Brooksie Wells

Stops Time

Down Home Dive, 2021

8/10

Listen to Stops Time

This is the 3rd release from Brooksie Wells, and the isolation that comes with the pandemic means that she brings a healthy amount of reflection with her and soundtracks it with intricate finger picking, cozy vocals and acoustic based song craft.

“Three Songs From Home” gets the listen off to a warm and genuine start with Bruce Brown’s dobro and mandolin adding even more beauty to the harmonic landscape, and “Sometimes” follows with Polly Launay handling fiddle amid a haunting melody as Wells’ expressive pipes make a big impression.

In the middle, “Early Morning Rain” benefits from Gary Gordon’s rhythm guitar and Ross Sermons’ bass as much intimacy enters the Gordon Lightfoot cover, while “Tend The Nets” flows with a gentle but agile quality where Monty Jackson’s harmony vocals are nothing short of sublime. “I’m A Believer”, another exceptional cover, then recruits Mark Stoffel on mandolin for a charming mid-tempo version that ranks up there as one of the best interpretations the song has seen.

“Talk To You” then focuses on guitars in the upbeat climate that displays skilled soloing from Bruce Brown, and “Thinkin’ About Fame” exits the listen with dobro, mandolin, guitars and bass complementing Wells’ cautious reflection.

Certainly rooted in southern sounds, Wells and company pen a rootsy, Americana and folk spirited listen that clearly a lot of care went into, and the listener will certainly absorb the stories with equal attention and appreciation of the pensive execution.

Travels well with: Carole Wise- The Long Way Home; Josie Bello- Have Purpose Live Long

Roman Miroshnichenko

Plays Figueiredo

MJC, 2021

9/10

Listen to Plays Figueiredo

The Russian guitar wizard Roman Miroshnichenko sure has outdone himself this time, as he recruits a 25-piece St. Petersburg Studio Orchestra and pianist Rannieri Oliveira to interpret 10 tracks from the 2-time Latin Grammy Winner Daniel Figueiredo.

“Acreditando” leads the listen with Miroshnichenko’s beautifully played guitar alongside soothing strings and gentle keys in the very dreamy opening, and “Pianino” follows with a flowing intimacy where the keys, guitar and strings interact with much sophistication as Miroshnichenko’s vision gets a little rugged at times, too.

The middle tracks bring us the emotive and precise “Fluir”, which even gets a little tense, while “Oitava” emits a profound beauty as the strings dance around the guitar with wonder and awe. “Confiar”, another meticulous track, then displays a sweeping, cinematic approach.

“Solitude” arrives near the end and gets a bit hazy in Miroshnichenko’s very capable hands amid some stirring atmosphere, and “Planar” finishes the listen with louder bouts of electric guitar weaved into the gorgeous, poetic string manipulation.

Longtime fans will surely be surprised by the calm demeanor of the listen that has Miroshnichenko slowing down his craft significantly, but it exemplifies the true measure of his talent, and is yet another glowing body of work in his esteemed catalog.

Travels well with: Frank Colon- Latin Lounge; Roman Miroshnichenko- The Sixth Sense

Doug MacDonald

Serenade To Highland Park

DMAC, 2021

8/10

Listen to Serenade To Highland Park

The esteemed guitarist Doug MacDonald is surrounded by Mike Flick (bass) and Paul Kreibich (drums) for this collection of standards and originals, where a diverse jazz spirit brings new surprises with each track.

“Days Of Wine And Roses” starts the listen with no shortage of melody between the trio, as MacDonald’s playful guitar impresses yet again, and “Manha De Carnaval” follows with a smooth bossa nova appeal, where Kreibich’s drums and percussion sure do resonate warmth.

Elsewhere, “Hortense”, a MacDonald original, flows with a timeless jazz waltz, while “Dearly Beloved” is a swift and bouncy display of incredible dynamics between the three that you won’t soon forget. “The Shadow Waltz”, one of the album’s best, then glows in 4/4 time with Flick’s bass plucking making an indelible impression.

The title track lands deep in the listen and emits much beauty as the shimmering guitar work glides amid the brushed drums, and “You Stepped Out Of A Dream” exits the listen with a swingin’ good time that showcases an immense chemistry between the trio.

