Jørund Vålandsmyr & Menigheten

Hvite Dager, Mørke Kvelder

Apollon, 2020

8/10

Listen to Hvite Dager, Mørke Kvelder

A Norwegian Grammy Winner, Jørund Vålandsmyr (of Country Heroes) returns with his band, Menigheten, where pop, Kraut Rock and even Americana ideas enter their varied and timeless song craft.

“#utbyttbar” starts the listen with some minor post-punk nods, ala New Order, before building into an anthemic display of powerful melodies, and “Du vet” follows with a pretty approach that’s vocally strong and musically light amid dual gender singing that you could sing along to.

Near the middle, “Algende tak” lands in acoustic territory with a mix of talking and singing that enters the bare setting, while “Rekvedstund” resides in roots rock with no shortage of sublime instrumentation. “Verkesteder”, the album’s stand out track, falls near the end and pairs a kinetic rhythm section with glorious guitar solos in a frisky and memorable execution of charged rock.

A listen that makes excellent use of lap steel, mellotron, sitar and organs, among the usual suspects, Jørund Vålandsmyr & Menigheten turn in a strong sophomore album that truly illustrates their many diverse strengths.

Travels well with: Ping- The Zig Zag Manoeuvre; Tammatoys- Conflicts

Ping

The Zig Zag Manoeuvre

Apollon, 2020

8/10

Listen to The Zig Zag Manoeuvre

Perhaps the most unusual outfit on the Apollon roster, Norway’s Ping bring us on an adventure that’s highly experimental, where the sounds of the ‘60s as well as metal, pop, folk and many others are arranged in unorthodox and unpredictable ways.

“Londonderry Revolutionary” starts the album with a mashing of avant-garde sounds that span hip-hop, prog-rock, and circus rock, and “God Made My Day” follows with both firm, rock spirited sounds as well as eccentric ideas that recruits a saxophone.

An album where no 2 songs resemble each other, “Get Ready” builds into a thick display of nearly metallic sounds, while “Trillby Hatter” is a quirky form of folk-rock that would make David Byrne smile. “The Usurpers Of The Afterlife”, one of the record’s best, then brings in strings for an orchestral slant to the precise yet playful climate.

Near the end, “Hammer Falling From The Sky” offers some of the best singing amid proficient drumming and both calm and busy instrumentation, and “Milk Your Mum” finishes the listen with a dreamy quality to their multi-faceted template.

If artists like Zappa, Ween, Tom Waits or even Melvins mean anything to you, Ping should definitely be on your radar, as their curious brand of rock is as unclassifiable as it is enjoyable.

Travels well with: Tammatoys- Conflicts; Aadal- Silver

Tammatoys

Conflicts

Apollon, 2020

9/10

Listen to Conflicts

A long running prog-rock outfit from Norway, Tammatoys are back with their arsenal of guitars and equally impressive amount of creativity as they blend pop, art and plenty of melody into their inimitable formula.

“I Will Follow” starts the listen with a spacey setting of warm, soothing sounds where proficient drumming, dreamy vocals and inviting guitar lines populate the progressive opener, and “Downfall” follows with 11 minutes of exploration that moves with a more firm approach of gritty melody, airy keys and strong riffs that touch on classic rock, too.

The middle tracks, “Politics” and “The Conflict (Part 1)”, are among the best, where the former is a swift and charged rocker alongside drum acrobatics, while the latter spreads out across 14 minutes of bare, mysterious song craft as well thick moments of turbulent rock where a cinematic quality unfolds with both beauty and intrigue. “Time” finishes the listen, and brings some of the best singing amid a symphonic quality of careful and exciting musicianship.

Although they’ve been around since 1999, this is Tammatoys’ first LP, and they certainly make the wait worth it. Let’s hope it isn’t too much longer before another release, cause the 6 members here know their way around textures that keep us fascinated and eager for more.

Travels well with: Laughing Stock- The Island; Aadal- Silver

Lueur Verte

Crystalica

Darkhan, 2020

8/10

Listen to Crystalica

The French electronic artist Michael Brun, i.e. Lueur Verte, firmly has his feet planted in the ‘80s with a synth heavy formula, as this EP originally released in 2013 sees the reissue treatment in physical form.

