Ryan Traster

Low Mirada

Blackbird, 2022

10/10

Listen to Low Mirada

A very unique artist in the area of cosmic roots sounds, Ryan Traster brings his alluring vocals and 6 and 12 string Rickenbackers to these very unique songs that might remind you of his former Laurel Canyon home, just as it might modern, jangly indie-rock sounds.

“The Night’s Got You” opens the listen with both a jangly and fuzzy display of roots rock that benefits much from Naomi Dornfeld’s dreamy backing vocals, and “Morose Empire” follows with breezy melodies and a bouncy atmosphere thanks to Peter Anderson’s agile drumming.

Elsewhere, “The Seventh Daughter” uses strummed acoustic guitar and Chris Walla’s well timed keys in the busy, swirling album highlight, while “Fangs” makes great use of Nick Johnson’s bass prowess amid the cosmic friendly and hazy retro-rock.

Further still, “Blue Blood” lands closer to country-rock territory with its more firm, thick guitar presence, and “Home Again” exits with a shimmering beauty that burns slower and memorably.

Traster is also joined by Michael McGarthwaite (electric and slide guitars) and Andy Homass (guitar), and together it makes for a very diverse, groove filled and powerful peek into one of the most creative minds in roots rock today.

Travels well with: Christopher Lockett- At The Station; Aaron Skiles- Wreckage From The Fire

The King James Boys

Walk On Faith

Pinecastle, 2022

8/10

Listen to Walk On Faith

The King James Boys, i.e. Randy Spencer, Cole Spencer, Curtis Lewis, Will Hart and Joshua Green, bring us tracks by Paula Breedlove, Rick Lang, David Stewart and Mark Brinkman, among others, for these 8 bluegrass meets gospel pieces.

The title track gets the listen off to a very harmonic start, where Hart’s warm mandolin and Green’s stirring fiddle complement the smooth singing, and “The Devil’s Not Afraid Of A Dust Covered Bible” follows with flowing vocal harmonies amid Cole Spencer’s fluid bass playing.

“Save Me” arrives at the halfway point, and it showcases Lewis’ agile guitar playing amid spiritual singing in a more subdued display, while “He Broke The Chains” is a vocally focused and intimate delivery of gospel flavored bluegrass.

Close to the end, “The Lord Has Sure Been Good To Me” emits a heartfelt breeziness, and “Nail Pierced Hands” exits with meticulous and dynamic string manipulation and sincere singing in the album’s best selection.

A very sincere and comforting listen, The King James Boys are an ideal listen for those whose admiration for God runs parallel to their interests in bluegrass sounds.

Travels well with: Route 3- Losing Time; Wildfire- Quiet Country Town

Route 3

Losing Time

Pinecastle, 2022

9/10

Listen Losing Time

The Missouri rooted outfit Route 3 have lengthy roots in bluegrass sounds, and here they bring us 11 melodic and harmonic tracks thanks to Jason Jordan’s guitar and vocals, and Doug Clifton, Gaylon Harper, Roy Bond and Ron Stewart’s string acrobatics.

The title track starts the listen off with Harper’s fluid banjo alongside the smooth singing in the timeless bluegrass landscape, and “South Bound Train” follows with stirring fiddle prowess from Stewart, as the eloquent storytelling unfolds with much grace.

In the middle, “Half A Heart” showcases dynamic string interaction amid the heartfelt singing that emits much beauty, while “Time” gets quite intimate, where a reflective tone radiates much skill from Bond’s mandolin.

Approaching the end, “Jasper Beckett” places a bit of grit into the meticulous climate, and “Take My Hand” exits with a fast pace of stunning picking as the quintet finish with timeless, flowing bluegrass.

For fans of bluegrass, it doesn’t get much better than this, and let’s hope there’s more on the horizon soon from Route 3.

Travels well with: Nick Chandler & Delivered- Silver Bird; Wildfire- Quiet Country Town

Michael Torke

Time

Ecstatic, 2022

8/10

Listen to Time

An artist whose work has been taken on by The Philadelphia Orchestra, the New York Philharmonic, and the San Francisco Symphony, Michael Torke brings us 5 pieces that use percussion, strings and winds and spans 45 minutes under a constant 126 beats per minute.