Both Flick and Kreibich have impressive resumes and play their instruments with much skill and poise, and they certainly do complement MacDonald’s inventive guitar playing on this striking and memorable jazz outing.

Travels well with: Larry Newcomb Quartet- Love, Dad; Dave Stryker- As We Are

Astral Swans

Astral Swans

Tiny Room, 2021

9/10

Listen to Astral Swans

The recording moniker of Matthew Swann, as Astral Swans the Canadian artist breeds a very unique intimacy that’s indebted to ‘60s folk music, but also runs parallel to ‘90s indie-rock and is never short on interesting storytelling, either.

“Spiral” starts this 3rd album with Swann’s soaring and expressive singing alongside Julie Doiron’s soulful backing vocals in the dreamy, folk-influenced climate, and “Flood” follows with Brock Geiger’s crisp drumming alongside Kevin Sullivan’s sax and Paul Chirka’s keys that populate the ‘70s spirited setting.

Further down the line, “Sympathy For The Stupid” brings strings into a hazy, psyche-friendly landscape where subtle synth from Scott Munro makes for a very moody moment, while the swift “Bird Songs” has Chirka on melotron for the breezy, melodic indie-rock affair. “Cross Bones Style”, the lone cover on the album, then carries a darker spirit with Chirka’s beats, strings and synth amid Swann and Doiron’s strategic harmonizing in the Cat Power interpretation.

Near the end, “Beautiful Things Happen” offers a swirling haze of indeed subdued beauty, and “I Was Awake For A While” welcomes ambience and Carol Sweet’s emotive pipes to the cautious finish.

A very rich and daring body of work, Swann makes the most out of the strings present, and his haunting voice weaves the listen in and out of calm, vulnerable moments as well as loud swells, and the many guests help make this an experimental folk outing that isn’t to be missed.

Travels well with: Claire Cronin- Bloodless; Curse Of Lono- Severed

Caroline Wiles

Grateful

Self-Released, 2021

8/10

Listen to Grateful

A long running singer-songwriter and multi-instrumentalist, Caroline Wiles returns with her 5th album, and it’s a harmonic and memorable excursion into the pop sounds of many decades ago.

“Make A Memory With Me” gets the listen off to a very melodic and dreamy, pop friendly approach that recruits bouncy bass from Bob Doidge and Wiles’ playful, pretty singing, and “Shine Shine Shine” follows with an upbeat and positive demeanor that would sound right at home on the radio in the ‘70s with its timeless soft-rock.

Further on, “What Could Have Been” is initially a more calm moment with bouts of emotive and soaring singing as well as Wiles’ warm acoustic guitar, while “Splendidly” showcases Wiles on harmonica, too, as Andrew Aldridge’s electric guitar won’t go unnoticed either in the folk influenced setting. The title track, which is one of the best, then swirls with a retro-pop appeal where similarities to Gordon Lightfoot, who she also covers on the record, are much appreciated.

Closer to the end, “Lovey Dovey” brings country ideas to the formula with Shane Guse’s well timed fiddle amid the poetic landscape, and “She Loves Him” exits the listen with a sweet and infectious haze of charming nostalgic pop that sounds like could have been birthed from the ‘60s on.

A professional musician since the age of 18, Wiles brings a wealth of talent and experience to these 10 songs, and her meshing of folk, country and pop makes for a splendid and very cheery listening experience.

Travels well with: Grace Morrison- Daughter; Anya Hinkle- Eden And Her Borderlands

Timothée Quost

Flatten The Curve

Carton, 2021

8/10

Listen to Flatten The Curve

The trumpeter and composer Timothée Quost assembles a very interesting listen here, where he meshes ‘documentary’ sound and instrumental compositions across 5 musical pieces and interviews with elderly people.

“Hudi Kot” starts the listen with atypical and unpredictable drumming and percussive sounds, where talking also enters the unusual 3 minutes, and “Pohorje” follows with clarinet, cello, piano, vibraphone, and Quost’s amplified trumpet in a very atmospheric and often chilling display that rumbles, squeals and even gets minimal in a highly artistic sort of way.

Elsewhere, “de l’evolution” is largely interviews before some soft droning enters, while “Lame” brings several violins, viola, flute, clarinet, saxophone, guitar and drums to a very cryptic, haunting album standout.

