Ilja Hurník

Gratias

Navona, 2021

8/10

Listen to Gratias

The Jitro Czech Girls Choir and conductor Jiří Skopal join forces here to flesh out arrangements by the Czech composer Ilja Hurník, where these youthful interpretations retain the frisky spirit of the originals with plenty of integrity untarnished from Hurník’s inestimable vision.

“Variations On A Mouse Theme” begins the listen with soaring, flawless harmonizing as the group weave in and out of calm versus busy landscapes, and this formula continues to the intricate piano and vocal acrobatics of “June Night”.

In the middle we find the playful “Children’s Tercetta”, where the strategically layered vocals are both fascinating and mesmerizing, while “Water, Sweetwater” flows with a dreamy, charming display of heavenly singing. “Missa Vinea Crucis” exits the listen, and leaves an indelible mark with well timed organ alongside the nearly gospel influenced finish that is likely to stir up plenty of emotions.

Ultimately a memorial listen, Hurník spent much time teaching his craft to children, so it’s only fitting that the youngsters pay homage to him with both intimacy and exploration present on this glorious listen.

Travels well with: Harmony Of Dissonance- Traces Of Croatian Traditional Singing; Rosśa Crean- The Priestess Of Morphine

Various Artists

Fleeting Realms: Chamber Works, Vol. 2

Navona, 2021

8/10

Listen to Fleeting Realms: Chamber Works, Vol. 2

A very diverse listen that draws from 6 different composers who are versed in classic literature, elemental energy, modern culture, and historical tragedy, Fleeting Realms examines the human experience with its timeless, chamber filled sounds

Isak Roux’s “Piano Trio Number 1” gets the listen off to an initially firm start that segues into soaring violin and cello alongside Randall Hodgkinson’s very skilled piano, and Mark Zanter’s “Earth Endures; Stars Abide” follows with sublime cello from Dimitris Travlos amid Kostas Tzekos’ very precise clarinet prowess in the dreamy climate.

Deeper into the listen, “Frogs Always Get You In The End” benefits from Aliana de la Guardia’s strong soprano, Brian Church’s alluring baritone and Jessica Lizak’s airy flute, while “Sonata Per Violino E Violoncello In Due Spazi” pairs Peter Sulski’s violin with Jacques Wood’s cello in the stirring and eloquent album highlight.

The album exits on the 8 movements of Marvin J Carlton’s “James Joyce Song Cycle”, which displays de la Guaradia’s versatile pipes alongside Stephen Marotto’s delicate cello and Yoko Hagino’s graceful piano that highlights the vivid storytelling.

Essential listen for the chamber friendly ears of past and present, this installment of Fleeting Realms certainly continues the Navona label’s consistent output of articulate and commanding music in the area of classical, orchestral and chamber arrangements.

Travels well with: Various Artists- Sustain Vol. 2; Janáček Philharmonic Orchestra- Prisma Vol. 5: Contemporary Works For Orchestra

The City Of Tomorrow

Blow

New Focus, 2021

8/10

Listen to Blow

The wind quintet The City Of Tomorrow bring us a trio of works on the appropriately titled Blow, where oboe, horns, bassoon and many other woodwinds help cultivate rich and animated landscapes of exploratory and memorable song craft.

Franco Donatoni’s “Blow” leads the listen with much emphasis on flute as an unpredictable patterns of off-kilter rhythm, strategic repetition and supporting roles from the other woodwinds add much charm to the energetic textures.

The middle portion belongs to Hannah Lash and her 9 movement piece, “Leander And Hero”. Initially bare and dreamy, the E-flat clarinet, flute and piccolo interact in ways that are playful, even furious, in their dynamic beauty, while also retreating to calm moments, as well as ominous flashes of darker waves.

Esa-Pekka Salonen finishes the listen with “Memoria”, where one 15 minute piece unfolds with alto flute and horns dancing around one another amid solos, clever interplay and even finishes on a memorable chorale that puts a firm exclamation point on the affair.

Elise Blatchford, Stuart Breczinski, Rane Moore, Nanci Belmont and Leander Star, i.e. The City Of Tomorrow, execute a tremendous amount of virtuosity here, and their experimental vision certainly puts them in a league all their own, which, of course, we’re all better off for.