“Lueur Verte’s Theme” starts the listen with dreamy synth that would be right at home in any number of ‘80s movies with its timeless appeal, and the title track follows with a playful buzzing as plenty of retro synthwave ideas unfold with precision.

The final 3 tunes follows a similar course, where “Emerald Rising” unfolds with a firm, swift execution of sci-fi like electronic rock, while “Onyx Noir” is a tune you could dance to while still landing somewhere between post-punk and New Wave. “Frozen Tears” exits the listen on a calmer note, as gentle moments of beauty align with moodier bouts of cyberpunk nods.

Even though this was released 7 years ago, it sounds as relevant as ever as Lueur Verte was truly ahead of time, and certainly warrants a this physical release on both CD and vinyl.

Travels well with: Azonic- Prospect Of The Deep Volume One; Clustersun- Surfacing To Breathe

Actually

Predator Romantic

Apollon, 2020

8/10

Listen to Predator Romantic

Originally released in 2015, this sophomore and last studio album as Actually has the Los Angeles songstress meshing her electro-pop, metal-pop and slutwave sounds into an exciting and immediately memorable experience.

“Viking Angel” starts the listen with much atmosphere as Actually’s vocals enter with a pretty and expressive delivery that guides the experimental electro-pop opening, and “Male Fantasy” follows with much energy in a dance friendly setting that’s beat friendly and shimmering in melody.

Closer to the middle, “Sunset Goth” is full of glossy pop ideas amid a subtle backdrop of grit, while “Fun At The Funeral” places ambience alongside an upbeat display of synth fueled playfulness. “Fists To Cuffs”, one of the album’s best, then delivers a snappy quality amid some New Wave nods.

Near the end, “Heavenly Sin” bursts into a thick and busy landscape of surreal, industrial like sounds, and “First Kiss” exits the listen with a dreamy, ‘80s spirit that’s soaked in waves of melodica.

Following this album, Actually formed the band Patriarchy, who are still very active with their goth and industrial pop formula. This reissue thankfully preserves the greatness of early years in all its seedy, smutty glory.

Travels well with: Panaviscope- Like The Sun; Soft People- Absolute Boys

Paolo Marchettini

The Months Have Ends

New Focus, 2021

8/10

Listen to The Months Have Ends

A composer, clarinetist and pianist, Paolo Marchettini comes through with a debut for works of orchestra here, where inspiration from Verdi, Frescobaldi, Morricone and Emily Dickinson is present and appreciated.

“Mercy” starts the listen with 15 minutes of orchestral swells of bareness and tension, as violin solos and plenty of harmonies unfold near the end, and “The Months Have Ends” follows with 5 movements of operatic singing, firm brass and a poetic quality to the Emily Dickinson piece.

In the middle, “Notturno” flows with plenty of mystery and beauty, as strings are manipulated with much precision amid a haunting tone that embraces the very sophisticated landscape, while “Concertino” recruits clarinet across 7 movements of rich texturing and rhythmic exploration. The album finishes with “Aere perEnnius”, where gentle moments are met with dance friendly gestures as well as plenty of emotion

A native of Rome, Italy, Marchettini has an incredible resume and has collaborated with some of the best composers of this generation. The Months Have Ends, with its colorful and innovative approach, is certainly only adding to his incredible accomplishments.

Travels well with: Collage Project- Off Brand; Wendy Richman- Vox/Viola

The Freuders

Warrior

Self-Released, 2020

8/10

Listen to Warrior

A Polish outfit with a penchant for guitar rock, grunge, prog-rock and even psyche-rock, this sophomore album from The Freuders has all 4 members singing across 9 very inviting songs.

“Hannibal” starts the listen with a thick and energetic display of tuneful and rugged hard rock where smooth vocals guide the fuzzed out opener, and “Trauma Coma” follows with a mix of talking and singing as a calmer atmosphere unfolds with a soaring and melodic crunch.

Near the middle, “Warrior” adds bits of post-rock to the angular delivery of hypnotic musicianship, while “Dijuth” balances gentle moments of beauty with bouts of bristling alt-rock. “Maria Stuart”, one of the album’s best, then recruits a firm psychedelic slant to the mysterious landscape.

