Richard Pryor

Richard Pryor

Omnivore, 2021

8/10

Listen to Richard Pryor

The legendary Richard Pryor’s debut self-titled album sees the reissue treatment thanks to Omnivore Recordings, and the classic is restored and expanded on a double CD that includes 21 bonus tracks as well as new liner notes from Scott Saul.

Originally released in 1968, Richard Pryor sees the comic genius at the start of his colorful career, as the first disc offers the original record, where Pryor’s unorthodox brand of sketches include the many impersonations on “T.V. Panel Show”, while “Prison Play” allows his inimitable storytelling to draw us in. “Super Nigger”, Pryor’s favorite track, starts the album and takes issue with the whiteness of superheroes, as he views a black man as the hero and Clark Kent a janitor.

The second disc compiles outtakes and sketches from the out of print Evolution/Revolution: The Early Years (1966-1974). The tracks are remastered by Grammy recipient Michael Graves, and further solidify Pryor’s improvisational, eccentric, and often perceptive observations on being a black man in a white dominated society.

Not only did Pryor make legions of new fans with this first effort, but he nabbed a Grammy nomination for Best Album Cover, too. During a time when Black Lives Matter has truly changed the way that America looks at social and political issues with regard to the Black Community, Pryor’s comedy is more relevant than ever, and here it’s preserved in a fine package that long time fans and first time listeners will appreciate.

Travels well with: George Carlin- Class Clown; Eddie Murphy- Eddie Murphy

Wassailer

I, The Bastard

Empty Streets, 2021

8/10

Listen to I, The Bastard

Perhaps better known as 1/3 of the French outfit We Were Evergreens, Will Serfass debuts his solo project as Wassailer with I, The Bastard, where his electro-pop formula welcomes plenty of sophisticated textures.

“Foreplay” starts the listen with unusual sound bites before firm beats and dizzying percussion enter the bare, soulful version of pop, and “Trad” follows with playful backing vocals supporting the stylish, dance-friendly setting that even welcomes piano.

The middle tracks offer us the vocally diverse “Son”, where R&B influences enter the haunting climate, while “Ghosts” brings in DemiMa & Johnny Woodham for a dreamy landscape as Woodham’s trumpet fills impress us. “Three Dots In A Bubble”, a very noteworthy track, then displays a soaring falsetto alongside much atmosphere that’s minimal but impactful amid some minor twang.

Near the end, “242”, the 2nd single from the record, then recruits a breezy approach via creative indie-tronica, and “Song For Elsa” exits the listen bare, powerful and with much emotion as warm keys align with Serfass’ expressive singing.

Serfass makes fantastic use of his multi-instrumental skill here, where heartfelt, eloquent and adventurous song craft puts an exciting and unique spin on today’s version of indie-pop.

Travels well with: Still Corners- The Last Exit; DJ Shub- War Club

Rick Holmstrom

See That Light

LuEllie, 2021

9/10

Listen to See The Light

Rick Holmstrom stays quite busy as bandleader for Mavis Staples, but here he pens a solo album during his unplanned break from tour life. Along with bandmates Steve Mugalian and Gregory Boaz, Holmstrom brings a wealth of experience and talent to these tunes penned on the road.

Holmstrom starts the listen with spirited guitar work and plenty of soul packed into the timeless, bluesy opener “Take My Hand”, and “Look Me In The Eye” follows with a bouncy and playful rock’n’roll flavor that will get your body moving and head bobbin’ amid the punchy drums and welcomed reverb.

Near the middle, “Don’t Wake Me” brings a bare climate of cautious melody, while “Lonesome Sound” offers a unique take on Americana where Holmstrom’s poetic singing highlights a very graceful display. “I’m An Asshole”, a standout track, then shuffles with an addictive rhythm as Holmstrom’s guitar riffs are as glorious as they are gritty.

Further down the line, “Waiting Too Long” glides swiftly with a charm that benefits greatly from Boaz’s bass and Mugalian’s drums as garage rock is touched on, and “Joyful Eye” exits the listen gentle, agile and with much hope during these often desperate times.

Holmstrom had big plans for 2020 that were sidelined when the world came to a halt. He was no doubt frustrated, but parlayed that disappointment into a really impressive record that’s raw, swampy and soaked in creativity that further solidifies him as one of the best guitarists of this generation.