Further down the line, “Seck Gorgui” makes great use of a tuba amid the oboe, flute, clarinet, trumpet, horn and saxophone to emit a cinematic, nearly sci-fi display, and “Divine” arrives soon after with a quivering and unconventional form of chamber music that you can’t help but be in awe of.

A record that gives a voice to those not often represented in everyday life while showcasing Quost’s iconoclastic vision that is capable of a busy mashing of strings, winds, brass and electronics, just as it is more intimate ebbs, Flatten The Curve is a truly inventive effort that is worth many listens.

Travels well with: Rifo- Betel; Trojan Panda- Peau

Jim Knapp Orchestra

It’s Not Business, It’s Personal

Origin, 2021

9/10

Listen to It’s Not Business, It’s Personal

The Seattle composer, arranger and trumpet extraordinaire Jim Knapp knew his way around a diverse jazz tune you won’t soon forget, and here along with a large handful of esteemed musicians he brings a big band effort that’s quite distinct and exciting.

“Miami Vince” starts the listen with no lack of energy, as Jon Hamar’s frisky brass welcomes the lively brass and airy flute from Paul Taub that swirls with a timeless jazz energy, and “Afterthought” follows with a calmer approach that benefits from John Hansen’s warm piano and soulful horns that emit a reflective tone.

Moving forward, “The Presence Of Absence” occupies the middle spot and showcases much beauty as the gentle brass gets a bit hazy alongside the dreamy flute and soft drums from Matt Jorgensen, while “Gray Skies” offers a lush and very melodic display of elegant and very dynamic instrumentation.

Elsewhere, “Forward Motion” bops and swings with an infectious spirit that will get your body moving to the upbeat demeanor of the album highlight, and “Nerds Of Steel” exits the listen with the meticulous sax flowing amid the punchy drumming and frisky bass lines.

It’s Not Business, It’s Personal was actually recorded in 2009, but only released in late 2021, right after Knapp passed away at 82 years old. An accomplished musician, composer and educator, all 8 tracks here are Knapp originals, and illustrate his fluent brand of rhythm, melody and swingin’ fun that no one will replicate quite like this.

Travels well with: Phil Parisot- Inventions; David Friesen- Day Of Rest

Dave Stryker

As We Are

Strikeforce, 2022

10/10

Listen to As We Are

The size of Dave Stryker’s body of work is just as impressive as the quality of it, and here the inimitable guitarist offers up his 34th record as leader, and he’s got an all star cast with him on what he calls his ‘dream project’.

“Overture” starts the listen with Sara Caswell’s quivering violin, as the string friendly opener segues into the warm, jazz-rock of “Lanes”, where Stryker’s fluid guitar is complemented by Brian Blade’s precise drumming.

Further on, “Hope” moves with a calm, glowing spirit as John Patitucci’s strategic bass helps set the dreamy mood alongside Julian Shore’s flowing piano, while “Saudade” is a lush and very mature display of jazz and blues meeting at a very sophisticated junction.

“As We Were” arrives near the end, and burns slow with gorgeous bass plucking, brushed drumming, and, of course, Stryker’s agile guitar lines amid the sublime beauty, and “Soul Friend” exits the listen with guitar and strings interacting with an incredible precision that clearly much thought went into.

Stryker sure does take advantage of not only Caswell, but also strings from Monica K. Davis (violin), Benni von Gutzeit (viola) and Marika Hughes (cello), and it makes for another exceptional record where his soulful, harmonic exploration is nothing short of brilliant.

Travels well with: Jared Gold- Reemergence; Dave Stryker- Baker’s Circle

Carole Wise

The Long Way Home

Soulful Cricket, 2021

8/10

Listen to The Long Way Home

A Maine singer-songwriter who plays sincere and sweet songs about nature, social justice and feelings, Carole Wise surrounds herself with local musicians to help flesh out these timeless, universal folk tunes.

“View From Our Window” opens the listen with Wise’s soothing and sage like vocals alongside warm acoustic strumming and light electric guitar thanks to Denny Breau, which gives the track some blues flavor, and “New Frontier” continues with gorgeous cello from April Reed-Cox in the very expressive and emotive folk climate.