Close to the end, “Tension” lands in some form of retro-rock amid fantastic guitar work, and “Anamnesis III” finishes out the listen with Zurkowski appearing on vocals in the varied and dynamic finish to a very well executed effort.

The Freuders have already made quite a name for themselves in their home country, and with the strong songwriting and the hard hitting yet melodic formula that Warrior offers, it won’t be long until their fanbase extends across the globe.

Travels well with: Azonic- Prospect Of The Deep Volume One; Clustersun- Surfacing To Breathe

The Guilty Lenses

Somewhat Romance, Somewhat Poetry

Self-Released, 2020

8/10

Listen to Somewhat Romance, Somewhat Poetry

An exciting trio from Northern Virginia who embrace the best ideas from ‘80s and ‘90s guitar influenced rock, this first album from The Guilty Lenses touches on punk and alt-rock, while still being very capable of landing on the FM dial.

“5 Mins To Close” starts the listen vocally strong and bare as sparing guitar supports the vivid storytelling as the opener builds into a rhythmic rocker, and “On The Loose” follows with a rootsy flavor that flows alongside warm instrumentation.

There’s 15 tracks included on the album, and thankfully the vast talent of the band leave us interested for the entire journey, as “Better Love” shines with a ‘90s alt-rock spirit, while “Look Good” bounces with a playful approach that’s not short on melody and grit. “Recovery”, a particularly noteworthy track, then recruits a hypnotic beauty amid a dreamy landscape.

Further down the road, “Brave New World” finds itself in a tense and powerful climate with crunchy guitars, and deeper yet “Between The Paradise And The Sun” exits with a cautious strummer that could have been squeezed between a Live and Counting Crows video on 120 Minutes in 1993.

An impressive debut, there’s a glowing chemistry between the trio, and their keen sense of songwriting dynamics indicates much more greatness from The Guilty Lenses in the future.

Travels well with: Dizzy Box Nine- Radio Fiction; Midnight Shine- James Bay

Dan Bonsanti And The 14 Jazz Orchestra

Cartoon Bebop

Dabon Music, 2021

8/10

Listen to Cartoon Bebop

The composer/arranger Dan Bonsanti is in glowing company on Cartoon Bebop, where a 13 piece jazz ensemble helps him flesh out compositions by Chick Corea, Wayne Shorter and Herbie Hancock, among many others.

The title tracks starts the listen with playful percussion as a full setting emits plenty of timeless jazz qualities including solos from Ed Calle’s tenor sax and Jason Carder’s trumpet, and “Misturada” follows with frisky flute prowess in a light atmosphere that benefits greatly from Kemuel Roig’s piano and Lee Levin’s drums.

Some of the best tracks reside in the middle, including the ultra quick sax from Calle and bass acrobatics from Nicky Orta on “Got A Match?”, while “Driftin” highlights Ed Maina’s alto sax and Mike Levine’s keys amid a big band execution. “When I Look Into Your Eyes”, one of the calmer tunes of the bunch, is just as romantic as the title implies, where soothing intimacy enters the cautious song craft.

As we approach the end, “Infant Eyes” showcases Randy Bernsen’s fluid guitar work in the graceful landscape, and “A Day Tripper’s Blues Buffet” exits the listen bright, vibrant and full of contagious energy thanks to Lindsey Blair’s guitar work and Calle’s sax skils.

A collection of swingin’ fun, pop and fusion friendly songwriting, and, of course, with Bonsanti’s always creative arranging present, there just isn’t a second here wasted, as the ensemble execute with precision, timelessness and a whole lot of flair.

Travels well with: Henry Robinett Quartet- Jazz Standards Volume 2: Then Again; Jeff Ellwood- The Sounds Around The House

Marty Elkins & Mike Richmond

‘Tis Autumn

Elktone, 2021

8/10

Listen to ‘Tis Autumn

The esteemed jazz and blues vocalist Marty Elkins is aligned with seasoned bassist and cellist Mike Richmond here, and together the pair turn in 10 renditions of some of the most classic jazz tunes from the 20th century.