“Span 1” opens the listen with Torke’s piano acrobatics alongside Alan Kay’s well timed clarinet for both a swift and calm atmosphere, and “Span 2” follows with a very upbeat presence that can get a bit louder amid wordless singing, bright clarinet and subtle strings.

The middle spot is occupied by “Span 3”, and showcases soulful sax and Torke’s fascinating piano skills in the soaring album highlight, while “Span 4” gets a bit more emotive, with a dreamy ambience that uses Tessa Lark’s violin superbly. The final track, “Span 5”, benefits much from Ian Rosenbaum’s memorable marimba, as the unpredictable texturing is quite cinematic and meticulous.

Other musicians on hand include Pat Posey (sax), Elliot Figg (harp), Sarah Brailey (sax), Paul Wiancko (cello), and Michael Thurber (bass), and they all help flesh out Torke’s inimitable vision of orchestral song craft that’s quite modern, stylish and exciting.

Travels well with: Loadbang- Quiver; Tom Flaherty- Mixed Messages

Will Hoge

Wings On My Shoes

Soundly, 2022

9/10

Listen to Wings On My Shoes

The Nashville resident Will Hoge has enjoyed a lengthy and esteemed career, and here he brings us a new batch of tunes using few overdubs, and has the capacity to rock pretty loud, but also finds calm moments to reside in, too.

“John Prine’s Cadillac” opens the listen with loud, buzzing electric guitar, as the setting gets powerful with soulful backing vocals and thumping drums, and “It’s Just You” follows with a vibrant rootsy flavor populating the driving rock’n’roll.

In the middle, the setting gets more intimate with the soft and expressive “The Last One To Go”, while “All I Can Take” gets quite rowdy, amid the dynamic rhythm section and gigantic swells of guitar driven retro-rock.

Approaching the end, “Dead Man’s Head” illustrates vivid storytelling with a stylish demeanor front and center, and “Whose God Is This?” exits with a more country influenced delivery that’s got some twang via the well timed pedal steel.

Hoge shows a lot of muscle here, and it’s quite exciting and sometimes even borders on punk influenced, and his more vulnerable moments are quite eloquent and just as memorable. The bulk of this was recorded live, and it sounds incredible and resonates so much tuneful grit.

Travels well with: John Fullbright- The Liar; Butch Walker- Stay Gold

Bywater Call

Remain

Gypsy Soul, 2022

9/10

Listen to Remain

A powerful Canadian 7 piece who know their way around a southern soul, blues and roots rock tune you won’t soon forget, Bywater Call deliver balladry, funky moments and plenty of dense blues rock across these 11 well thought tracks.

“Falls Away” starts the listen with thick guitars and gritty yet tuneful singing, as the warm, fluid blues rock gets quite rugged, and “Lover Down Slow” follows with warm horns and playful organ making for a breezy and robust climate.

Further along, the booming sax and piano of “Left Behind” complements the very soulful quality, while “Ties That Bind” finds plenty of grooves amid the crisp drums, bouncy bass and expressive singing.

“Locked” and “Bring It Back” exit the listen, where the former finds a very intimate place to reside with its poetic demeanor and soaring bouts, and the latter thumps with a busy, adventurous and festive charm that’s anthemic and possibly the best selection present.

The band are spearheaded by the vocals of Meghan Parnell and the skilled slide guitar work of Dave Barnes. Additionally, Bruce McCarthy handles drums, Mike Meusel plays bass, Alan Zemaitis manipulates the keyboards, Stephen Dyte delivers trumpet and Julian Nalli contributes tenor sax. Collectively, they make a most dynamic and memorable version of blues rock that you won’t soon forget.