Travels well with: Ronnie Earl & The Broadcasters- Rise Up; Kid Ramos & Bob Corritore- Phoenix Blues Sessions

Dave Desmelik

The Calendar Album

Self-Released, 2021

9/10

Listen to The Calendar Album

A veteran songwriter and musician based in Brevard, North Carolina, Dave Desmelik wrote a song for every month of the year for the appropriately titled The Calendar Album, where he handles the bulk of the instrumentation and all the singing across the well thought out originals.

Naturally, the album leads with “January”, where Desmelik’s soaring pipes align with bluesy guitars and playful drumming, and “February” follows with an adventurous form of folk-rock that’s raw and full of timeless energy.

Elsewhere, “April” is packed with beauty as an Americana spirit flows with strategic tambourine and harmonica, while “May” recruits some bluegrass nods with banjo acrobatics complementing Desmelik’s expressive singing. “July”, an exceptionally noteworthy track, then brings some country appeal in a very introspective climate that’s both stirring and warm.

Deeper yet, “September” utilizes acoustic guitar and piano with Desmelik’s emotive singing in a bare setting of beautiful melancholy, and “December” exits the listen with an eloquent and memorable display of singer-songwriter prowess, where David Phillips adds electric guitar to the poetic finish.

This is Desmelik’s 15 album, and it’s a very cozy and easily relatable effort that anyone with an interest for alt-country, Americana and folk music will have no problem enjoying and revisiting often.

Travels well with: Various Artists- The Next Waltz: Volume Three; Sadler Vaden- Anybody Out There?

Catalyst Quartet

Uncovered Volume 1

Azica, 2021

8/10

Listen to Uncovered Volume 1

The ongoing Uncovered series starts their approach by highlighting the work of Samuel Coleridge-Taylor, whose contributions to classical music were criminally overlooked during his short existence (he passed in 1912 at age 37). The New York sensations Catalyst Quartet recruit Stewart Goodyear on keys and Anthony McGill’s clarinet prowess to pay homage here, across 3 lengthy pieces.

“Quintet In G Minor For Piano And Strings” starts the listen with stunning strings working intimately with soothing piano, as the composition unfolds cross 4 movements that are both busy and bare, and never short on beauty. Though Goodyear’s keys certainly take focus, Karlos Rodriguez’s cello skills absolutely impress, too.

“Fantasiestucke Op. 5” takes the middle spot, and quivers with an inviting mystery as well as majestic musicianship, where violins from Karla Donehew Perez and Jessie Montgomery, Paul Laraia’s viola and Rodriguez’s cello interact with much beauty and playfulness.

The last track, “Quintet In F Sharp Minor For Clarinet And Strings, Op. 10”, flows with a breezy quality that’s also cinematic in nature. McGill’s clarinet delivery is nothing short of stunning, although the strings certainly add much to the exciting exit.

A project that’s dedicated to illuminating those who were often unrecognized due to their race and/or gender, it’s no surprise that Catalyst Quartet have won a Grammy, as their flawless performance certainly does justice to Coleridge-Taylor’s under appreciated work.

Travels well with: The Crossing- Tower And The Garden; Herb Deutsch- Encounters

Erin Ivey

Solace In The Wild

Self-Released, 2021

9/10

Listen to Solace In The Wild

The Austin, Texas songstress Erin Ivey positions herself with some of the best local musicians on this first album in 7 years, where a rich intimacy makes its way into sincere songwriting that surrounds the human experience.

“Lost Girl” starts the listen with emotive, breathy vocals from Ivey, as Peter Stopschinski’s deft piano complements the dreamy guitar work, and “Joy” follows with a playful folk spirit that’s full of beauty in an eloquent climate that flirts with Americana, too.

“Dust Bowl” lands in the middle, and brings plenty of warmth amid intricate guitar picking and cautious melody, while “Blue Skies” is a bare and gorgeous display of soulful songwriting as Ivey interprets a classic from the ‘20s. “Charleston”, an especially moving track about the 2015 South Carolina church shooting, then allows Ivey’s versatile pipes to shine alongside meticulous keys.

