Galactic Tide

The Haas Company Vol. 1

Psychiatric, 2024

8/10

Listen to The Haas Company Vol. 1

The guitarist Andy Timmons joins the drummer Steve Haas and company for these extremely impressive fusion based tracks.

“Leather Pajamas” gets the record off to a rowdy start, where Haas’ dense drums are aligned with Kirwan Brown’s throbbing bass for the rock fueled opener, and “1979” follows with a much calmer moment, as Timmons’ intricate guitar is met with plenty of prog spirited ideas.

“Stockholm Syndrome” arrives in the middle and showcases Wallace Roney’s strategic trumpet and Mauro Refosco’s dreamy percussion for the rich album highlight, while “Ballad For Andy” is a intimate moment that benefits from Pete Drungle’s warm keys, Haas’ agile drums and cozy guitar.

Landing near the end, “Tower Of Babel” places Al MacDowell on bass and allows Jay Rodriguez’s sax solo to guide the rhythmic climate that’s thick, too, and “Arrow Of Time” exits with a meticulous and textured display of timeless, exciting jazz rock.

A powerful listen that has the ability to get funky on occasion, the hard rock versus fusion aspects make this a memorable listen from beginning to end.

Travels well with: The Bruce Lofgren Group- Earthly And Cosmic Tales; Foreign Affair Trio- Sous Le Vent

Robert Carl

Infinity Avenue

Neuma, 2024

9/10

Listen to Infinity Avenue

The inimitable composer Robert Carl manipulates space and tonality here across 2 discs, where plenty of synthetic and organic noisemakers are present for the atypical selections.

“Updraft (2009) For Ten Trombones” begins the 6 pieces, where Matthew Russo’s strategic layering of the brass provides much intrigue, and “Splectar (2023) For Electric Guitar With Max Processing” follows with Matt Sargent’s meticulous guitar tone and Max program design unfolding with mystery and ominousness.

The middle belongs to “Night Garden (2013-14) For Five Contrabasses” and the title track. The former utilizes Robert Black with Large Furniture: Greg Chudzik, Tristan Kasten-Krause, Ken Rescsanksi and Evan Runyo for a rich and dreamy haze, while the latter hosts Carl on laptop and shakuhachi amid Christopher Beroes-Haigis’ stirring cello and Trevor Saint’s well timed glockenspiel for the album’s best.

The record ends with “The Inevitable Wave (B) (2011-12) For Percussion And Fixed Media”, which unfolds across 16 minutes of minimalism via the Crane Percussion Ensemble and SUNY Potsdam, where a subtle rumbling enters a cinematic flavor.

An unconventional, harmonic affair that often employs low tech strategies and manipulated tuning, this is an experience that is as unpredictable as it is fascinating.

Travels well with: Juan J.G. Escudero- Ice Door; Rick Baitz- River Of January

Chelsea Hollow

Cycles Of Resistance

Aerocade, 2023

9/10

Listen to Cycles Of Resistance

The stunning soprano Chelsea Hollow brings us 24 songs that are rooted in the early days of the Covid-19 pandemic, when she missed her artist community, and tools like a vocoder, looper pedal, modular synthesizer and fixed media enhance the listening experience.

“Darkness Of The Womb” gets the listen off to an elegant start, where melodic piano from Taylor Chan suits Hollow’s expressive and flowing vocals across the 5 chapters, and “Two Poems by Qiu Jin” follows with an indeed poetic spirit via the moody keys and descriptive singing that emits much beauty.

Further along, the uniquely dreamy “Maagal” carries a conversational tone of a mesmerizing quality, while “AOC Takes The Floor” is a fuller moment of energetic gestures and meticulous finger acrobatics from Taylor, though Jason Cady’s modular synthesizer is quite animated, too.

Nearing the end, “Al Kan Kusak” offers 7 movements of rumbling keys, chilling vocals and much diversity, and “Prayers For Peace” exits with gorgeous interaction between the rich keys and sublime singing.

An accomplished effort in the area of contemporary classical sounds, the poetry, speeches, and mantras are meshed with harmonic textures, involved melodies and looped vocal layering for a highly captivating outing.