Travels well with: Aaron Jay Myers- Clever Machines; Peter Gilbert- Burned Into The Orange

Tenth Mountain Division

Butte La Rose

Self-Released, 2021

9/10

Listen to Tenth Mountain Division

The Colorado outfit Tenth Mountain Division return with their 3rd album, and they continue to progress their mountain rock formula with electro-acoustic sounds, well timed brass and even moody synth across these very diverse 10 tracks.

“Hot Sweaty South” starts the listen with plenty of brass from Nathan Peoples (sax), Gabriel Mervine (trumpet) and Scott Flynn (trombone), as the band’s energetic brand of Americana flows with much playfulness, and “Sad Summer” follows with a ‘60s surf-pop flavor that benefits from the harmonic singing and endless hooks amid the dreamy landscape.

Near to the middle, “Spring Chicken” emits much beauty as keys from Campbell Thomas and Tyler Gwynn’s skilled drumming anchor the very cautious instrumental, while “Get Out Of My Head” gets soulful, even somber, amid soothing backing vocals and bouts of firm keys that bring us back to the ‘70s. “Got Too Excited”, another top notch track, calls back the brass as bassist Andrew Cooney takes over on lead vocals on the rugged, R&B and jazz indebted climate that tips it hat to Memphis.

The finals tracks, “Drown You With The Bottle” and “Big Blue Sky”, keep the diversity intact, where the former gets a bit funky with MJ Ouimette’s spirited guitar work, and the latter places Thomas on lead vocals on the bare, atmospheric and gentle finish that’s a bit darker in scope.

If you’ve been following all along, you won’t be disappointed with this batch of tunes where the many guests complement the quintet’s flourishing sound, and if this is your first trip with Tenth Mountain Division, hold on tight, cause it’s an unpredictable and adventurous ride of some of the most exciting rock’n’roll being played today.

Travels well with: Andy Thorn- Frontiers Like These; Chicago Farmer- Flyover Country

Daniel Lippel

Aufs Lautenwerk

New Focus, 2021

9/10

Listen to Aufs Lautenwerk

The esteemed guitarist Daniel Lippel has built an impressive resume that includes 50+ solo and chamber works as well as recitals all over the globe. Here he takes on a innovative project that transforms 3 time honored J.S. Bach masterworks from their original keys into a classical guitar refretted in Baroque well temperament.

“Preludio” starts the listen and draws the listener in immediately with its flowing guitar work and graceful exploration that’s quite complicated but not so esoteric it can’t be universally appreciated, and “Allemande” follows with a swift pace of sweeping beauty and smooth dexterity.

Further into the listen, “Gigue” amazes us with its sublime finger acrobatics and flowing melodies, as does the very poetic and hypnotic “Fugue”. “Sarabande”, a truly exceptional track, then meshes restraint with adventurousness in a truly fascinating display.

Near to the end, “Fugue” BWV998 in Eflat glides with a warm, introspective spirit, and “Allegro” exits the listen with an intricate progression that’s so well executed it’s almost perplexing in its grand presence.

If you’re familiar with the originals, there’s little doubt that this album will occupy much of your time. And if you haven’t spent any time with Bach previously, you’ll still find yourself immersed in these charming, soulful renditions.

Travels well with: Aaron Jay Myers- Clever Machines; SEAMUS- Music From SEAMUS, Vol. 30

Various Artists

Party For Joey: A Sweet Relief Tribute To Joey Spampinato

True North, 2021

10/10

Listen to Party For Joey: A Sweet Relief Tribute To Joey Spampinato

A very impressive roster of stars come together here to help out the NRBQ founding member and bassist Joey Spampinato, whose current health issues are accruing significant costs, and they’re doing it by reinterpreting 14 of Spampinato’s own songs.

Al Anderson starts the listen with a buzzing and upbeat version of thick country rock, where sturdy guitar and wild piano add much to the loud delivery of “You Can’t Hide”, and Los Lobos follows with their distinct rhythm guiding the melodic and retro-rock fun of “Every Boy Every Girl”.

Down the line, Peter Case’s “Don’t Knock At My Door” swaggers with some classic rock spirit that’s both gritty and tuneful, while She & Him’s “How Can I Make You Love Me” gets dreamy in its very pretty and calm climate. The always impressive Buddy Miller contributes the breezy and bouncy “How Will I Know”, where his guitar acrobatics impress us, and Jim Lauderdale’s portions won’t go unnoticed, either.