Near the end, “Honest Man” benefits greatly from a mandolin with some bluegrass nods, and “Oh I Get To Know You” exits the listen with a quick a cappella excursion that welcomes plenty of lovely vocal harmonies.

Now nearly 15 years since her first album, Ivey again proves that she’s one of the brightest talents not only in her hometown, but across the globe in the area of indie-folk, and the sparing but effective use of upright bass, ukulele, and glockenspiel, among many others, only adds to the appeal of this stunning listen.

Travels well with: Kate Tucker And The Sons Of Sweden- The Shape The Color The Feel; Caitlin Sherman- Death To The Damsel

Lyle Workman

Uncommon Measures

Blue Canoe, 2021

8/10

Listen to Uncommon Measures

There isn’t much that Lyle Workman hasn’t done in his lengthy and accomplished career, but here’s a first for the guitar virtuoso- an instrumental album backed by a 63 piece orchestra captured live at Abbey Road Studios in London.

Workman leads with the percussively fluent and incredible guitar work of “North Star”, which also recruits Charlie Bishart’s soaring violin on the adventurous blues opener, and “All The Colors Of The World” follows with a calmer presence where Tim Lefebvre’s agile bass work complements the elegant beauty of the cinematic landscape.

As we approach the middle, “Arc Of Life” gets dreamy while being anchored by Toss Panos’ drums, though “Imaginary World” finds a more forceful place to reside where Ron Dziubla’s tenor sax skills shine amid Jame Hovorka’s trumpet, and, of course, Workman’s guitar acrobatics. “Labyrinth Of Love”, a particularly romantic track, then makes the most of a soft climate where an orchestral arrangement accents the meticulous six string.

“Rise And Shine” and “Our Friendship” bookend the listen, as the former benefits from Greg Leisz’s pedal steel and the setting builds into a dizzying display of bluesy song craft, and the latter exits on a slow burner of strings and guitar working together with sublime beauty.

An artist who has recorded with Beck and Sting, among others, and who has helped soundtrack box office hits like Superbad and The 40 Year Old Virgin, we’ve all heard Workman’s work in some capacity, and here he’s as luminous as ever, while pulling prog-rock, jazz and classical ideas into his commanding formula.

Travels well with: Melbreeze- I Love Paris; Wayne Alpern- Jukebox

Victoria Bond

Soul Of A Nation: Portraits Of Presidential Character

Albany, 2018

8/10

Listen to Soul Of A Nation: Portraits Of Presidential Character

An album that pays tribute to some of our country’s greatest leaders, the composer and conductor Victoria Bond has plenty of esteemed help here, where 4 lengthy tracks of classical, chamber and orchestral sounds are all at once powerful, restrained and timeless.

The title track, which is a portrait of Thomas Jefferson, starts the listen with Frank Almond’s emotive and inviting violin, as Henry Fogel narrates. Though the opener leads bare, when we get near the middle, the Roosevelt University Chamber Orchestra helps the tune build into busy, dramatic and soaring display of chamber and orchestral prowess.

“The Indispensable Man”, for Franklin Roosevelt, follows with proficient drums and charming clarinet by John Bruce Yeh, as the 15 minute track welcomes firm storytelling, moments of light, dreamy song craft and even playful brass thanks to the Chicago College Of Performing Arts Wind Ensemble, who are present on all the remaining tracks, too.

The back half of the listens leads with “The Crowded Hours”, and highlights Theodore Roosevelt, where the glorious trumpet of Mark Ridenour is complemented by Ray Frewen’s narration, and benefits greatly from Stephen Squires at conductor. “Peter Patriae” honors George Washington and exits the listen, and showcases Gabriela Vargas on flute, as Adrian Dunn handles the spoken portion alongside marching band style drumming, plenty of majestic melody and incredible musicianship that’s flowing with grace.

A project with no shortage of solos and that radiates much beauty, Bond has a diverse and very accomplished catalog of music, and Soul Of A Nation is right at the top of that list.

Travels well with: Zixiang Wang- First Piano Sonatas; Beth Levin- Hammerklavier Live

Anya Marina

Live And Alone In New York

Self-Released, 2021

8/10

Listen to Live And Alone In New York

The veteran singer-songwriter Anya Marina recorded these songs across 2 nights in December of 2019, where Eric Hutchinson takes on producer duties across tracks that span her entire catalog.