“Listen In”, one of the album’s best, lands in the middle and recruits acoustic bass, tin whistle and bodhrán from Jud Caswell to complement the dreamy landscape, while “Long Way Home” flirts with Americana ideas as David Wakefield’s well timed harmonica and Mike Burd’s bass give the song a breezy feel.

“Make Your Own Way” resides near the end, and brings back Breau on guitar, where Wise’s indeed wise singing is easily relatable in the swift atmosphere, and “Now And Here” exits the listen with Reed-Cox’s subtle cello adding much grace to the mid-tempo finish.

A very heartfelt and literate listen that will strike a chord with anyone who appreciates folk sounds from any generation, Wise and company make the most out of each of these 9 songs present, with careful attention to wordplay and instrumentation that’s very much appreciated.

Travels well with: Josie Bello- Have Purpose Live Long; Megan Lacy- Salvation

JazzLab Orchestra

LOGUSLABUSMUZIKUS

Effendi, 2021

8/10

Listen to LOGUSLABUSMUZIKUS

The Montreal ensemble JazzLab Orchestra have been plugging away for nearly 20 years now, and their improvisational skills have rarely sat in one place for very long.

These 9 new pieces penned by the bassist and composer Auguste Le Prez are certainly rooted in modern jazz, and showcases the immense talent of all 8 members.

“La Grande Sauve Majeur” starts the listen with Felix Stussi’s mesmerizing piano alongside well layered brass, where the 10+ minutes weaves in and out of playful jazz ideas, and “Humor de la Seconda Noche…” follows with Jacques Kuba Séguin’s bright trumpet amid Michel Lambert’s precise drums in the cautious yet adventurous landscape.

In the middle, “Bluesy del Lunedi” flows with a very lively energy, as Alain Bédard’s meticulously plucked bass keeps up with the swift sax thanks to Samuel Blais, while “Criucm” is a much calmer offering that radiates tremendous skill from Stussi’s finger acrobatics and the sublime clarinet.

Approaching the end, “Lunes & Marées” emits a very melodic and lush quality, where winds, brass, drums, keys and bass all interact with agility and precision, and “Compte-rendu II” finishes the album with some intimate moments alongside the busy interplay that’s quite fascinating.

In addition to the above mentioned, Benjamin Deschamps brings flute as well as tenor & soprano sax, Thomas Morelli-Bernard’s trombone is present and Mario Allard plays both soprano & also sax as well as clarinet. Colletively, JazzLab Orchestra play some enticing contemporary jazz, where there’s no predictability or mundanity present, as each track here radiates in its own light and is exciting as the ones before and after it.

Travels well with: The Heavyweights Brass Band- Stir Crazy; Avataar- Worldview

Joe Bonamassa

Time Clocks

J&R, 2021

10/10

Listen to Time Clocks

Even though he recently went undetected on To Tell The Truth, I think by now everybody is at least somewhat familiar with who Joe Bonamassa is. Although the guitarist and vocalist is just in his middle 40’s, he’s released 45+ records now, and here this 15th studio album has him heading into raw rock territory with his robust blues influences at the surface amid quite possibly some of his best singing to date.

“Pilgrimage” gets the listen off to a soulful and warm start, as Bonamassa’s intricate guitar is met with some light ambience, and this segues into the powerful and thick blues rocker “Notches”, where the soaring backing vocals won’t go unnoticed.

The title track lands in the middle and emits much emotion alongside the moody keys, thumping drums and many backing singers in an almost gospel sort of way, while “Questions And Answers” brings plenty of rhythm to the playful swagger. “Curtain Call” then places strategic firmness into the mesmerizing songwriting where Bonamassa’s diverse pipes complement his always agile guitar playing.

“Hanging On A Loser” arrives near the end and injects bouncy piano playing and a energetic demeanor across the frisky album highlight, and “Known Unknowns” exits the listen with plenty of melody and the backing vocals from Mahalia Barnes, Juanita Tippins, and Prinnie Stevens sure do radiate well, too.

Just like everything Bonamassa has done in his 30 year career, Time Clocks is blues-rock at its finest, and full of rugged yet very memorable and creative song craft that’s executed flawlessly. The band includes Steve Mackey (bass), Lachy Doley (piano), Bunna Lawrie (didgeridoo), Bobby Summerfield (percussion), Anton Fig (drums and percussion), and they sure do illuminate Bonamassa’s vision with incredible fluidity.