“Old Devil Moon” starts the listen with Richmond’s low bass setting the mood as Elkins brings her expressive and inviting vocals to the bare but charming opener, and “In A Mellow Tone” follows with a vintage jazz approach where some playful vocal scatting is in attendance.

At the halfway point, Richmond’s cello adds much to the eloquent and emotive “Stairway To The Stars”, while “Lullaby Of The Leaves” recruits a soulful quality as Elkins’ pipes display much versatility in a warm climate. “My Mother’s Eyes”, one of the album’s best, then pairs stirring singing with moody cello, as Richmond basically becomes his own orchestra.

Closer to the end, “I Ain’t Got Nothing’ But The Blues” retains plenty of bluesy spirit in the Duke Ellington tune, and “All Or Nothing At All” exits the listen with much beauty in its sparse but impactful environment.

With the minimal instruments in attendance, Elkins sees much space to manipulate the melodies and wordplay, and Richmond’s intimate grooves and strategic support of Elkins doesn’t leave us missing any of the other instruments we might expect to be present on this timeless and rich effort.

Travels well with: Henry Robinett Quartet- Jazz Standards Volume 2: Then Again; Jeff Ellwood- The Sounds Around The House

The Grasso-Ravita Jazz Ensemble

Jagged Spaces

Grassvita, 2021

8/10

Listen to Jagged Spaces

The guitarist Skip Grasso and bassist Phil Ravita are joined by Benny Russell (tenor and soprano saxophone), Greg Small (piano) and Nuc Vega (drums) here, where their straight forward jazz embraces plenty of grooves alongside unpredictable, exciting textures.

The title track starts the listen with shuffling, timeless jazz as Vega’s skilled drumming surrounds the soulful and playful sax from Russell, and “Her Life Complete” follows with a calmer approach as sublime guitar work from Grasso illuminates the waltz setting.

Near the middle, “Blue Sunshine” recruits a blues quality to the incredible brass acrobatics and tumbling percussion as Ravita unleashes a swift bass solo, while “Circles” brings a funky flavor to the interplay between Small’s piano work and the hypnotic guitar lines. “Latin For Leandro”, a late album highlight, then illustrates divine chemistry as the musicians work together amid cultured grooves and dreamy rhythm.

The final 2 tracks, “The Homecoming” and “Chasing Shadows”, are on par with the greatness of the rest of the listen, as the former glides with a warm, frisky, solo filled delivery, and the latter offers a feel good mood of skilled and charming song craft.

The five improvisers here all put their respective talents on display in spades, as they flow in and out of these 9 originals on a debut that any and all fans of jazz music will enjoy endlessly.

Travels well with: Julian Gerstin- Littoral Zone; Michaela Steinhauer- Changes And Choices

Matthew Sweet

Catspaw

Omnivore, 2021

9/10

Listen to Catspaw

The power pop legend Matthew Sweet has done many things in his lengthy career, but, until now that is, he hasn’t given us an entirely solo album. Well, Rick Menck plays drums here, but Catspaw certainly focuses on Sweet’s guitar driven tunes where the now 55 year old channels a lifetime of experience into a varied, thoughtful effort.

Sweet leads with the thick and firm guitar work of “Blown Away”, where his unmistakable vocals guide a darker landscape than were used to from him, and “Give A Little” follows with Sweet’s guitar acrobatics amid a crunchy alt-rocker that points towards his work in the ‘90s.

A record with one fantastic song after another, “Come Home” takes on a calmer tone where Sweet’s guitar dynamics interact playfully with Menck’s drums, while the poetic “Drifting” is a pretty display of dreamy, psychedelic tinted songwriting. “Stars Explode”, one of the album’s best, then recruits no shortage of hooks and harmonies on the FM dial friendly rocker.

Further along, “At A Loss” illustrates Sweet’s always keen attention to melody amid plenty of intricate guitar lines, and “Parade Of Lights” finishes the listen with loud psyche-rock, where nods to much earlier decades aren’t in short supply.

There are few artists who have been consistently great as Sweet, who has released one top notch record after another since the mid ‘80s. If you’re only familiar with his hits of the ‘90s, “Girlfriend” and “Sick Of Myself”, well, there’s a whole lot more to his art, as evidenced by this darkly textured and unassuming 15th album.