Travels well with: Ryan Townsend Strand- Dear Mrs. Kennedy; Elizabeth Robinson- Aviary

Gerald Cohen

Steal A Pencil For Me

Sono Luminus, 2024

9/10

Listen to Steal A Pencil For Me

A 2 CD collection of work from the composer Gerald Cohen and librettist Deborah Brevoort, this opera in 2 acts details an atypical love story from the Holocaust, where Jaap Polak, a Dutch accountant, and Ina Soep, the daughter of a wealthy diamond manufacturer, fall in love while imprisoned in the Westerbork and Bergen-Belsen concentration camps.

“Act I Scene 1: A party in Amsterdam” begins the listen with the warm instrumentation and very expressive singing, and “Act I Scene 4: Jaap swings into action” arrives a little later with bright flute that surrounds the conversational voices that make for an animated climate.

Further into disc 1, “Act I Scene 8: Messenger of love” is a romantic moment, where the baritone voice is met with playful banter, while “Act II Scene 1: Roll Call in Bergen-Belsen” starts the back half with a busy and dynamic presence of powerful singing and exciting musicianship.

Close to the end, “Act II Scene 3: Steal a pencil for me” is a more intimate moment that embraces both dramatic and mysterious bouts, and “Act II Scene 9: A reunion in Amsterdam” exits with a rich and layered experience that’s emotive and articulate.

A testament to the abilities of humankind even during the most dire situations, this was recorded in Denver in 2022 and features most of the central performers of the Opera Colorado production; Ari Pelto as conductor; Gideon Dabi as Jaap; Inna Dukach as Ina; Adriana Zabala as Manja.

Travels well with: Ryan Townsend Strand- Dear Mrs. Kennedy; Michael Mizrahi- Dreamspace

Jennifer Bellor

Long These Days

Lexicon Classics, 2024

9/10

Listen to Long These Days

An artistic concept album from the composer and pianist Jennifer Bellor, the 13 tracks here welcome Olivia Yokers, Norman Espinoza and Tasos Peltekis for creativity that isn’t short on emotion and introspection.

“Song Of Flight” opens the listen with Yokers’ soaring and Peltekis’ swirling guitar for the dreamy mood, and it isn’t long until “Mañana” showcases Bellor’s graceful and melodic keys amid the deeper vocals of the rich delivery.

Into the middle, “Mediodía” comes with a stirring intimacy via the mesmerizing keys and dense bouts, while the title track allows Yokers’ soaring voice to shine alongside the shimmering instrumentation.

Residing close to the end, the twinkling “Noche” benefits much from the poetic, deeper voice, and “Postlude: Resurgence” exits with spirited guitar, hypnotic keys, and strategic bass cultivating a textured and timeless finish.

A gorgeous body of work that takes inspiration from the poetry of Christina Rossetti and Pablo Neruda, the themes of love, empowerment and nostalgia use improvised bouts that provides even more intrigue and awe.

Travels well with: Michael Mizrahi- Dreamspace; Elizabeth Robinson- Aviary

Ryan Townsend Strand

Dear Mrs. Kennedy

Sono Luminus, 2024

9/10

Listen to Dear Mrs. Kennedy

The esteemed tenor Ryan Townsend Strand is in the company of Karina Kontorovitch’s elegant piano for these songs that give voice to the letters sent to Jacqueline Kennedy following the death of her husband, John F. Kennedy.

“Oh Jacqueline: Processional’, by Augusta Read Thomas, starts the listen with rumbling keys and much atmosphere, as Strand’s flawless pipes enter with much emotion, and Tom Cipullo’s “A Litany Of Sympathy” follows with swift versus bare piano, which is met with flowing and powerful singing.

The title track lands in the middle, and emits much beauty from Kontorovitch’s finger acrobatics and the poetic singing via the Adore Alexander piece, while Will Liverman’s “A Tribute To Mr. J.F.K.” is the album’s best, where eloquent piano and gorgeous singing tugs on the heartstrings.

Approaching the end, “Thanksgiving Day, 1963”, by Timothy C. Takach, isn’t lacking melody of expressiveness from the pair’s inimitable talents, and “Oh Jacqueline: Recessional” exits and extends from the opening track, as mood is key and a distinct denseness is met with unparalleled vocals.

A project that safely illuminates the conversation of grief and the enormity of human connection, Strand and Kontorovitch’s performances are tremendous, and the entire focus of the project is much needed during these often difficult times.

