Gaia Wilmer & Jaques Morelenbaum

Trem Das Cores

Sarapui, 2023

8/10

Listen to Trem Das Cores

A record that celebrates the work of Brazil’s Caetano Veloso, Gaia Wilmer’s sax and Jacques Morelenbaum’s cello are surrounded by some excellent players for this very well thought out affair.

“Trilhos Urbanos” starts the listen with Oran Etkin’s dense bass clarinet and Vitor Goncalves’ lively accordion making for a rhythmic opening, and the title track follows with Monica Salmaso’s gorgeous voice adding much richness to Gustavo D’Amico’s soulful soprano sax.

In the middle, the intricate bass from Eduardo Belo complements the mesmerizing spirit of “Minha Voz Minha Vida”, while “Luz Do Sol” is full of ambience via the quivering sax, mysterious flute from Maiara Moraes and Vinicius Gomes’ blurry guitar.

Close to the end, “Tropicália” carries some rock tendencies thanks to Eduardo Ribeiro’s fluid drums that suit the upbeat album highlight, and “A Terceira Margem Do Rio” exits with a textured and dynamic finish of cultured melodies.

A glowing tribute that honors Veloso’s work as a singer and poet, Wilmer and Morelenbaum’s skills unfold with timelessness and gorgeous jazz nods that are globally embraceable.

Travels well with: Strat Andriotis- Exits; The Gabrielle Stravelli Trio- Beautiful Moons Ago

The Tremeloes

Master

Think Like A Key, 2024

9/10

Listen to Master

An English beat outfit who saw much success during the British invasion, Master was originally released in 1970, and here it lives again in remastered form with new liner notes and 11 bonus tracks.

The thumping drums and gritty appeal of “Wait For Me” starts the listen with plenty of melody, and “Long Road” follows with bright brass and plenty of pop ideas surrounding the retro ideas.

Deeper into the original, the radiant guitar and smooth vocals of “But Then I” comes with rich vocal harmonies, while “I Swear” uses psychedelia to their advantage thanks to the well timed keys and multiple voices.

The formal LP ends on the chart topping “Me And My Life”, where the intricate guitar and playful rhythm section adds much intrigue, and the bonus material starts with the bouncy bass and rhythmic guitars of “(Call Me) Number One”.

Closer to the end, the dense and groove filled “Right Wheel, Left Hammer, Sham” will get your body moving, and “What Can I Do” exits with a dreamy mood of nostalgic rock and pop.

This release had the band exploring their heavier, more inwardly directed side, and it illustrates Hendrix style riffs and Crosby, Stills & Nash friendly harmonies without detracting too far from their Beatlesque pop. The band would go on hiatus for much of the ‘70s, but this record sure kept fans happy despite the absence.

Travels well with: Dave Clark Five- All The Hits; The Left Banke- Strangers On A Train

Trendafilka

For The Olives

Self-Released, 2024

8/10

Listen to For The Olives

The New Orleans outfit Trendafilka make quite an impression with this sophomore album, where seasonal and ritual songs from Bulgaria, North Macedonia, Greece, Ukraine, Latvia, and Lithuania are fleshed out by the eleven-piece, all-female vocal ensemble.

“Chichovite Konye” starts the listen with the harmonic and radiating voices showing a diverse range, and “Zamruknala e Moma Yana” follows with a soothing approach of eloquent singing that’s immediately gripping.

Moving into the middle, “Joniniu Sutartine” layers the vocals strategically for a mesmerizing effect, while “Zaspalo e Chelebiche” is a pretty and heartfelt album highlight that showcases the rich tone of the sublime vocals.

Arriving near the end, “Po Moryu” uses a call and response technique with soaring results, and “Zvezda Vechernitsa” exits with a bright tone of colorful and globally embraceable sentiment that’s delivered flawlessly.

The languages sung on the album are many, and the spring calling, summer solstice ritual, harvest and winter ritual songs are executed with plenty of folk nods and much worldly flavor via the European polyphonic traditions.

Travels well with: Steven Keene- This World Is Your World; Yosef Gutman Levitt-The World And Its People

Trio San

Hibiki

Jazzdor, 2023

9/10

Listen to Hibiki

An exceptional trio of Satoko Fujii, Yuko Oshima and Taiko Saito, as Trio San they bring a colorful and rich delivery to these 6 tracks that were fleshed out following a quick European tour.

The title track starts with a calm mood, where Fujii’s minimal keys builds into moments of mystery amid the often sparse climate that uses Saito’s vibraphone playfully, and “Soba” follows with a more rumbling approach, where the glowing vibes and Oshima’s unpredictable percussion don’t disappoint.

Halfway through, “Yozakura” comes with a cinematic quality that manipulates space and tension with flowing keys and wild drumming that escalates into a dizzying display, while “What You See” leads with agile drumming acrobatics before gentle keys enter the atypical landscape.

“Ichigo”, the best tune, exits, and it’s a turbulent display of dense drums, bright vibes and meticulous keys that get busy, dynamic and nearly erratic via the trio’s very capable skills.

A thrilling debut that balances odd meters, atypical solos, no lack of atmosphere and rock, chamber and improvised nods, this is a truly unique version of jazz to be appreciated.