Travels well with: Jeffrey Halford And The Healers- Soul Crusade; Crystal Shawanda- Church House Blues

Nora O'Connor

My Heart

Pravda, 2022

9/10

Listen to My Heart

You may not be familiar with the name Nora O’Connor, but it’s likely you’ve already heard her work, as she’s played with legends like The Decemberist and Neko Case, among many others. Here, along with an all star cast, she pens an aptly titled record that’s reflective, diverse, and not lacking any harmonies.

“Sore” starts the listen with O’Connor’s warm and expressive singing amid the ‘70s nods that benefit from Alex Hall’s agile drums, and “My Heart” follows with firm keys and a charming pop presence that comes with an infectious spirit.

“Grace” occupies the middle spot, and it’s a very intimate and mature display of cozy Wurlitzer and subdued country rock sensibilities, while “Follow Me” recruits Jon Rauhouse’s aching pedal steel in the poetic storytelling that’s quite heartfelt.

Further on the back half, “Winwoof” uses cozy acoustic guitar for a folk influenced instrumental, and the very pretty “Fare Thee Well” brings some grit to the rich and rootsy flavor of the album’s best.

O’Connor is also in the company of Casey McDonough (vocals, bass, acoustic guitar), Scott Ligon (keys, guitars), Steve Dawson (guitars, Wurlitzer, harmonium) and Robbie Djersoe (dobro, electric guitar), and together it makes for a very genuine and eclectic affair that truly showcases the many talents of O’Connor.

Travels well with: Kelly Hogan- I Like To Keep Myself In Pain; Caitlin Rose- Own Side Now

Buck Owens And The Buckaroos

Bakersfield Gold

Omnivore, 2022

8/10

Listen to Bakersfield Gold

Between the years of 1959 and 1974, the legendary Buck Owens amassed an impressive 46 Top Ten Hits, and here they’re collected on either 2 CDs, a triple LP package or digitally. The release features new liner notes from Grammy-nominee, Randy Poe (author of Buck ‘Em: The Autobiography Of Buck Owens), to add even more appeal to the project.

“Under Your Spell Again” starts the listen with the perfect example of Owens’ formula, where warm twang, a bouncy spirit and his inimitably smooth pipes guide the rural melodies, and it isn’t long until the crisp drums and Jelly Sanders’ stirring fiddle make an impression on “Foolin’ Around”.

Further on, the toe tappin’ and dance floor ready “My Heart Skips A Beat” comes with an infectious energy, while the spirited guitar from Red Simpson helps illuminate the cautious demeanor of “Think Of Me”.

Disc 2 opens with the intimate song craft of the poetic “Your Tender Loving Care”, and later on the soulful backing vocals of the precisely textured “Tall Dark Stranger” helps make this one of the best on the back half of the record.

Deeper still, the emotive “Bridge Over Troubled Water” emits a dreamy appeal, as Owens sings with much warmth, and “Great Expectations” exits the listen with Jim Shaw’s mellotron and Ronnie Jackson’s guitar helping make for a playful yet precise, country flavored finish.

Not surprisingly, nearly have of these songs actually hit #1 on the charts, and it serves as a fine introduction to Owens, and is an absolute must for the unwavering fans.

Travels well with: Buck Owens And The Buckaroos- Ain’t It Amazing, Gracie; Buck Owens And The Buckaroos- In The Palm Of Your Hand

Duwayne Burnside

Acoustic Burnside

Dolceola, 2022

8/10

Listen to Acoustic Burnside

On his first new album in 17 years, the former member of the North Mississippi All Stars Duwayne Burnside brings his acoustic guitar to a very diverse and genuine blues record of performances around his home in Holly Springs, Mississippi, between June 2018 and September 2019.

Burnside starts the listen with the gritty, southern blues of “Going Down South”, where his guitar emits much warmth alongside his raw singing, and this formula continues to the quicker pace of the rhythmic “See My Jumper Hanging On The Line”, as well as the firm strumming of “She Threw My Clothes Out”.

In the middle, the powerful and soaring “Dust My Broom” showcases the depth of Burnside’s pipes, while “Stay All Night” touches on folk ideas in the romantic spirit of one of the more upbeat selections.