Travels well with: Ronnie Earl & The Broadcasters- Rise Up; Albert Castiglia- Wild & Free

Noam Bierstone

Mountains Move Like Clouds

No Hay, 2021

8/10

Listen to Mountains Move Like Clouds

The Canadian percussionist Noam Bierstone creates a very unique and exciting debut here, where 3 lengthy pieces each follow a distinct and atypical path in Bierstone’s imaginative interpretation.

Hanna Hartman’s “Message From The Lighthouse” starts the listen with 15+ minutes of atmospheric and mysterious manipulation of quivering, almost ominous, percussive sounds. Near the middle, the setting turns nearly sci-fi, before some tribal like drumming enters closer to end.

“Mani. Δίκη” lands in the middle and is by far the longest track, where bells, metal clanging, and waves of noisey bouts are met with bare, borderline inaudible moments as space and tension are balanced with a precision in the Pierluigi Billone composition.

The final track is the title track, by Zeynep Toraman, and is filled with curious droning, cinematic swells and even moments of nature-esque gestures that together puts a firm exclamation point on the highly absorbing listen.

A truly artistic first LP, Bierstone already has an impressive resume as a founding member of the duo scapegoat, as well as a player in the outfits Architek and NO HAY BANDA. With Mountains Move Like Clouds, he’s clearly embarking on an impressive and unpredictable solo career, too, and it’s one we should all be keeping a close eye on.

Travels well with: Alex Eddington- A Present From A Small Distant World; Allen Ravenstein- Rue Du Poisson Noir

Shad

Tao

Secret City, 2021

8/10

Listen to Tao

The Toronto rapper Shad delivers an album that’s all substance and no flash, as each track highlights a different facet of human life, and he’s got some exceptional guests to help him flesh out his diverse song craft.

“Out Of Touch” starts the listen with help from pHoenix Pagliacci for the playful, beat friendly opener where the soulful backing vocals make a big impression, and “GOD” follows with warm keys and cautious instrumentation that’s met with Shad’s swift rapping prowess.

In the middle, “Slot Machines” buzzes with a lively energy that even welcomes R&B moments, while “Body (No Reason)” offers a dizzying display of frisky percussive sounds and flowing linguistics, “TAO Pt 2” then moves with infectious grooves and background talking as Shad makes some insightful commentary about today’s culture amid some East Coast nods.

As we enter the end of the record, the hypnotic bass of “Garcon” complements the quick flash of the soft hip-hop, and “TAO Pt 3” exits the listen with no lack of beats, melody and, of course, the fascinating wordplay he’s most known for.

A strong lyricist who has already picked up a Juno Award, this is Shad’s 6th album, and it again balances humor with clever observations, where his modern hip-hop doesn’t shy away from soul influences. Though he might not be the most famous rapper from Canada, Shad is certainly one of to the best , as TAO clearly illustrates.

Travels well with: Homeboy Sandman & Edan- Humble Pi; Doomtree- All Hands

Sam Himself

Power Ballads

Self-Released, 2021

8/10

Listen to Power Ballads

The debut album from Sam Himself, the Brooklyn based indie-rocker brings his impressive and rich baritone to a handful of cautious and mesmerizing tunes on this aptly titled record.

“Brando” leads the listen with a slow burning climate of mysterious haze, as Sam’s deep vocals guide the curious opener, and “La Paz” follows with more emphasis on drumming alongside the soft, expressive singing.

Later on, “The Missing” pays close attention to mood with a warm, dreamy quality that’s quite poetic, while “Way Out” offers a very minimal but impactful peek into Sam’s graceful vision with much beauty and awe. “Men In My Family” is then a more full tune that’s quite soulful in its flowing nature, where the soft synth and airy melodies don’t disappoint.

Nearing the end, “Cry” is full of atmosphere and textured with an emotive appeal that very ‘80s oriented, and “When I Take The Stage” exits the listen with Sam’s stirring vocals alongside synthetic drumming and sublime attention to detail.