Travels well with: Elizabeth Robinson- Aviary; Michael Mizrahi- Dreamscape

Elizabeth Robinson

Aviary

Aerocade, 2024

9/10

Listen to Aviary

The South Dakota resident and flutist Elizabeth Robinson brings her chamber and orchestral skills to these contemporary classical pieces that recruit 4 other flute enthusiasts.

The gentle and dreamy appeal of “Missouri Adventure”, by Gay Kahkonen, starts the listen with Emlyn Johnson, Erin K. Murply and Nicole Riner’s rich and expressive flutes working together cohesively.

Kimberly R. Osberg’s “Fowl Play” then comes with a playful spirit of rhythmic and unpredictable wind prowess, while “Death Whistle”, by Nicole Chamberlain, manipulates the flutes with a cinematic approach that’s both technical and exciting, and Robinson’s piccolo is well used, too.

Arriving near the end, “Spooklight” brings Carmen A. Lemoine’s eloquent flute playing to the rich album highlight and Nicole Chamberlain piece, and Kimberly R. Osberg’s “Hoppy Feet” exits with no lack of melody and grace.

The themes of aviation present surround the ideas of birds in their natural habitat, and the truly unique and timeless collaboration between the flutes is as creative as it is memorable.

Travels well with Michael Mizrahi- Dreamspace; James Adler- Reflections

Jacob Jolliff

Instrumentals Vol. 2: Mandolin Mysteries

Adhyâropa, 2024

8/10

Listen to Instrumentals Vol. 2: Mandolin Mysteries

Jacob Jolliff picked up a mandolin at the age of 7, and was playing festivals by middle school, before being Berklee educated. Although he’s played in larger ensembles, here he focuses on his own work, and George Jackson, Ross Martin and Myles Sloniker join him for the occasion.

The careful and intricate string picking of “Vera” opens the listen with much attention to mood, as Jackson’s warm fiddle impresses, and “Los Angeles County Breakdown” follows with a swift and dynamic spirt that allows Jolliff’s mandolin acrobatics to shine.

Into the middle, the diverse “The Art Heist Suite” unfolds across 3 movements of quivering strings and meticulous plucking, while “Blossoms Will Run Away” embraces a distinct beauty of poeticism and romance.

“Silver Blaze” and “Twin Rocks” exit the listen, where the former benefits much from Sloniker’s bass via the dizzying climate, and the latter showcases a charming intimacy that uses Martin’s cultured guitar playing.

A record that borrows from jazz, bluegrass and country ideas, Jolliff and company bring a lot of richness and intrigue to this accomplished set of originals.

Travels well with: Nate Sabat- Bass Fiddler; 9 Horses- Strum

Liam Purcell & Cane Mill Road

Yellow Line

Pinecastle, 2024

8/10

Listen to Yellow Line

The bluegrass wizard and Berklee educated Liam Purcell brings us 12 new recordings, where Jacob Smith, Rob McCormac, Colton Kerchner and Sam Stage are in attendance.

“Yellow Line” starts the listen with Kerchner’s warm banjo that suits Purcell’s flowing vocals in the soothing bluegrass climate, and “No More” follows with Stage’s fiddle acrobatics that mesh well with the firm singing and swift musicianship.

Landing in the middle, “Black Sheep’s Wool” is a more intimate moment, where emotive vocals and Smith’s bass won’t go unnoticed, while “Somerville” benefits much from McCormac’s meticulous guitar via the highly melodic album highlight.

Deeper still, the gorgeous vocal harmonies of ‘Crooked As You Go” complements the gentle interaction between the strings, and “I Believe There’s An End To The Darkness” exits with sublime balladry that’s heartfelt and timeless.

Purcell is quickly making a name for himself, and his first rate bluegrass ways are providing us a glimpse of the future of the genre.

Travels well with: Tim Raybon Band- I Could Get Used To This; The Goodwin Brothers- If You Hadn’t Noticed

Wilson Banjo Co.

Memory Lane

Pinecastle, 2024

9/10

Listen to Memory Lane

Steve Wilson brings his banjo prowess to this 3rd album on the Pinecastle label, where his excellent band helps flesh out 10 flowing and timeless bluegrass gems.

“Sadie Danced A Hole In Her Stocking” opens the listen with Wilson’s fluid banjo alongside Sarah Logan’s expressive singing and Tony Wray’s spirited guitar, and “Tomorrow’s Coming Fast” follows with Colton Rudd’s harmony vocals complementing Milom Williams II’s flowing mandolin for the timeless bluegrass climate.