Towards the end, “44 Pistol” showcases some of Burnside’s most meticulous guitar work in the hypnotic landscape, and “Lord Have Mercy On Me” exits with a gospel angel to the textured appeal that welcomes Dan Torigoe on piano.

Burnside takes influence from B.B. King, Jimi Hendrix, and his father, R.L. Burnside, as he navigates around Delta blues, country blues, and folk blues with incredible balance, authenticity and timelessness.

Travels well with: Cedric Burnside- Benton Country Relic; Bob Corritore- Do The Hip-Shake Baby!

Judy Whitmore

Isn’t It Romantic?

Arden House, 2022

8/10

Listen to Isn’t It Romantic?

An artist with a long list of accomplishments, Judy Whitmore’s work as a jazz and cabaret performer, novelist, producer, therapist and commercial jet pilot is nothing short of admirable. Here, we’re talking about her voice, where a dozens standards are fleshed out with an excellent backing band.

“It Could Happen To You” starts the listen with Tamir Hendelman’s warm piano alongside Whitmore’s soothing pipes amid much melody, and “I Remember You” follows with Lori Bell’s dreamy flute adding that much more beauty to the elegant and lush climate.

Elsewhere, “The Nearness Of You” benefits much from Rickey Woodward’s soulful brass and Alex Frank’s well timed bass in the intimate display, while “The Birth Of The Blues” recruits Peisha McPhee’s stunning voice that harmonizes with Whitmore across the powerful album highlight.

Near to the end, the reflective brass of “But Beautiful” gets a bit playful with the meticulous bass plucking as Whitmore’s diverse singing makes an impression, and “Hallelujah I Love Him So” finishes with an upbeat delivery that’s populated by a cozy rhythm section, bright horns, and, of course, Whitmore’s glowing pipes that are heartfelt and adventurous.

An album that swings playfully but can also retreat to stirring balladry, Whitmore steers through the timeless songs with her buttery smooth voice and much poise.

Travels well with: Ada Bird Wolfe- Odd Bird; Vicki Burns- Lotus Blossom Days

Teemu Kekkonen

Here/There

Self-Released, 2022

8/10

Listen to Here/There

The debut album from the Amsterdam resident and pianist Teemu Kekkonen, his brand of Scandinavian jazz welcomes Mikael Saastamoinen on bass and Roope Kantonen behind the drum kit for fascinating listen that’s not short on improvisation, grooves and rhythm.

The title track opens the listen with atmospheric drums, before graceful piano and very precise bass enter a very warm climate, and “Moksha” follows with swift key progressions, as a hypnotic quality surrounds the agile delivery.

In the middle, the dynamic “Dragonflies In July” alternates between busy and bare textures of beauty and mystery, while “Melancholia” is indeed reflective, and emits a rare intimacy thanks to Kekkonen’s thoughtful piano playing.

The final track, “Smile”, is among the best, and offers light melodies, where the cozy bass and very subtle drums complement the poetic piano.

An excellent starting point for Kekkonen, influences like Vijay Iyer, Brad Mehldau and The Bad Plus won’t go unnoticed, and his formative years absorbing Chick Corea and Bill Evans’ records is certainly part of the timeless formula that makes this European trio worth repeated listens.

Travels well with: Tuomo & Markus- Dead Circles; Foaie Verde- Phoenix: Balkans And Beyond

The Cowsills

Rhythm Of The World

Omnivore, 2022

8/10

Listen to Rhythm Of The World

The legendary family singing outfit The Cowsills began their journey in 1965, and was composed of 6 siblings. By the early ‘70s, the band had amassed millions of records sold and plenty of singles that are still quite known today. However, they did break up, but also regrouped several times over the years, with some well done recordings up into the ‘90s.

Here, after nearly 30 years since their last recording, we’re treated to 11 new tunes, where Susan, Peter, Bob, Brandon, Paul, and Ryan Cowsill are all in attendance.