Sam found himself holed up in Switzerland, where he’s from, after embarking on a tour in Europe that coincided with the pandemic exploding, which left him unable to return to New York. Power Ballads was penned during this time, as being back home saw the memories flooding in, which certainly gives the listen a very reflective and relatable feel that’s a great starting point for the very talented artist.

Travels well with: Adna- Black Water; Still Corners- The Last Exit

Saman Shahi

Microlocking

People Places, 2021

9/10

Listen to Microlocking

The Iranian-Canadian composer Saman Shahi’s career has been nothing if not diverse, and here he offers 4 pieces that place an inimitable focus on texture and rhythmic interplay, as each portion assumes an identity all its own.

The album starts with the 6 digital pianos of the title track, where pitch and tonality are key as the junctQín Keyboard Collective present a very sonically adventurous opener, and “Microlocking II” follows with Andrew Noseworthy’s fascinating electric guitar acrobatics that manipulate the instrument in a rock meets classical sort of way which also finds some curious grooves.

“Microlocking III” then recruits Matt Pulkki’s accordion and Shahi’s electronics for a very peculiar and exciting display of blurry gestures and other worldly tones, and, interestingly enough, the short listen exits on a remix of the first song, where Shahi’s electronic prowess unfolds across nearly 8 minutes of downtempo, beat friendly and playful textures with the producer Behrooz Zandi’s Iranian roots right at the surface.

A record that pushes the boundaries of microtonality, Shahi’s rich vision is one that could never be easily classified, but it’s quite easy to be in awe of, and he makes great use of fierce musicianship as well as charming, unique noises that are experimental in all the best ways.

Travels well with: Warp Trio- Warp Trio’s Pandemic Disco Fantasy; Matt Magerkurth- Amends

Ben Black

Mystery & Wonder

Origin, 2021

9/10

Listen to Mystery & Wonder

The Seattle vocalist and songwriter Ben Black brings us 11 original songs here that are inspired by mysticism and meditation, and he’s got an all star of musicians including Bill Anschell, Dave Peterson, Jeff Johnston, Mark Ivester, David Lange and Brenda Kay Neth along with him.

“Wonderland” opens the listen with Black’s soulful pipes illuminating the frisky keys from Anschell and Peterson’s spirited guitar work, and “Wind” follows with a soft and poetic display of emotive and cautious instrumentation that benefits much from Johnson’s hypnotic bass.

The middle portion brings us the elegant and warm title track, where Ivester’s fluid drumming radiates deft skill amid Black’s incredible range, while “Sorrow” is a very intimate and pretty album highlight that is profoundly powerful while embracing accordion from Lange.

“South” lands close to the end, and emits a timeless jazz flavor where the players interact with much sensitivity, and “Night” finishes the listen with some mystery and culture entering the lush and creative exit.

A very heartfelt effort, Black sings with a tremendous amount of care, and he brings 30+ years of experience in the jazz scene to these very distinct songs that are fueled by a voice that’s so divine, you’ll swear you’ve never heard anything like it before.

Travels well with: Phil Parisot- Inventions; Steve Million- What I Meant To Say

Phil Parisot

Inventions

OA2, 2021

8/10

Listen to Inventions

The esteemed drummer Phil Parisot returns with his 3rd album as bandleader, and he’s got Jared Hall, Steve Treseler, Dan Kramlich and Michael Glynn along with him for a very creative jazz listen that’s actually rooted in influences from the baroque period.

“From The Ancestors” starts the listen with dynamic and busy jazz that highlights Hall’s soulful trumpet and Treseler’s swift sax prowess, and “Quill And Knife” follows with a calmer delivery, where Kramlich’s graceful keys and Parisot’s agile drumming make a big impression amid the very focused climate.

“Pay It Forward” occupies the middle spot, and bounces and shakes with a glorious, festive spirit that moves with a timeless energy that flirts with New Orleans ideas, while “Compendium” offers a gentle, very breezy display of sublime interaction between the brass, keys, drums and Glynn’s very carefully plucked bass.

Close to the end, the jumpy “Running, Leaping” showcases Kramlich’s finger acrobatics alongside Parisot’s swift drumming, and “Noble Calling” exits the listen with all the players contributing to a very melodic and calculated finish.

