings, horns, woodwinds and even occasional vocals on the contemporary jazz and chamber listen.

“Measured In Miles” starts the listen with Paul Hefner’s agile keys alongside Glen Drewes’ soulful trumpet and flugelhorn in the playful yet cautious opener, and “Woman In Darkness” follows with expressive soprano vocals from Deidre Kingsbury, as cello, violin and piano complement the poetic storytelling.

At the halfway point, Nancy Deutsch’s piano pairs with firm keys from Denise Lozano-Healey in the tense and emotive climate, while “For Everett” makes the most out of Christina Pantelidou’s oboe prowess amid a bouncy, frisky execution.

Closer to the end, “All That Tread The Globe” recruits much of The American Chamber Ensemble as strings and keys weave in and out each other with mystery, and “When To Visit Donna” exits on a swift display of electric violin from Darryl Kubian and jumpy keys from Hefner.

Deutsch has a lengthy history in the music world that involves collaborating on the development of the Moog Synthesizer in the ‘60s, and with Encounters he proves that even in his late 80’s he’s still very much relevant in the area of jazz and chamber ideas.

Travels well with: George Palmer- Breaking The Silence; John Robertson- Symphonies No. 4 & 5

George Palmer

Breaking The Silence

Navona, 2021

9/10

Listen to Breaking The Silence

The Australian composer George Palmer draws from both autobiographical experience and poetry that is hundreds of years old here, where different musicians help lay the foundation for the chamber, orchestral and classically influenced landscape.

The title track starts the listen with concerto for cello and chamber orchestra, where the Verbrugghen Ensemble offers emotive and intricate string work as Catherine Hewgill’s cello solo adds even more beauty to the stirring 3 movements. “Ithaca” follows, and recruits clarinet and strings, as Francesco Celata’s elegant woodwind moves cautiously between Andrew Haveron’s violin, Sandro Costantino’s viola and Timothy Nankervis’ cello prowess in the sublime environment.

The second half of the listen offers the 3 precise movements of “Not Going Quietly’, where Katie Chilmaid and Emma Long bring their violin to the eloquent climate, while Jacqui Cronin, Rowena Crouch and David Campbell handle viola, cello and double bass respectively. “Time Out” exits the listen, and pairs Jeanell Carrigan’s piano with Shefali Pryor’s oboe in the bare but impactful finish that displays much ingenuity between the instruments.

A fascinating listen where each piece yields new surprises, Palmer and company tackle modern ideas and contemporary musicianship with much success on this often very moving piece of work.

Travels well with: The Lowell Chamber Orchestra- The Suite; John Robertson- Symphonies No. 4 & 5

The Lowell Chamber Orchestra

The Suite

Navona, 2021

9/10

Listen to The Suite

Under the direction of Orlando Celo, The Lowell Chamber Orchestra interpret the works of Georg Philpp Telemann, Johann Sebastian Bach, José Elizondo and Anthony R. Green here, where Baroque, orchestral and chamber ideas flow with much dynamic and inviting interplay between the many players in attendance.

“Overture Suite In E Minor, TWV 55:e10” starts the listen with strings and woodwinds working together with much grace and melody that occasionally eases up and allows the flute to shine, and “Orchestral Suite No. 2 In B Minor, BWV 1067” follows with Bach’s masterpiece being interpreted with much precision that dances around soaring melodies.

The back half of the listen offers the soft and soulful “Recuerdos Estivos (Summer Memories)”, where the spirited piano under the emotive strings adds much to the gorgeous landscape, and “The Green Double: a historical dance suite” exits the listen with an indeed lively energy that certainly will get your body moving, while also being capable of soundtracking a late night mulling session.

A listen that is indebted to the Baroque sounds of the past, but not without plenty of modern flavor, The Suite embraces cultured, timeless storytelling across the very diverse pieces.

Travels well with: John Robertson- Symphonies No. 4 & 5; Mark John McEncroe- Fanfare Suite

Gary Lucas

The Essential Gary Lucas

Knitting Factory, 2021

10/10

Listen to The Essential Gary Lucas

The legendary guitarist Gary Lucas plants himself in fine company across this double disc that spans four decades of original music, where Jeff Buckley, Jerry Harrison, and Adrian Sherwood, among many more, contribute their talents to the very diverse collection.

Lucas starts the effort with his work from Gods and Monsters, his seminal psyche-jazz band, and leads with “Fata Morgana”, where frisky percussion and plenty of energy enters the busy, rhythmic opener as Lucas’ robust pipes impress, and “Evangeline” follows with fluid guitar work and breathy vocals.

Other highlights from this disc include the horn filled “Climb The Highest Mountain”, while “Poison Tree” uses both acoustic and electric guitar well alongside Mary Margaret O’Hara’s smooth pipes in the prog-rock setting. “After Strange Gods”, the highlight from this portion, then gets louder and more abrasive and is guided by Dina Emerson’s versatile singing.