Halfway through, “Nightbird” is an intimate moment populated by Adam Plott’s warm percussion and Jason Fraley’s cozy mandolin that suit Logan’s emotive delivery, while “Coalmine” is an energetic and animated album highlight thanks to Heather Mabe’s meticulous guitar and Jaime Carter’s strategic bass.

Close to the end, “Memphis Anymore” radiates much beauty via Logan’s fiddle and gorgeous voice, and “Come To Me” exits with Joseph Welborn’s soft guitar gracing the poetic finish.

Easily one of the best in the area of modern bluegrass, country and Americana, the South Carolina outfit pen a rich, timeless and memorable body of work.

Travels well with: The Goodwin Brothers- If You Hadn’t Noticed; Danny Burns- Promised Land

Nate Sabat

Bass Fiddler

Adhyaropa, 2024

8/10

Listen to Bass Fiddler

Perhaps best known as the bassist for the Boston string band Mile Twelve, Nate Sabat brings his upright bass prowess to these 6 originals and 6 interpretations.

“White Marble” gets the listen off to a warm start, as Sabat’s expressive voice is met with playful bass, and “Orphan Annie” follows with frisky string acrobatics amid the upbeat and flowing singing.

Close to the middle, “Year Of The Ox” uses precise bowing and strong attention to mood, while “Fade Away” pairs the bouncy bass with soulful singing for the album’s best selection.

Residing near the end, the animated presence of “Rabid Thoughts” suits Sabat’s vivid storytelling, and “The Sun Will Rise” exits with plenty of rhythm and timeless folk qualities.

Sabat uses bluegrass, rock, jazz and pop to surround the otherwise folk affair, and it sure does make for a unique and memorable performance.

Travels well with: 9 Horses- Strum; Dean Olsher- Letters Of Transit

9 Horses

Strum

Adhyâropa, 2024

10/10

Listen to Strum

A progressive jazz trio that includes Joe Brent, Sara Caswell and Andrew Ryan, as 9 Horses they recruit 25 instrumentalists to a highly cinematic and exploratory setting.

The title track starts the listen with soft, plucked strings that build into an orchestral mood that’s graceful and flowing, and “Americannia” follows with Brent’s meticulous mandolin that suits the bright and soaring violin from Caswell that guides the dreamy climate.

Into the middle, “Röhrl” carries an energetic pulse and distinct rhythm, where the strings are met with a mesmerizing backdrop, while “Long Time Away” leads with a stirring intimacy via the very animated keys and intricate strings.

Nearing the end, “Just Don’t Call It That” drones with a very uplifting appeal that’s accented by Brent’s banjo, and “The House That Ate Myself” exits with a hint of romance amid the glowing keys, agile strings and charming ambience.

A body of work of enormous detail and timeless musicianship, 9 Horses blend experimental prowess into color and timbre that is nothing short of fascinating.

Travels well with: Dean Olsher- Letters Of Transit; Aaron Irwin Trio- (after)

The Allman Betts Band

Down To The River

BMG, 2019

9/10

Listen to Down To The River

An outfit spearheaded by Devon Allman and Duane Betts, this debut album has the pair and their band taking the organic route with no computer or digital editing on this studio live recording of their eclectic rock formula.

“All Night” gets the album started with rich guitar licks on a warm southern rocker with Devon taking lead vocals, and “Shinin’” follows with retro grooves on a classic rock tinted affair with Duane handling the bulk of the singing.

Elsewhere, “Try” recruits a quieter setting of crisp instrumentation in a timeless template of cautious rock, while “Autumn Breeze” indeed gets breezy in ways that are both pensive and playful on this album highlight that enters jam band territory.

Near the end, “Melodies Are Memories” offers a fuller atmosphere of jangly, agile rootsy rock where organs really punctuate the mood, and “Long Gone” ends the listen with a vocally expressive ballad of dusty beauty.

When you’re the offspring of Gregg Allman and Dickey Betts, expectations might be a bit high in your musical endeavors, but The Allman Betts Band exceed anyone’s expectations with their well crafted country, blues and gospel meshing that’s never short on creativity and delivered flawlessly.

Travels well with: Tedeschi Trucks Band-Revelator; The Allman Brothers- Hittin’ The Note