Travels well with: Bob Mould- Blue Hearts; Fastball- Step Into Light

Wesley Fuller

Seven By Seven

Neuma, 2021

8/10

Listen to Seven By Seven

Amazingly, the 7 tracks here were prepared when Wesley Fuller was 89 years old, and his work spans from 1977-2009 on the recording, where acoustic instruments and electronic sounds meet at a very unique intersection as 7 performers (including the computer) are in attendance.

“Time Into Pieces” starts the album with a collage of keys from Catherine Fuller and computers making bleeps and bloops as space is manipulated with a barrage of organic versus synthetic noises injected amid stark beauty and minimal stabs, and “Concert Piece” follows with Nancy Cirillo’s violin acrobatics as a cinematic quality unfolds with both mystery and allure in its tense climate.

Elsewhere, “Sherd Of Five” finds itself in sci-fi territory as plenty of aberrant, even intimidating noises are present, while “Four Phases Of Three” displays precise flute prowess by Kim McCormick and percussion courtesy of Robert McCormick that emits much beauty. “Phases Cycles” exits the listen, where Maria Lambros’ viola and computer interact in fascinating, bold ways that illustrate an incredible compatibility.

Sadly, this is Fuller’s swan song as he passed away in 2020, and he leaves us with an artistic, iconoclastic and inimitable body of work that illustrates a grand vision that will enthrall listeners for generations to come.

Travels well with: Robert Moran- Points Of Departure; Kenneth Gaburo- New Music Choral Ensemble

Oberon Rose

Holographic Blues

ThoughART, 2021

9/10

Listen to Holographic Blues

The songwriting duo of Tommy Oberon and Rebecca Rose, Oberon Rose, returns with 9 new tunes, where their throwback nods shine amid pop, folk, Americana and psychedelic sounds with Glen Metcalfe handling drums and Chris Listorti contributing bass, piano, synth and backing vocals.

“Sinner” starts the listen with an immediately memorable rhythm as playful percussion, a punchy delivery and plenty of melody are present in the rockabilly tinted opener, and “Miss Lonely Heart” follows with fluid guitar work from Oberon and an anthemic quality to the sing-alongs and, eventually, strategic piano.

Further along, “Losers Of The Year” recruits acoustic guitar in a ballad like setting of much beauty, while “Chinese Whisper” brings some power-pop influences to the retro climate that sounds indebted to an earlier decade in all the best ways. “Falling Up”, a stand out track, then meshes folk and pop ideas into a breezy, psychedelic spirited adventure you won’t forget anytime soon.

The final 2 tracks don’t disappoint either, as “Demoniac” displays timeless garage rock sensibilities with some warm grit, and “A New Song” exits the listen piano focused alongside a poetic, reflective tone.

Rose, who writes the lyrics but doesn’t appear on the recording, offers plenty of eloquent wordplay, and Oberon and company certainly expand on their British Invasion formula as they turn in a career highlight across these very engrossing tunes.

Travels well with: The Kinks- Arthur Or The Decline And Fall Of The British Empire 50th Anniversary; Kenny Wayne Shepherd Band- Straight To You Live

Steve Strongman

Tired Of Talkin’

Stony Plain, 2021

8/10

Tired Of Talkin’

The Canadian bluesman Steve Strongman released this album in 2019, but it didn’t see the push it deserved. Now signed to the Stony Plain label, Tired Of Talkin’ sees a global reissue where his intricate guitar playing, inviting vocals and timeless song craft are shared with a much wider audience.

Strongman leads with the title track, where his seasoned vocals guide the bluesy, rhythmic rocker that recruits piano acrobatics and some humor, and “Paid My Dues” follows with spirited harmonica in the soulful, powerful atmosphere.

Close to the middle, “Can’t Have It All” sizzles with a festive spirit that will get your body moving to the playful climate that benefits from Strongman’s precise guitar work, and “Tell Me Like It Is” follows with a calmer but no less impactful delivery of emotive and stirring blues. “That Kind Of Fight”, the album’s best, then offers an acoustic tune where Strongman’s strong songwriting prowess is on display amid the bare beauty.