“Move You” starts the listen with Marina’s very distinct singing alongside initially sparse guitar, which abruptly bursts into a playful, folk-influenced strummer, and this formula continues to the poetic and pretty “Notice Me”, as well as the bluesy nods of “Can’t Nobody Love You”.

In the middle, “Is This Love” moves softly with a romantic spirit, where Marina’s warm storytelling is easily relatable, while “Snowflake” emits timeless songwriting that’s both sweet and charming. “Shut Up”, an album highlight, is then a vocally strong and musically bare display of clever song craft.

Near the end, “Queen Of The Night” showcases Marina’s impressive vocal range amid electric guitar, and “Go To Bed” exits the listen in a lullaby sort of way that truly does leave the listener wanting more.

Marina handles both acoustic and electric guitar here, and even piano on a Taylor Swift cover, and the backstories to her songs provides some comedy alongside the intimate and very forthright wordplay. For someone like myself who was unfamiliar with her work, this serves as an excellent introduction that certainly piqued my interest to explore more.

Travels well with: Eric Hutchinson- Class Of 98; Greg Laswell- Landline

Ryan Dugré

Three Rivers

11A, 2021

8/10

Listen to Three Rivers

An album that was birthed during a song-a-day project, Ryan Dugré brings his incredible guitar skills to an instrumental effort, where strings, pedal steel, synth and even flugabone, among others, add much depth and diversity to this very compelling listen.

“Living Language” starts the album with hypnotic guitar and warm keys interacting in a soothing, inviting manner, and this continues to the dreamy, acoustic guitar friendly “Old Hotel”, as well as the intricate and flowing melodies of “Powder Rains”.

The middle tracks offer us the emotive and moody “Stalking Horse”, while “Shining” recruits commanding keys amid plenty of atmosphere that’s classically influenced. “Other Minds”, the album highlight, then turns minimalism into a refined science as Dugré’s meticulous guitar prowess amazes.

Close to the end, “In The Silence” takes on a cinematic quality with stirring swells of grace, and “Glace Bay” exits the listen with much glowing beauty alongside a striking vulnerability that complements the entire album superbly.

A record that embraces neo-classical, Americana, and minimalism, Dugré knows his way around intimate and spatially aware song craft, where each track unfolds with its own unique allure on this very well executed adventure.

Travels well with: Damien Jurado- In The Shape Of A Storm; Skylar Gudasz- Cinema

Gina Biver

Nimbus

Neuma, 2021

8/10

Listen to Nimbus

A record that pairs the creative music of Gina Biver with the poetry of Colette Inez, the Fuse Ensemble flesh out these arrangements that takes a peek into the early life of Inez, who was the lovechild of a Roman Catholic Priest and a young French scholar.

“My Priest Father’s Words” starts the listen with both jumpy and cautious keys as elegant, expressive singing guides the quick opener, and “The Clouds Above My Childhood Street Were Mountains” follows with vivid storytelling, where a light chamber setting unfolds amid the poetry.

“Crossroads” resides near the middle, and offers a key focused display of dreamy song craft, while “Near The Pyrenées” is a light and airy delivery of charming flutes amid eloquent spoken word. “Fish Dinner With Oysters Stripped Of Their Pearls” exits the listen, and recruits strategic percussion and woodwinds in a very precise and memorable finish to an extremely unique effort.

A listen that benefits much from Greg Hiser’s violin, Ethan Foote’s bass, Scott Deal’s percussion and Jennifer Lapple’s flute, to name a few, Nimbus is a quick listen, but one that makes a sizable impression in the area of chamber music.

Travels well with: Robert Moran- Buddha Goes Back To Bayreuth; Wesley Fuller- Seven By Seven

Robert Moran

Buddha Goes Back To Bayreuth

Neuma, 2021

8/10

Listen to Buddha Goes Back To Bayreuth

The inimitable Philadelphia composer Robert Moran returns with a pair of lengthy compositions, where 2 choirs, 2 string ensembles, a solo countertenor, plenty of reverb and Rupert Huber’s esteemed conducting skills are in attendance.