“Ya Gotta Get Up!” starts the listen with Paul and Susan on lead vocals, as warm guitars and Howard Kalan of The Turtles makes a cameo on the fluid power-pop, and “Lend A Hand” follows with Russ Broussard’s thumping drums and Mary Lasseigne’s skilled bass guitar in the swift and harmonic climate.

Entering the middle, “Nuclear Winter” benefits much from Ryan Cowsill’s proficient organ and synth in the ‘80s rock fueled delivery, while “Largo Nights” jangles a bit with congas present and several guitars complementing Bob’s smooth lead vocals amid the hazy textures.

Near to the end, “The Long Run” is quite dreamy and submerged in much beauty as Marr Lasseigne’s bass and Brendon’s acoustic guitar make a charming impression, and “Katrina” exits with a busy appeal that’s quite meticulous and radiates the incredibly timeless vocal work they built their career on.

The story of The Cowsills is one of highs and lows. But through it all, it’s always been about the music, and it sounds better than ever on this excellent come back record.

Travels well with: The Left Banke- Strangers On A Train; The Kinks- Lola Versus Powerman And The Moneygoround Part One

Laura Karst

Dancing In Darkness

Self-Released, 2022

8/10

Listen to Dancing In Darkness

The San Francisco jazz vocalist Laura Karst brings us a sophomore album of solo jazz vocals, where an international selection of composers unfolds with her diverse jazz vision on display.

“It’s Your Dance” opens the listen with Karst’s bright and pretty voice alongside Greg German’s playful drumming, and “Errática” follows with Walter Bankovitch’s warm piano complementing Karst’s very expressive singing in the lush climate.

Deeper into the listen, “Footprints” focuses much on mood amid the dynamic drums and key interaction, while “Busy Being Blue” emits much intimacy between the graceful keys and Karst’s poetic pipes.

Near to the end, “A Dream Come True” uses subtle but effective brass from Modesto Briseno in the timeless, cultured jazz demeanor, and “Quiet Afternoon” exits the listen with soft, wordless vocals, as the textured horns, drums and keys are quite dreamy, even stirring.

An artist with a wealth of talent and experience, Karst navigates around these songs with much charm that embraces swing, bebop, ballads, Latin, modern, and fusion, and it’s all executed with incredible attention to detail.

Travels well with: Marilyn Scott- The Landscape; Melbreeze- I Love Paris

Nick Chandler & Delivered

Silver Bird

Pinecastle, 2022

8/10

Listen to Silver Bird

The mandolinist and vocalist Nick Chandler is in some excellent company here, where an all star cast help him flesh out a dozen covers and originals of timeless bluegrass flavor.

“Darling Please Come On Home” starts the listen with Jamie Sparks’ flowing banjo and Bobby Powell’s fluid guitar and voice helping make for a swift and melodic lead off, and “Missing You Blues” follows with Husdon Bosworth’s warm guitar and Zach McCracken’s well timed banjo for the breezy climate.

Halfway through, the meticulous banjo and guitar interaction of “Biscuits And Gravy” complements Chandler’s inviting vocals, while the title track emits much rural beauty with its stunning picking.

Approaching the end, “Sam’s Place” offers a very playful and festive album highlight with David Johnson’s fiddle radiating much grace, and “For So Many Years” exits the listen with Sparks back on banjo for the romantic spirit of the finish.

A very proficient and timeless blend of Americana, roots and country sounds, Chandler and company make for a very exceptional listen on the always impressive Pinecastle label.

Travels well with: Wildfire- Quiet Country Town; Robert Hale- Blue Haze

Wildfire

Quiet Country Town

Pinecastle, 2022

8/10

Listen to Quiet Country Town

An all star ensemble of Robert Hale, Curt Chapman, Scott Napier, Matt Despain and John Lewis, as Wildfire the quintet bring us 10 tracks of originals and covers that embrace all the hallmarks of bluegrass.

“Ride The Train” opens the listen with smooth and harmonic voices alongside speedy mandolin from Napier, as the warm bluegrass climate unfolds with much timelessness, and the title track follows with Scott Vestal stepping in on banjo for the cautious and very breezy 3 minutes.