Disc 2, which assembles solo work, rarities and collaborations, opens with “All Along The Watchtower”, where Lucas’ acoustic guitar is aligned with FeiFei Yang’s expressive singing, and later on Nona Hendryx lends her soulful pipes to the bluesy “Her Eyes Are A Blue Million Miles”. Further on, “Fool’s Cap” illustrates acrobatic guitar playing that few people could replicate, and “Largo”, from Dvorak’s Symphony No. 9 (from the New World), exits the listen on a 7 minute instrumental that’s so meticulous it never out welcomes its stay.

Lucas made a name for himself with his work with Captain Beefheart and Jeff Buckley, and in his lengthy career he’s played everything from Chinese pop to electronic to even Hungarian folk music. On this compendium, he collects his own favorite work, and in a career that includes 30+ albums, this is likely to be everyone’s favorite record of his, too.

Travels well with: Matthew Sweet- Catspaw; Peter Stampfel & The Bottle Caps- Demo ‘84

Richard Fountain

American Ivory

Navona, 2021

8/10

Listen to American Ivory

The piano virtuoso Richard Fountain makes an indelible impression on this first album with the Navona label, where he offers much diversity while interpreting artists like Aaron Copland, Samuel Barber and Gary D. Belshaw, among others.

“First Modern Suite, Op. 10” starts the listen with both rumbling and calm moments of spellbinding piano work that’s quite complicated yet very accessible, and “Camp Springs” follows with a serene, soothing approach, as does the warm spirit of “Gratitude”.

Further along, “Passacaglia” brings both tension and grace to a cautious landscape, while “Nocturne, Op.33” gets dramatic and bold with fascinating chord progressions. “Saturday Night Waltz”, near the end, then offers a playful energy that’s also reflective in tone, and executed so flawlessly that it alone is worth the price of admission.

A body of work that embodies the spirit of timeless American art, Fountain displays unparalleled key work across this top notch piano record that you won’t forget anytime soon.

Travels well with: Antoinette Perry- Beethoven Bookends; Elaine Freeman- La Speranaza

John Robertson

Symphonies No. 4 & 5

Navona, 2021

8/10

Listen to Symphonies No. 4 & 5

The New Zealand/Canadian composer John Robertson is aligned with the Bratislava Symphony Orchestra and conductor Anthony Armoré here, where 3 lengthy symphonies are fleshed out with a very striking and grand presence.

"Symphony #4 Op. 73” starts the listen with playful woodwinds in an elegant and sometimes forceful setting where loud brass and thundering drums add a majestic quality to the 3 movements.

“Meditation: In Flanders Fields Op, 70” takes the middle spot, as ominous storytelling unfolds alongside moody strings that illuminate the indeed soothing atmosphere that even gets a bit dreamy.

The last track, “Symphony #5 Op. 75”, flows with both busy and bare moments in 30+ minutes of unpredictable and thriving songwriting that’s both timeless and captivating.

A record that’s heavy on neoclassical ideas while tipping its hat to 20th century composers, Robertson dives into darker ideas here that are often very deliberate and buried in mystery, and it’s certainly appreciated and worthy of repeated listens.

Travels well with: Mark John McEncroe- Fanfare Suite; The Newberry Consort- Vespers

Mark John McEncroe

Fanfare Suite

Navona, 2021

8/10

Listen to Fanfare Suite

Mark John McEncroe’s work has been quite visible lately, and here he returns with 6 pieces that were originally scored for his 2015 effort, Affirmations & Aspirations. Now with the talent of the Sydney Scoring Orchestra on hand, the tracks are reborn with Stephen Williams as conductor.

The title track starts the listen with 4 movements spanning 40 minutes, where fuller moments of bright, orchestral beauty are met with calmer ebbs of introspection. Deeper into the listen, the strong brass presence complements the strategic woodwinds in the busy but precise atmosphere.

"Celebration Of The Natural World” follows, where a symphonic poem unfolds with eloquent woodwind prowess that, without words, tells a moving story as Williams guides the ensemble in and out of cinematic textures.

The album exits on the “The Passing”, which brings both tension and grace to a very eclectic landscape that’s capable of light and airy moments, just as it is bold, loud flashes of proficient interplay between the many instruments.

Though the songs here may have been intended for an orchestra, here they’re rearranged for a concert band, and the setting helps illuminate a different avenue of McEncroe’s song craft that certainly runs parallel to the greatness present in his entire catalog.

Travels well with: Apollo Chamber Players- Within Earth; Prisma Vol. 3- Contemporary Works For Orchestra

Nelson Riveros

The Latin Side Of Wes Montgomery

Zoho, 2021

8/10

Listen to The Latin Side Of Wes Montgomery

A tribute album to the almighty Wes Montgomery, Nelson Riveros, a legend in his own right, brings his superb guitar playing and composing skills to Montgomery tunes redone Latin American style, and with Hector Martignon, Andy McKee, Mark Walker and Jonathan Gomez in attendance.