Parisot tips his hat to Johann Sebastian Bach here, and his incredible drum fills as well as the solos from his company help make the outing a post-bop and swing friendly effort that all fans of jazz will enjoy repeatedly.

Travels well with: David Friesen- Day Of Rest; Steve Million- What I Meant To Say

Station

Perspective

Self-Released, 2021

8/10

Listen to Perspective

A New York City outfit with an affinity for nostalgic hard rock, Station is spearheaded by the guitarist Chris Lane and singer Patrick Kearney, and they’re quickly making fans everywhere they go with their energetic and memorable tunes.

“I Can’t Find My Way” starts the listen with a hard hitting yet tuneful approach, where thumping drums and soaring guitars complement Kearney’s smooth and powerful vocals, and “See The Light” follows with a swirling display of ‘80s rock sensibilities amid plenty of grit and melody.

At the halfway point, “Tonight” brings some cautious atmosphere as ballad ideas enter a dreamy climate where Kearney hits some pretty high notes, while “If You Want Love” is the prettiest the band get here, where the thick and romantic demeanor is just asking to be soundtracked on the remake of a John Hughes movie. “Believe” then turns the intensity and volume back up with its anthemic and charged display of power and control, where the quartet work together superbly.

Near the end, “Spanish Steps” illustrates another dimension to the band’s vast skill with some shimmering pop ideas mixed into the heartfelt delivery, and “You Found Yesterday” exits the listen with graceful vocal harmonies, diverse drumming and, of course, the expressive and sturdy singing.

Lane and Kearney are joined by Emi Asta (bass) and Tony Baptist (drums) for this 4th album, where their diverse, imaginative songwriting and rock’n’roll influences come from all over the rock spectrum and make for a timeless and adventurous listen.

Travels well with: Mars Hall- Is Anybody Out There?; Dizzy Box Nine- Radio Fiction

David Friesen

Day Of Rest

Origin, 2021

8/10

Listen to Day Of Rest

David Friesen is most known for his esteemed work on bass, where he’s occasionally sprinkled piano into the equation. Here, though, his bass is absent, as he brings us his first recording with the piano front and center for the entire journey.

“Backward Glance” starts the listen with elegant, flowing key work that’s quite warm and cozy, as Friesen settles in like an old friend coming for a visit, and “Day Dream” continues the grace with intricate progression as the climate turns a bit introspective.

Further into the listen, the sublime “Distant Shores” offers a stirring intimacy, while “In The Moment” is a bit more firm, but still retains much beauty in its mature execution. “Meaningful” then tugs on the heartstrings with its dreamy attention to detail and agile playing.

Inching toward the end, “My Dog Ellie” showcases Friesen’s glowing vision with a rich and vibrant demeanor, and “Going Forth” finishes the listen with a cautious yet impactful conclusion to a very genuine and pensive use of a Ravenscroft Grand Piano.

There’s 20 pieces here, many of which hover around the 2 minute mark, and are both composed and improvised. The aptly titled record certainly could soundtrack a restful day with its tranquil and peaceful vision, and will absolutely resonate with those with an ear for piano music.

Travels well with: Jared Hall- Seen On The Scene; Steve Million- What I Meant To Say

Dimensions Vol. 2

Dimensions Vol. 2: Works For Orchestra

Navona, 2019

8/10

Listen to Dimensions Vol. 2: Works For Orchestra

This 2nd compilation in the Dimensions series from Navona Records showcases the sublime textures and varied delivery of these 5 timeless compositions.

Erich Stem’s “Portland” starts the listen majestic and organic in the nearly 10 minutes of pristine instrumentation, and Bill Whitley’s “Bonzai Down”, written in rondo form, follows and flows with mountain-esque ideas in its versatile delivery.

The back half of the listen offers the 3 parts of Concerto #2 For Guitar And Orchestra “In Somnis Veritas”, by Mark Francis, where guitar and orchestra emit a dreamy display, and “Street Music”, by Jan Jarvlepp exits the listen light and jovial, where brass and percussion highlight the diversity.

A listen that has something for everyone, this installment of the Dimensions continues the radiant, skilled and innovative music we’ve all come to expect from Navona.

Travels well with: Bill Whitley- Then Elephant Speaks; John A. Carollo- Symphony No. 3