“Part I” starts the album with light vocals amid plenty of atmosphere as strings are used sparingly but effectively. Further on, soft chanting enters the dreamy landscape, as space is manipulated precisely amid both beauty and mystery.

The back half is the longer track, “Part II”, where much ambience is present as moments of cinematic and ominous qualities meet ethereal, nearly spiritual flashes of warmth where the instrumentation is always unpredictable and quite alluring.

Essentially an opera about Buddha, Moran takes on an adventurous project, and his vision of choral, classical, acoustic and iconoclastic texturing has never sounded better.

Travels well with: Wesley Fuller- Seven By Seven; Robert Moran- Points Of Departure

Michael Wimberly

Afrofuturism

Temple Mountain, 2021

8/10

Listen to Afrofuturism

The percussionist and composer Michael Wimberly returns with the 3rd and final installment in his Afrofuturism series, where he spans several genres while bringing his jazz roots into a very exciting, cross cultural formula.

“Alive” starts the album with much atmosphere and soft and soulful sounds as Wimberly’s expressive vocals are complemented by Sharief Hobley’s pretty pipes, and “Mack Daddy’s Woman” follows with an R&B spirit that’s groove friendly and recruits warm brass.

The middle tracks bring us the brief, gospel influenced “Lovin’ Everywhere”, while “Dance With You” welcomes Joss Stone amid a glorious picking display of World Music exploration. “Dell Song”, a truly exceptional tune, then highlights Foday Musa Suso for a soaring and melodic delivery of Western African nods that are immediately gripping.

Deeper yet, “Radio” takes help from Gary Pinto on a synth fueled and highly percussive album highlight that even gets a bit crunchy, too, and “Solei” showcases impressive vibraphone on a call and response vocal strategy that finishes the album on a very enlightening, even fascinating, note.

Somewhat surprisingly, Wimberly primarily plays keyboards on this record, and there’s 15+ musicians lending their exceptional talent as funk, pop, Afrobeat, Neo-soul and many other ideas unfold in a manner that few others could replicate.

Travels well with: Nelson Riveros- The Latin Side Of Wes Montgomery; Duende Libre- The Dance She Spoke

The David Angel Jazz Ensemble

Out On The Coast

Basset Hound, 2021

9/10

Listen to Out On The Coast

An esteemed arranger/composer from the West Coast, David Angel join forces with Jim Self, Ron Stout, Stephanie O’Keefe and many others across 3 discs of both originals and standards that, amazingly, was all recorded in just 4 days.

“Out On The Coast” gets the album off to a strong start with the bright, rhythmic brass meshing well with Paul Kreibich’s fluent drumming in an opening of timeless, melodic jazz, and “Wig” continues the precise playing with Jim Self’s rumbling tuba adding much to the frisky and exquisitely textured landscape.

Further on, “Prelude To A Kiss” trims the volume back to a warm, romantic climate of cautious jazz, while “Hershey Bar” exits disc 1 with a shuffling, dance friendly display of brass acrobatics amid a lively energy.

Disc 2 leads with “Between”, where John Chiodini’s intricate guitar lines illuminate the bouncy climate, and “Leaves” demonstrates incredible chemistry as trumpets, sax, and trombone all emit much radiance. “Moonlight”, the highlight from this portion, then flows with sublime beauty as restraint is practiced with a meticulous and inviting nature.

The final disc is just 6 tracks, but it’s no less impactful, where songs like the breezy and glorious “Latka Variations”, and the “Love Letter To Pythagoras”, which is both introspective and moody, find a place to reside. “L.A. Mysterioso Dog Howls” exits the listen with a dreamy demeanor and imaginative sax prowess, further solidifying the top notch songwriting present across the entire listen.

A diverse project that spans waltzes, Latin sounds, swinging fun and symphonic moments, although Angel might not be a name most are familiar with, after a single spin of Out On The Coast you’ll likely not forget his name or his exceptional talent.

Travels well with: Mark Winkler & David Benoit- Old Friends; Roseanna Vitro- Listen Here

Noah C Lekas

Sounds From The Shadow Factory

Blind Owl, 2021

8/10

Listen to Sounds From The Shadow Factory

A poet, essayist, and journalist, Noah C Lekas published his first book, Saturday Night Sage, in 2019, and here he blends his poetry to a diverse landscape of rock’n’roll sounds, effectively placing his punk rock past into a beat poet environment.