Deeper yet, “Highway Man”, another tune with just Strongman and a guitar, displays topical wordplay in these troubled times alongside a Delta blues swagger, and “Let’s Stay Together”, an Al Green song, showcases his versatile pipes in a romantic finish.

This is Strongman’s 7th studio album, and in his home country he’s already picked up plenty of awards and just as much well deserved praise. Now with Stony Plain backing him, it won’t be long until his name is synonymous with the blues around the globe, too.

Travels well with: Rory Block- Prove It On Me; Ronnie Earl & The Broadcasters- Rise Up

Michaela Steinhauer

Changes And Choices

Self-Released, 2021

8/10

Listen to Changes And Choices

The jazz singer and lyricist Michaela Steinhauer keeps company with Alexey Kruglov and Roman Stolyar here, where the trio offer originals with no shortage of melodies, rhythm, grooves, and, most notably, improvisation.

“Me, Myself And I” starts the listen with soft storytelling alongside twinkling keys, as the pretty, dreamy setting unfolds with warm sax and expressive singing, and “Why Is She Still Here” follows with a lush and cautious delivery of timeless song craft.

Near the middle, “Choices” displays Stolyar’s key acrobatics in a both playful yet restrained album highlight, while “Abandoned Chapel” recruits words and melody from Ivory Stone as Kruglov pulls off an impressive saxophone performance. “Moving” then offers some of the best singing on the album amid inviting keys and precise brass.

Near the end, “The Other Day” soars high in an eloquent fashion that explores creative free jazz ideas, and “She Smiles” exits the listen upbeat and rhythmic with an atypical skill that few could replicate.

These three artists have been playing together for years, and it shows as they seamlessly shift in tempo, tone and tension across this very unique and absorbing listen.

Travels well with: Robert Prester & Adriana Samargia- First Snow; Jeni- Slotchiver- American Heritage

The Jeff Benedict Big Big Band

The Weather Is Here, Wish You Were Beautiful

Groovy Panda, 2021

8/10

Listen to The Weather Is Here, Wish You Were Beautiful

A professor and veteran of the Los Angeles music scene, Jeff Benedict has collaborated with many jazz luminaries over the years, and here he’s in fine company as he offers 4 originals and several arrangement that span countless influences.

Benedict and company make an impression immediately with the opening track, “Moonscape”, where Paul McKee and Jeff Ellwood’s brass work together with much fluidity on the soulful start, and Miles Davis’ “Nardis” follows with a busy display of big band prowess and funk nods that benefits from Jeff Hellmer’s piano work.

Elsewhere, the title track spends 7 minutes dancing around rhythmic, melodic textures with incredible precision amid some blues qualities, while “Armadillo Research” takes us on an even longer journey of sax acrobatics from Benedict alongside McKee’s spirited trombone solos. “Cheek To Cheek”, the album highlight, then will get your body moving to its meticulous and frisky sax section, not to mention Hellmer’s piano solo.

The final 2 tracks don’t disappoint either, and include the playful trumpet approach from Brian Bettger on “Tom And Jerry”, and Quincy Jones’ “Hikky Burr” finishes the listen with some firm grooves courtesy of Dave Askren’s guitar work, Steve Hawk’s trumpet and, of course, Benedict’s keen attention to songwriting.

This is the sophomore album from The Jeff Benedict Big Big Band, and you’re going to enjoy jazz, blues, soul, swing and even reggae ideas across the 10 tracks, as the ensemble bring both retro and modern sounds to this very well thought out listen.

Travels well with: Chris Rottmayer- Sunday At Pillars; Charles Colizza Group- Hug The Devil

John Redmon & The Thomas J. Dawson, Jr. iOrchestra

Honoring Louis Armstrong

Reaching, 2021

10/10

Listen to Honoring Louis Armstrong

John Redmon is a man with many talents, and here the pianist, singer, composer, arranger and motivational speakers pulls off a spot on Louis Armstrong impression where The Thomas J. Dawson Jr. iOrchestra handles the bulk of the instrumentation.