Close to the end, Penn & Teller offer a very rugged, even raspy tune, where plucked strings and quick keys fuel the quirky “Plenty Of Somethin’”, and Kami Lyle’s “First Crush” exits the listen on a romantic note as the gentle duet welcomes soulful horns, where Lyle, who is Spampinato’s wife, and Joey himself both emit a romantic presence.

In addition to all the above, The Minus 5, Bonnie Raitt, Ben Harper, Deer Tick, Steve Forbert, Robbie Fulks and The Nils & Chris Spedding all contribute tracks, too, making this quite possibly the best compilation album of the year in terms of both quality of the music and importance of the cause.

Travels well with: Robbie Fulks & Linda Gail Lewis- Wild! Wild! Wild!; Buddy & Julie Miller- Breakdown On 20th Ave. South

Dick Aven

It All Started In The Garden

Self-Released, 2021

8/10

Listen to It All Started In The Garden

A very diverse multi-instrumentalist from Franklin, Tennessee, Dick Aven may be difficult to categorize, but his thoughtful song craft is easy to absorb on this record that he wrote, performed and recorded himself.

Aven starts the listen with the soft, soothing “This Is How I Am”, where soulful singing aligns with both folk and prog-rock ideas, and “No Clue” continues his unique formula with a poetic and dreamy quality of cautious melodies and warm grit.

There’s 10 tracks included, and each one is quite different from the rest, including the sax friendly, jazzy fun of “Island Of My Own”, which even brings in a whistle solo, while the title track showcases brass and woodwinds amid an intimate display of cultured rhythm. “Being Still” then resides closer to piano balladry and highlights an airy flute as tension and beauty both enter the very precise, graceful climate.

The final two tracks, “Glorious Flashes Of Light” and “Perpetual Weekend”, exit the listen on a very high note, where the former spotlights Aven’s strong, soaring pipes and the latter emits a timeless, breezy presence in its hazy, sax fueled finish.

A one man band with a wealth of talent and a keen attention to detail, Aven balances intimacy and exploration on this very striking and memorable effort, and it will be exciting to see where he heads next.

Travels well with: Greg Smith- Redemption Road; Deep Rivers- Nothing Ever Happens To Me

Gina ÉtÉ

Erased By Thought

Motor, 2021

9/10

Listen to Erased By Thought

The Zurich artist Gina Été is quickly making a name for herself with her highly praised ‘hybrid pop’ approach, and this debut album sees the vocalist and musician singing in multiple languages while also touching on lush, busy moments as well as minimal, raw bouts of artistic song craft.

“Trauma” leads the listen with a thoughtful display of modern pop, where Été’s soft, expressive singing aligns with playful electronic ideas, and “Lach Du Nur” follows with a hypnotic, dreamy approach where frisky drumming and an elegant backdrop complement her cultured pipes.

Closer to the halfway point, “All Or Nothing” finds itself in a beat heavy and highly melodic landscape of electro-pop fun, while “Rastios” is fueled by graceful piano amid a soulful delivery. “Nulle Part”, one of the album’s best, then showcases the tremendous versatility in Été’s pretty vocals alongside equally gorgeous instrumentation.

Landing near the end, “Somnifére” offers a stylish climate of both acoustic and electronic ideas that she manipulates with precision, and “Tired People” exits the listen in piano balladry that’s poetic, stirring and just so flawlessly executed.

It’s no surprise that Été’s name has been mentioned alongside Sophie Hunger and Bjork, cause her innovative intimacy and powerful, inviting take on pop could and should make her a household name.

Travels well with: CNJR- WSTLND; Benjamin Schoos- Doubt In My Heart

The Bullseyes

The Best Of The Bullseyes

Log7, 2021

10/10

Listen to The Best Of The Bullseyes

The Polish rockers The Bullseyes have made quite a name for themselves with a handful of globally praised singles, and this first album should easily extend their fanbase even further as their futuristic brand of self-described ‘neo-garage influenced rock’ trumps just about anything else out there today.

“World Doesn’t Care” starts the listen with a thumping, garage rock influenced climate of melody and grit that you’ll instantly adore, and “Yet There’s You” follows with a more cautious form of indie-rock that buzzes swiftly with some funk while also finding calm moments to reside in.

In the middle, “Restless Mind” embraces some blues rock nods amid plenty of firm alt-rock flavor, while “Love’s Blow” flows with a contagious energy that’s bright enough to fill stadiums. “Nothing Disturbs Me”, another thriving track, then displays an animated rhythm section alongside strong vocals that’s so well done, it alone is worth the price of admission.