Travels well with: Satoko Fujii Tokyo Trio- Jet Black; Noah Haidu- Standards II

Spy Dénommé-Welch/Catherine Magowan

Transpositions

Unsettled Scores, 2024

8/10

Listen to Transpositions

An instrumental affair that highlights the vision of Spy Dénommé-Welch and Catherine Magowan, the 8 tracks here represent a very distinct version of contemporary classical sounds.

“Scan/Machine” starts the listen with Justin McLean’s glowing tuba alongside Christine Cheongyeong Bae’s unpredictable piano, and “Boiling Frog” follows with animated keys and McLean’s lively brass that makes for a cinematic climate.

In the middle, the swift keys and dancing strings of Alyssa Delbaere-Sawchuk’s viola are quite exciting, while “False Fugue: When All is Felled” is an expressive and atypical album highlight that carries a hint of mystery.

Close to the end, “Aftershocks” carries a rare intimacy in between the animated bouts of keys, and “Acclimation” exits with meticulous piano, fluid strings and low brass working together strategically.

Another intriguing release from Unsettled Scores, the chamber, classical, orchestral and modern appeal is executed with tremendous dynamics and a very highly artistic presence.

Travels well with: Tim Brady- Imagine Many Guitars; Stefan Smulovitz- Bow & Brush

Toomai String Quintet

Passos Brasileiros

Self-Released, 2024

9/10

Listen to Passos Brasileiros

A New York outfit with a penchant for worldly sounds, Toomai String Quintet bring us 13 songs of their dynamic string interaction what welcomes a few guests, too.

“Garrote” starts the listen with dancing strings collaborating for much warmth and energy, where the guest Dana Kelley handles viola, and “Saudades das Selvas Brasileiras No. 2” follows with Hamilton Berry’s emotive cello guiding the gracefulness.

Further along, “Cais” makes for a stirring moment, where Alex Fortes and Emilee-Anne Gendron’s sublime violins make an impression, while “Espiral” makes great use of Andrew Roitstein’s plucked bass that suits the mysterious album highlight.

Deeper into the back half, “Domingo no Parque” is a lively selection that balances George Meyer’s careful viola amid the collaborative climate, and “Pintou um Grilo” invites guests Léa Freire’s bright piano and Emma Frucht’s expressive violin to the rich and meticulous track.

A diverse and globally enjoyable sophomore album, Toomai String Quintet recruit a wealth of talent that pays homage to Brazil’s rich musical legacy with plenty of choro, samba, Brazilian jazz, classical music, and Música Popular Brasileira (MPB) to be appreciated.

Travels well with: Pathos Trio- Polarity; Timuçin Şahin’s Flow State- Funk Poems For ‘Bird’

Towner Galaher Organ Group

Brothers

Rhythm Royale, 2025

9/10

Listen to Brothers

The esteemed drummer, composer and bandleader Towner Galaher steps back into the ‘70s for these 8 originals that find plenty of grooves and warmth.

The title track starts the listen with no lack of grooves thanks to Craig Handy’s lively sax and Randy Monroe’s funky bass lines, and “Hit It And Quit It” follows with a dynamic energy, where Jimmy Sanders’ glowing keys suit Galaher’s drumming acrobatics.

Halfway through, “The Diamond Chalice” finds an intimate place to reside, where soulful sax is met with a dreamy mood, while “Piece Of The Action” picks the pace up with a swift and animated execution that balances playful bass, booming brass and agile drumming.

The last two tracks, “Past Present And Future” and “Seventh Heaven”, don’t disappoint either. The former carries a timeless spirit via the meticulous keys and fluid rhythm section, and the latter is an upbeat and rich finish that allows the player’s respective talents to shine.

An exciting blend of jazz, funk and rock, Galaher and company unleash stunning solos and grooves in spades for this timeless body of work.

Travels well with: Chad Edwards- Wyoming Roads; Adam Hersh- Tornado Watch

Ben Winship

Toolshed

Self-Released, 2019

8/10

Listen to Toolshed

One of two albums released by the Idaho musician and engineer Ben Winship, Toolshed has the roots artist exploring his creativity with a full band and plenty luminous guests on hand.

The title track gets the album off to a playful start with acoustic guitars and warm vocals from Winship on an Americana and country fueled opener, and “That’s What Ghosts Are For”, with Owen Winship, follows and brings a soulful setting to the haunting folk tune.

Elsewhere, “Crossing The Great Divide” recruits Travis Book on a track with soft horns and rootsy ideas where vocal harmonies complement the cautious atmosphere, while “The Buzzard’s Dilemma” doesn’t need vocals for its retro, dixie beauty to shine bright.

The back half of the record offers us “Always The Mountain”, where a rugged spirit winds through the Americana/folk instrumentation, as well as “What’s The Matter With The Well”, where Ivan Nevile helps illuminate the funky, bluesy album highlight. “I Thought You Were A Goat #2” ends the listen with hip-hop nods in a percussively strong exit that’s unexpected and easy to embrace.

Releasing a pair of albums on the same date after 22 decades away from solo work is probably not a task many musicians would take on, but Winship pulls off the feat with poise, balance and extremely proficient skill.

Travels well with: Tom Waits- Rain Dogs; Woody Guthrie- Dust Bowl Ballads