The title track starts the listen with Howlin Rain’s blues formula soundtracking the vivid storytelling, where swirling guitars and precise percussion suit the smooth talking, and “The Word” follows with Chad Lee’s sparing but effective drumming alongside a Kerouac like delivery from Lekas.

In the middle, “Out Of The Storm Drains” recruits Mrs. Henry for a finger snappin’, rhythmic display of jazz influenced song craft that’s still got plenty of rock’n’roll spirit, while “We’ve Got A Problem With Groundwater” takes help from Ben Ambrosini on an atmospheric and dreamy climate where Lekas’ prose is mesmerizing.

“Empty Your Pockets”, with Dude Cervantes, exits the listen with a brief execution of psychedelic, screeching sounds that are certainly more abrasive and just as interesting as the rest of the EP.

Comparisons to Bob Dylan, Charles Bukowski, Patti Smith and Nick Cave are unavoidable, but certainly warranted, as Lekas and company bring us on an inviting and unique journey through a very creative and eloquent mind. Depending on what format you pick this up on, a copy of the book is also included.

Travels well with: Jaki Shelton Green- The River Speaks Of Thirst; Sunny War- Shell Of A Girl

Mark Winkler & David Benoit

Old Friends

Cafe Pacific, 2021

8/10

Listen to Old Friends

An aptly titled record, the singer and lyricist Mark Winkler teams up with pianist and composer David Benoit to celebrate 37 years of friendship with a batch of their favorite songs by their favorite artists, while sprinkling in some of their own, too.

The frisky opener “I’ve Got Just About Everything” starts the listen with jumpy keys from Benoit as Winkler’s bright and bouncy singing complements the warm guitar lines and shuffling percussion, and “Sweet Kentucky” follows with piano balladry where Winkler’s vivid storytelling aligns with agile and intricate piano work.

As we get towards the middle, “Two For The Road” flows with a soulful approach where sublime chemistry between Winkler and Benoit is present, while “Old Friends/Bookends” benefits from Stefanie Fife’s cello playing amid the emotive Paul Simon rendition. “In A Quiet Place”, an especially noteworthy track, then welcomes Pat Kelley’s guitar prowess and Kevin Winard’s incredible percussion in a dreamy setting on the original.

Close to the end, “Dragonfly” pairs Gabe Davis’ bass with Clayton Cameron’s drums amid an elegant and moving display of timeless beauty, and “Some Other Time” exits the listen with just Winkler and Benoit interacting with proficient and easily enjoyable talent.

An effort that’s heartfelt, cozy and full of sophisticated interpretations as well as 3 well crafted originals, Winkler and Benoit accent each other superbly across the intimate and adventurous musicianship.

Travels well with: Mike Scott- Collecting Things; Max Haymer- Whirlwind: Live At Sam First

Corvair

Corvair

Paper Walls, 2021

8/10

Listen to Corvair

The Portland husband and wife duo of Brian Naubert and Heather Larimer, who have also played in Eux Autres, Ruston Mire and The Service Providers, as Corvair this first album tells a love story that spans 3 decades, 5 cities and 6 continents.

“Oceansided” starts the listen percussively strong as warm guitars enter a key friendly environment that’s a playful spin on modern indie-rock meet classic rock, and “Paladin” follows with a punchy pop spirit that’s a little darker in scope but no less impactful with both members meshing their smooth singing.

Closer to the middle, “Daily Double” offers a dreamy setting of lush melodies amid post-punk nods, while “Sunday Runner” recruits bouncy bass lines as playful synth work adds much to the swift energy. “Focus Puller” then takes a turn into bare balladry, where Larimer’s sublime pipes build into an emotive landscape on a very agile album highlight.

Near the end, “Unsubtle Lake” pounds with a more firm intensity where moments of pop fun are met with an artistic approach, and “Three Stars” exits the listen with a nostalgic peek at ‘90s influenced college rock that’s wispy, highly tuneful and unforgettable.