Nearing the end, “Moment’s Arrival” enters dreamy territory as the band interact in playful ways, and “Can’t Believer”, the sole acoustic track, proves that The Bullseyes shine in bare settings, too.

A cleverly titled album, this is certainly the best of The Bullseyes, and I’m quite confident there’s more greatness to come from their robust riffs, highly melodic dynamics and vocal hooks that might just remind you of The White Stripes or The Black Keys.

Travels well with: Jon Spencer- Spencer Sings The Hits; The Fratellis- In Your Own Sweet Time

Claudio Scolari Project

Cosmology

Principal, 2021

9/10

Listen to Cosmology

This is the 5th album from the Claudio Scolari Project, and much like everything they’ve done, it defies easy classification as Scolari works with Daniele Cavalca (drum set 2, live synths, Rhodes, piano), Simone Scolari (trumpet) and Michele Cavalca (electric bass) to mesh acoustic and electronic sounds into a very adventurous display of skill and imagination.

“Dark Matter” gets the album off to a percussively strong start as soulful trumpet and soft keys enter the mysterious and very stylish version of jazz, and “Magnitude” follows with buzzing synth amid a busy, precise and controlled chaos approach of avant-garde rock.

Moving along, “Zenith” recruits playful brass, playful programming, well placed keys and both a hectic and restrained demeanor to the album standout, while the title track weaves in and out of adventurous textures and timeless melody. “Aphelion”, another exceptional track, then emits a cinematic quality, where fascinating interaction between the organic versus synthetic sounds brings both retro and modern components.

Further still, “Black Hole” moves cautiously, as a calm, even sublime backdrop meets some nearly spacey sounds, and “Nebula” finishes the listen and meanders with a reflective demeanor of both meticulous and cozy musicianship.

A captivating effort that blurs the lines of free jazz, experimental electronica and avant-garde ideas, there’s no dull moment in the catalog of music from the Claudio Scolari Project, and Cosmology just might be their most luminous and daring moment yet.

Travels well with: José Luis Hurtado- Parametrical Counterpoint; Aaron Jay Myers- Clever Machines

Blue Muse

It Never Entered My Mind

Self-Released, 2021

9/10

Listen to It Never Entered My Mind

An outfit that began in 2013 when the saxophonist and jazz enthusiast Sarah Lee left her career in technology for music, Blue Muse return with this sophomore album, where harmony, hard swing, soul jazz and west coast cool meet at a very inviting intersection.

“One By One” starts the listen with a Wayne Shorter tune as melody and rhythm are delivered in spades thanks to Jarrett Carter’s smooth guitar, Javian Francis’ graceful piano and Steve Strawley’s soulful trumpet, and the title track follows with a gentle, reflective tone where Lee’s sublime sax playing illuminates the cautious mood.

The middle of the listen offers the playful drumming of John Medico and strategic bass of Cody Wheaton that comprises the lively jazz setting of “Nutville”, while “Sweet n Sour” glides with a contagious energy that’s full of spirited guitar lines, frisky drumming and well timed brass.

Deeper still, “Freedom Sound” finds a stylish, tuneful and very precise place to reside in the Joe Sample cover, and “Ping Pong” exits the listen with a swift pace of complicated yet universally enjoyable musicianship that’s as glorious as it is timeless.

Let’s hope it isn’t 6 years before another record from Blue Muse, cause the 7 members interact in ways that showcase all the facets of jazz sounds that we can’t help but admire.

Travels well with: Slide Attack- Road Trip; Brian Woodruff Sextet- A Centering Peace

Curt Ramm

Rogue Island

Rocktorium, 2021

8/10

Listen to Rogue Island

The esteemed horn player and in demand session musician Curt Ramm used his Covid lockdown time wisely, and brings us a perfect summer soundtrack with the uplifting and positive vibes of this very well executed instrumental album.

“Smuggler’s Cove” gets the album off to a breezy start as Ramm’s brass prowess and Gerard Ramm’s tenor sax align with Mike Dansereau’s warm organ and Brady Robinson’s fluent drumming for a laid back opener, and it isn’t long until “Ripped” finds plenty of rhythm thanks to Ray Gennari’s precise guitar and Tony Kid’s key prowess that complement Ramm’s soulful trumpet,

Close to the middle, “Pontchartrain” moves cautiously amid Ramm’s strategic trumpet, flugabone and valve trombone that benefits from Charlie Giordano’s piano and accordion, while “Surfer’s End” picks up the pace with a dance friendly album highlight that displays Bill Holloman’s sax work and Horseman’s well timed drumming.