“Overture” starts the album with Redmon’s deep, husky vocals glowing in a brief commentary about many of the world’s problems in a bare, dreamy setting, and “Blessed Assurance”, with Committed on hand, follows in a soulful, powerful and soothing landscape.

In the middle, “When The Saints (Medley)” moves swiftly with a playful and danceable delivery as frisky drums and glorious trumpet sound incredible alongside the strategic backing vocals from the Fresh Start Baptist Church Male Chorus, while “O Danny Boy” offers a poetic slow burner of timeless, rare beauty that we previously thought only Armstrong could achieve. “Smile” then brings Charles Buie on vocals, as his smooth pipes unfold splendidly alongside the graceful keys and orchestral strings.

No Armstrong collection would be complete without “What A Wonderful World”, and here it’s as stirring as ever amid sublime sax prowess, and “Imagine” exits the listen with Redmon’s breathy storytelling illuminated by the sophisticated backdrop.

I feel quite certain that 99 out of 100 people, if they didn’t know better, would hear this and swear they were listening to Louis Armstrong. Yes, Redmon’s craft is that well executed, and thankfully the divine musicianship is equally well done on this amazing tribute record.

Travels well with: Charles Colizza Group- Hug The Devil; Alexander McCabe- I’d Prefer

Henry Robinett Quartet

Jazz Standards Volume 2: Then Again

Nefertiti, 2021

8/10

Listen to Jazz Standards Volume 2: Then Again

The guitarist, composer, band leader and recording engineer Henry Robinett returns with another installment of jazz standards, and he’s again aligned with Joe Gilman, Chris Symer and Michael Stephans across the 12 tunes that were recorded 20 years ago when Robinett was between projects.

“Yours Is My Heart Alone” starts the album with warm guitar lines, skittering percussion and dynamic keys, and “Like Someone In Love” follows with a reflective tone as Stephans’ drum prowess shines amid the intricate guitar from Robinett.

Near the middle, “Milestones” puts Symer’s playful and bouncy bass work on display, while “Body And Soul” is full of sublime beauty that flows with a mesmerizing, romantic quality. “Darn That Dream”, one of the album’s best, than integrates the guitar and keys with a timeless jazz approach that sound as great today as it will a century from now.

Late in the album, “It Could Happen To You” is a frisky and fluid execution of quick melodies, and “San Francisco Holiday (Worry Later)” exits the listen with no shortage of rhythm amid a hypnotic finish to a very meticulous listen.

Amazingly, both this and Volume 1 were impromptu sessions fleshed out across 2 days with Robinett at the helm. With his swingin’ and very capable improvisers on hand, they put an inimitable spin on some classic tunes that have rarely sounded better.

Travels well with: Jeff Ellwood- The Sounds Around The House; Max Haymer- Whirlwind: Live At Sam First

Friendly Rich

We Are All Terrorists

Pumpkin Pie, 2019

8/10

Listen to We Are All Terrorists

A Canadian composer who gained a bit of fame for creating background music for MTV’s The Tom Green Show, Friendly Rich has been busy in recent years recording exclusively for his own record label, Pumpkin Pie Corporation, and touring worldwide.

This 13th record- a double album- gets started with the percussive strong and bizarre cabaret meets experimental-pop of “Union Meeting”, and “Terror Variation One” follows with 4 minutes of aberrant noises and background talking amid a spacey atmosphere.

Things only get more bizarre from here, including the electronic beeps and buried sound bites of “God Is Dead”, the chunky display and visceral energy of “Donkey Day, which brings in ominous vocals, and the vaudeville-esque “Little Dead Birds”.

Back half highlights include the calm spirit of “Low, Low, Low”, where whistling and avant-folk ideas invade the setting, while “Don’t Trust Nobody” relies on keys and brushed percussion for its old time feel. “We Are All Terrorists”, one of the album’s best, offers an adventurous display of darker textures that become quite abrasive in its forceful, innovative execution.

Definitely one of the most unusual records of 2019, Friendly Rich might be unclassifiable and aimed at zero mainstream accessibility, but his PhD candidacy in music ensures that you’ll be treated to calculated instrumentation in its raw, often perplexing intensity.

Travels well with: Frank Zappa- You Are What You Is; The Blood Brothers- Young Machetes