At the midpoint, “Ain’t No California benefits much from Chapman’s skilled bass playing amid the cozy harmony vocals, while “Oh Lonesome Me” moves swiftly, where Despain’s charming dobro won’t go unnoticed alongside the vivid storytelling.

“I’ve Been Through It All” lands near the end, and is a bit rugged in a mountain-esque sort of way, and illuminates the careful picking acrobatics, and “Help Me” exits with a sublime intimacy that tugs on the heartstrings with its bare beauty.

Wildfire also take help from the legendary Dale Ann Bradley on harmony vocals for a track, as well as Shawn Lane’s fiddle prowess, and it helps make for a top notch and very memorable listen.

Travels well with: Phil Leadbetter & The All Stars Of Bluegrass- Swing For The Fences; Robert Hale- Blue Haze

Steve Tintweiss Spacelight Band

Live At NYU: 1980

Inky, 2022

8/10

Listen to Live At NYU: 1980

The 5th archive release from the Inky DoT Media imprint, this documentation brings us 2 sets from Steve Tintweiss and company, where their curious brand of free jazz incorporates brass, winds, and even a dramatic reading.

“The Theme/Man Alone” opens the listen with frisky drumming and soft saxophone in the cozy 1 minute, and “Spring Raga” follows with a bit of a haunting quality that recruits wordless singing into the cryptic landscape.

Moving towards the middle, “Risk-O-Disc” showcases playfully plucked bass and dreamy flute, while “Abandoned Dance” gets to a nearly dance friendly place with its acrobatic drumming and furious sax bouts, as well as adventurous bass swells.

Disc 2 opens with the spoken “Knowledge Is Power”, where the setting shifts into an oddly cinematic journey, and “Ash Dung Blues Bowl” arrives not long after with a calm, nearly meditative quality. “Do Not Look Back” might be the most bizarre but exciting tune, and consists of random voices and phrases that are met with lightning fast brass squealing.

Tintweiss is joined by Charles Brackeen (tenor and soprano saxophones), Byard Lancaster (alto and soprano saxophones, flute, piccolo, bass clarinet), Lou Grassi (drums and percussion), and Genie Sherman (vocals and dramatic reading). He handles 5-string double bass, melodica and vocals, and let me tell you, you’ve never heard anything like this before, as Tintweiss meshes avant-garde jazz, performance art and improvisational madness.

Travels well with: Steve Tintweiss And The Purple Why- Markstown; Judy Stuart- The Apostolic Session

Katy Guillen & The Drive

Another One Gained

Self-Released, 2022

10/10

Listen to Another One Gained

Formerly of Katy Guillen & The Girls, after a busy 6 years with that outfit, Guillen paired up with the drummer Stephanie Williams for this new direction and approach that offers 10 tracks that thematically surrounds growth, transition, self-doubt and rebirth.

The title track starts the listen with plenty of warmth, as Guillen’s expressive and smooth singing is complemented by rhythmic drumming and agile guitar, and “Discoloration” follows a bit quicker, where a more scrappy version of indie-rock unfolds with some grit.

“Set In Stone” occupies the middle spot, and is tad more firm with loud drums and some well timed guitar crunch, while “Avoiding Every Sound” comes with a hint of the blues buried in the fuzzy rock that’s quite alluring.

The final two tracks are equally, great, too. “Nothing Comes Close” is bare but impactful in its poetic nature, and “Different” touches on Americana with both beauty and a heartfelt demeanor that is present across the entire affair.

An excellent debut album, the duo use 12 string acoustic guitars, soulful Wurlitzers, lively timpanis and others for a meticulously textured and universally embraceable listen.

Travels well with: Tiffany Williams- All Those Days Of Drinking Dust; Jim Lauderdale- Hope

Al Basile

Through With Cool

Sweetspot, 2022

9/10

Listen to Through With Cool

The 8 time Blues Music Award-nominated singer/songwriter/cornetist Al Basile returns with some of of his best work to date, where an all star cast of New England musicians accompany him for 14 well thought out tracks.