Naubert and Larimer handle the bulk of the instrumentation here, and take help from Eric Eagle on drums, on a debut album that’s diverse enough to bring to mind legends like Cheap Trick, Yo La Tengo or even some of the early ‘90s grunge acts. Corvair may not be easy to classify but they certainly are easy to enjoy, and it would be wise to keep an ear on this and future efforts.

Travels well with: Alpha Cat- Pearl Harbor 2020; Caitlin Sherman- Death To The Damsel

Mac Leaphart

Music City Joke

Self-Titled, 2021

9/10

Listen to Music City Joke

A South Carolina native who sounds right at home in Nashville, where he now resides, Mac Leaphart’s brand of rugged and raw Americana also embraces folk, blues and country across these very well thought out 10 tracks.

“El Paso Kid” starts the listen with warm strings as Leaphart’s inviting vocals guide a country influenced form of Americana, and “The Same Thing” follows with aching pedal steel alongside a rustic quality to the flowing melodies that make an instant impression.

Halfway through, “Ballad Of Bob Yamaha Or A Simple Plea In C Major” emits sublime beauty as Leaphart turns to spoken word amid bluesy harmonica, while “Music City Joke” recruits strong drumming and a honky tonk spirit that will get your body moving. “That Train”, another exceptional tune, then shuffles swiftly with a rootsy flavor indebted in Leaphart’s timeless delivery that gets friendly with twang, too.

Near the exit, “Every Day” is a calm, emotive excursion into stirring song craft, and “Division Street” exits the listen with intricate picking as Leaphart’s poetic approach leaves us wanting more of his cautious art.

A musician who certainly sounds like he was raised in the south, even in a town with a wealth of talent like Nashville, Leaphart’s keen attention to detail and gritty yet tuneful rural sounds easily makes him stand out on this fantastic album.

Travels well with: Jeremiah Fraites- Piano Piano; Sadler Vaden- Anybody Out There?

Rob Kovacs

Let Go

Self-Released, 2021

9/10

Listen to Let Go

The debut album from the singer-songwriter Rob Kovacs, the pianist spent a decade putting this effort together, where songs about love, desire, pain and acceptance tell the story of one relationship.

“Phade” starts the listen with a quick display of Kovacs’ mesmerizing key prowess in a contemplative setting, and “Fizzle” follows with soaring, falsetto singing accompanying the mature, melodic piano that takes help from cautious drumming.

Close to the middle, “Reach You” displays a triumphant spirit as a more forceful approach from Kovacs includes some modern indie-rock ideas, while “Interlude” spends 2 minutes enthralling us with a dreamy execution. “Here In The Future”, one of the record’s best, then blends power and melody with much sophistication.

As we near the end, “Should-Haves” leads bare, which allows Kovacs’ versatile pipes to shine, before building into a pretty pop-rock landscape, and “Bitter Memory” exits with incredible piano work amid brisk drumming and timeless songwriting dynamics.

Kovacs cut his teeth playing in coffee houses before co-founding the trio Return Of Simple. Now on his own, he proves that he’s fully capable of carrying the whole show on his own, and let’s hope it’s not another 10 years before he has more music for us, cause his piano focused approach to modern rock never out welcomes its stay.

Travels well with: Jeremy Fraites- Piano Piano; Casey Gibson- Piano Music

Elliott Miles McKinley

Shadow Dancer

Navona, 2019

8/10

Listen to Shadow Dancer

A veteran artist in the modern American contemporary scene, Elliott Miles McKinley delivers chamber pieces that center around love on the accomplished Shadow Dancer.

“String Quartet No. 8” starts the listen with a pair of violins, a viola and a violoncello in the elegant yet frisky setting that can also get quite turbulent, and “A Letter To Say I Love You, And Goodbye” follows and recruits violoncello and piano to birth emotive and cathartic sounds that are as heartfelt as they are dramatic.

The title track ends the listen with The Janacek Trio handling strings and keys as they emit sublime, introspective and stirring instrumentation in 6 movements that span many ideas from hope to dreams.

An extremely technical effort, McKinley and company say much about love without using any actual words on this universally enjoyable orchestral and classical record.

Travels well with: Dave Camwell- Second Wind; Dimensions- Vol 2. Works For Orchestra