Towards the end, “Limetree” showcases dynamic interaction between Ramm’s brass, Kid’s keys, and Gennari’s guitars as Michael Manglicmot handles percussion, and “From The Baseline” exits the listen with probably the most traditional reggae influenced tune that glides with a breezy, island flavor.

The recording process presented some challenges with the pandemic, which forced players to lay down their portions remotely, as Ramm and Gennari would bounce ideas back and forth on the phone to flesh out the arrangements. Once restrictions eased up, musicians then recorded in person to finish up the record, and it’s an impressive one that alternates between energetic moments, slow burning reflection and plenty of timeless reggae spirit.

Travels well with: Reggae Angels- Remember Our Creator; Honey Made- Brand New

Louis Laurain

Pulses, Pipes, Patterns

Carton/Insub, 2021

8/10

Listen to Pulses, Pipes, Patterns

A trumpet wizard, improviser and composer with a very innovative mind, even though Louis Laurain uses trumpets on this very unusual effort, you’d hardly even realize brass is involved as white noise, air sounds, vibrating metal, and nature, among others, are part of the inimitable formula.

“Franzform” starts the listen with what sounds like a helicopter as this percussive effect emanates from a pair of trumpets used like a stereo PA, effectively setting the tone for the record, and “Rhypnoptic” follows with a polyrhythmic pattern built from a sequence on the values amid feedback on the mixer.

Halfway through, “Satellites For Nawel” manipulates feedback from inside the instrument, as well as copper leaves on the bell, for a very distinct form of distortion, while the title track gets ominous, where the improvisation with an open window allows the sounds of birds, a tractor and even kids alongside the skittering, unclassifiable electronics. “90’s” exits the listen and might the most exploratory track, as the trumpet is transformed into a percussion instrument in Laurain’s very creative approach that involves a loop inside a mixer and valves altering the pitch to make a provisional drum pad.

An extremely original outing, Laurain has a history with jazz, electro-acoustics, visual and performance arts and experimental sounds, and he brings all those facets to a truly fascinating listening experience here.

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

Rifo

Betel

Carton/Coax, 2021

8/10

Listen to Betel

A highly unusual effort by the artistic and atypical JF Riffaud, the French musician brings his training as a visual artist and many years frequenting jazz clubs to this electric guitar and synthesizer fueled effort that unfolds with an abstract vision.

“Leaf” starts the listen with 9+ minutes of fascinating repetition that leaves it unclear as to what type of instrument is being utilized in a percussive sort of fashion, and “Nut” follows with a mysterious ambience of almost spacey sounds.

The middle spot is occupied by the firm, mesmerizing “Paan”, which also showcases complicated guitar playing in a very raw delivery, while “Teeth” plucks and wanders in meticulous, even perplexing ways. “Smile” exits the listen, and does so with a bare but impactful sequence of light keys.

A listen that’s influenced by names like Tony Conrad, Morton Subotnik and Sunny Ade, Riffaud manipulates sound in intimate, exploratory and often unconventional patterns that provide much insight into his creative prowess.

Travels well with: Trojan Panda- Peau; Gilles Poizat- Champignon Flamme

The Rubinoos

The CBS Tapes

Yep Roc, 2021

8/10

Listen to The CBS Tapes

A power pop outfit who had a 15 year run starting in 1970 and then got back together in the late ‘90s, The Rubinoos bring us back to 1976 on this release, where we’re treated to a studio session that took place just before their breakout self-titled album.

The aptly titled “All Excited” starts the listen with thumping drums, upbeat guitar and 4 voices converging in a power-pop meets jangly rock delivery, and “Sugar Sugar” follows with a raw, playful version of the traditional, where the familiar melodies are still intact, even if a little rough around the edges.

Approaching the middle, “Nooshna Kavolta” offers a sturdy rock’n’roll flavor that’s even a bit cultured amid its charged climate, while “She Loves You” offers both grit and tunefulness in the band’s frisky version of the classic. “Heartbeat It’s A Lovebeat”, one of the album’s best, then mixes both pop and rock with a modern indie-rock appeal as well as classic rock stabs.

Towards the end, “Cissy Strut” inject some soul and plenty of bouncy musicianship into The Meters tune, and “Government Center” exits the listen and builds into a furious pace of chaotic drumming, repetitive backing vocals, eccentric lead vocals and swirling guitars.