“Keep On Living” starts the listen with plenty of rhythmic percussion, as Basile’s descriptive storytelling unfolds with soulful horns, and “My Hero” follows with warm keys and smooth singing guiding the cozy blues climate.

Nearing the middle, “Take Your Time” showcases spirited guitar in the reflective tone that’s both stylish and subdued, while “We Belong Together”, the best tune, moves with a very melodic and fuller approach of agile guitar, crisp drums and soaring brass.

Further still, the dreamy “You Better Change Your Tune” puts much emphasis on the flowing piano, where well timed horns complement Basile’s laidback voice, and the title track exits the listen with an intimate and poetic delivery with just guitar and Basile's inviting pipes.

Basile is joined by Bruce Bears on keyboards, Brad Hallen on bass, Mark Teixeira on drums, Doug James on tenor sax and Jeff “Doc” Chanonhouse on trumpet, plus the guitar wizardry of multi-Blues Music Award nominee Kid Andersen. Together, they make for what Basile calls his most realized work to date, and his control of his voice and strong cornet playing certainly confirm that.

Travels well with: Bob Margolin And Bob Corritore- So Far; Todd Sharpville- Medication Time

Jennifer Hartswick

Something In The Water

Brother Mister, 2022

8/10

Listen to Something In The Water

The vocalist, trumpeter and composer Jennifer Hartswick returns with a sophomore album, where humor and vulnerability and how it relates to the human condition is explored with an excellent cast of players via her New Orleans jazz focused formula that’s still very much influenced by her Nashville residency.

“Only Time Will Tell” opens the listen with Hartswick’s soulful pipes and bright trumpet alongside Rob Marscher’s agile keys and Conor Elmes’ proficient drumming populating the lively climate, and “Fairytale” follows with a dreamy elegance that recruits Christian McBride’s charming bass and soaring backing vocals from Nicholas Cassarino and Celisse Henderson.

“By The River” arrives in the middle and showcases a festive spirit with Roy Agee’s trombone prowess making an indelible impression amid Hartswick’s vocal acrobatics, while “Guilty” trims the pace back with emotive singing and McBride’s incredible bass plucking in the powerful yet bare landscape.

The last two tracks are among the best, and include the R&B sensibilities of “Enamored”, where Chris Chew’s backing vocals complement Hartswick’s stunning pipes, and “When I’m Weary” exits with just Hartswick’s poetic voice and trumpet and Cassarino’s warm guitar in the intimate finish.

An artist whose craft is truly timeless, Hartswick touches on blues, jam and nostalgic rock’n’roll, among other ideas, in this exceptional and unique jazz experience.

Travels well with: Natalie Cressman & Ian Faquini- Auburn Whisper; Jacqui Naylor- The Long Game

Sariyah Idan

Breaking Shadows

Self-Released, 2019

8/10

Listen to Breaking Shadows

It’s pretty surprising that this is New York native Sariyah Idan’s first album, cause the eclectic songstress delivers like a seasoned vet across these poetic, cultured and timeless tunes.

“Shine” starts the listen with Idan’s strong and expressive vocals in a musically bare setting that’s soulful and cultured and eventually builds into a fuller hip-hop approach, and “Darkness” follows with a more folk oriented delivery of grace and beauty as strings complement the affair.

Further along, “Truth To Power” recruits jazz ideas in the subdued playfulness where horns are in attendance, while “Vibe” offers lush melodies in the upbeat trip-hop influenced album highlight.

Near the end, “Passion” is full of acoustic memorableness in the sultry atmosphere, and “Temple” flows with an R&B feel on the groove filled fun. “Revel” ends the listen sparse and gorgeous as the full scope of Idan’s pipes shine on the empowering exit.

Recorded over 3 years in 3 different countries, the 17 tracks here flow seamlessly into one another, as Idan and company traverse across countless genres, textures and tones, though ultimately ending up at one message of strength, solidarity and justice.

Travels well with: Nina Simone- Let It All Out; Meshell Ndegeocello- Comet, Come To Me