“Road Song” starts the listen and makes an immediate impact with Riveros’ intricate guitar work alongside bright keys from Martignon in the cultured jazz setting, and “Tear It Down” follows with a lively energy of frisky percussion from Gomez that complements the mesmerizing guitar lines.

Just past the middle, “Nelson’s Groove” indeed cultivates plenty of grooves as McKee’s strategic bass complements the guitar acrobatics from Riveros, while “West Coast Blues” displays incredible key work from Martignon in the timeless blues climate.

“Facing Wes” and “Leila” exit the listen, where former moves cautiously with much melody and fusion ideas present, and the latter finishes the listen with just Riveros and his sublime six string in a stirring and poetic delivery.

An essential listen if you’re a fan of Montgomery, and/or Riveros, this will serve as a great introduction to either artist, too, as Riveros and company provide plenty of rhythm and melodies indebted to his Colombian roots.

Travels well with: Albare- Albare Plays Jobim Vol. 2; Noah Bless- New York Strong- Latin Jazz!

Various Artists

Relive

Navona, 2021

9/10

Listen to Relive

A collection of 3 artists from around the world, the Navona Live Series brings a diverse effort both musically and topically here, where Jane O’Leary, Peter Dickson Lopez and Corrina Bonshek all offer their inimitable talents.

O’Leary’s “From Sea-Grey Shores” starts the listen with the RTE National Symphony Orchestra handling the instrumentation that moves with tense strings, twinkling percussion and a very cinematic approach that’s mysterious, exhilarating and inviting.

The middle track, Lopez’s “The Ship Of Death”, is as ominous as its title, where busy bouts of jagged percussion, furious strings and experimental prowess from the chamber orchestra are also met with spirited and expressive tenor from Tom Buckner.

“Dreams Of The Earth”, by Corrina Bonshek, exits the listen, and welcomes the Ady Ensemble to a very precise display of sweeping strings in a glowing climate that’s filled with beauty and awe.

All the pieces here are recorded live, and the sound quality and performances are superb, as a D.H. Lawrence poem, inspiration from a flock of birds against a backdrop of climate change and the unpredictable landscape of Ireland provide the impetus for this very eclectic and timeless effort.

Travels well with: Various Artists- Mind & Machine: Organic & Electronic Works- Volume Three; Bill Whitley- Then Elephant Speaks

The Newberry Consort

Vespers

Navona, 2021

8/10

Listen to Vespers

The Chicago ensemble The Newberry Consort return with a spellbinding collection of compositions for women’s voices. The composer, an obscure 17th century Mexican named Juan de Lienas, lands somewhere between Baroque and Renaissance across a dozen carefully executed adventures from the many mouths, organ and viola on hand.

“Salmo: Deus in adiutorium meum intende” opens the listen with multiple soaring vocals converging in a very spiritual climate, and “Himno: Martyr Dei” follows with light and angelic singing that’s intimate and immediately gripping.

Halfway through, “Salmo: Antiphon/ Credidi, quod loqutus sum a 8” flows with much melody as the voices blend together with a mesmerizing quality, while “Salmo: Antiphon/ Laudate Dominum omnes a 8” displays incredible range with much radiance that you’re unlikely to hear elsewhere. “Himno: Ave maris stella”, an album highlight, then offers a poetic approach where atmosphere is key.

Near the end, “Himno: Te lucis ante terminium” pairs soothing organ with equally calming voices and “Salve Regina” finishes the listen with nearly 9 minutes of strategic vocals administered with much grace.

Not much is known about de Lienas, but under the director and soprano Ellen Hargis his work lives on here with an ethereal, very sophisticated and even otherworldly appeal.

Travels well with: Jonathan Badger- Piano Quartets; Athenio Trio- Brush Strokes

Figments

Vol. 2: Contemporary Solo And Chamber Ensemble Works

Navona, 2019

8/10

Listen to Vol. 2 Contemporary Solo And Chamber Ensemble Works

This 2nd installment of the Figments series highlights the work of Yuan-Chen Li, Peter Dayton, Hans Bakker, Navid Bargrizan and Charles Corey, as the listen illuminates the ingenious vision of the composers and their varied output.

“Tell” starts the listen with alto saxophone and unique vocals from Jesse Maxfield on a quivering, yet playful opener, and “Mar De Lurin” follows with oboe from Jennifer Slowick and guitar by David William Ross as the pair exercise gorgeous interplay on the cautious, poetic delivery.

In the middle, “10 Aphorisms” uses both baritone and soprano saxophones in a frisky, unclassifiable environment, while “Se-Charhar-Gah” is armed with a microtonal adjustable guitar from Tolgahan Cogulu for an off kilter display of inimitable talent that’s inspired by Persian classical music.

At the end, “Syzygy” comes with 4 segments that vary from haunting strings to bouts of furiousness and even ambient, warbling textures.

A very calculated record, Figments Vol. 2, even though made up of many different players, comes together in a very cohesive effort that will entertain and challenge the listener with its ever changing focus of classical sounds.

Travels well with: David Maslanka- The River Of Time; Anthony Brandt- Maternity/Ulysses, Home