Although they only had one chart topping tune (a cover of “I Think We’re Alone Now”), The Rubinoos made fans far and wide, penned the theme song to Revenge Of The Nerds, and proved to be a very important band in the area of ‘70s power-pop. Recorded when everyone in the band was still a teenager, The CBS Tapes captures their energy, humor and, of course, clever and timeless brand of retro-rock that sounds as great today as it did 45 years ago.

Travels well with: The Krayolas- Savage Young Krayolas; The Fleshtones- Face Of The Screaming Werewolf

Annie Keating

Bristol County Tides

Self-Released, 2021

9/10

Listen to Bristol County Tides

The Brooklyn songstress Annie Keating returns with her 8th album, and she’s joined by Teddy Kumpel, Steve Williams and Todd Caldwell, among others, for a pandemic record that tells the story of finding inspiration and human connection in uncertain times.

“Third Street” starts the listen with firm electric guitar as Keating’s warm brand of Americana is highlighted by her expressive pipes and rugged yet melodic approach, and this formula continues to the poetic and calm “Kindred Spirit”, as well as the breezy, rootsy flavor of “Marigold”.

The middle of the album remains just as poised, with the pretty, folk influenced “Half Mast”, while “High Tide” benefits from precise drumming from Williams and Kumpel’s soaring guitars. “Song For A Friend”, one of the album’s best, then resonates with eloquence as Gerald Menke’s glowing pedal steel adds much appeal to the thoughtful climate.

Closer to the end, the lush and rhythmic “Lucky 13” highlights Caldwell’s meticulous organ prowess as Keating’s versatile pipes impress, and “Goodbye” appropriately exits the listen with some country nods in its shuffling pace of grace and playfulness.

Keating and her family holed up at a family cottage for an unexpected 5 months when the pandemic hit New York hard, and it was there that these songs were born. An articulate, intimate and powerful body of work, it’s among Keating’s best yet, and that’s no easy feat considering her track record.

Travels well with: Ted Russell Kamp- Solitaire; Brigitte Demeyer- Seeker

Kendall Carter

Introducing Kendall Carter

Lladnek, 2021

9/10

Listen to Introducing Kendall Carter

You may not have heard of Kendall Carter before, but this Midwest jazz organ wizard is quickly making a names for himself, and here he’s aligned with the great Dave Stryker and Indianapolis drummer Kenny Phelps for an impressive debut solo album.

The appropriately titled “Blame It On The Boogie” starts the listen with warm organ, frisky drumming and smooth guitar work guiding a very enticing climate, and “Afro Blue” follows with a very adventurous and melodic jazz spirit where Carter’s finger acrobatics are nothing short of fascinating.

The middle of the listen brings us the soft and reflective “Lawns”, where the trio turn in a slow burning interpretation of the Carla Bley tune, while the bouncy climate of “Speedball” is both cautious and exploratory as it showcases meticulous drumming from Phelps. “Beatrice”, a late album highlight, then benefits much from Stryker’s soothing guitar work as Carter’s precise organ takes nods to pop and blues.

“That’s All” and “Blues For Kendall” round out the listen, where the former injects an almost gospel feel amid a dreamy delivery, and the latter emits so much rhythm it’s nearly impossible to keep your body from moving to the grooves and animated landscape where all 3 musicians showcase their tremendous skills.

As far as first albums go, it rarely gets better than this. Carter executes like a seasoned vet and as he’s clearly setting up for a lengthy and exceptional career that’s starting off on a very high note.

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

Richard X Bennett

RXB3

Ubuntu, 2021

8/10

Listen to RXB3

A Brooklyn based artist who has spent time in India recording raga-jazz records, Richard X Bennett returns here with Adam Armstrong and Julian Edmond for a piano focused listen that explores poly-rhythm and grooves in his inimitable vision.

Bennett starts the listen with the warm, fluent piano and shuffling pace of the jazz influenced “I Come From The Future”, which flows with incredible synergy between the trio, and “This Is My Code” follows with a bouncy spirit that benefits from Edmond’s very well executed drumming and Armstrong’s precisely plucked bass.

Near the middle, “One Voice” flows with an emotive quality amid calm melody and gentle interplay, while “Made From Stone” gets playful, upbeat and extremely precise in its fuller atmosphere. “Vape”, one of the album’s best, then displays Bennett’s melodica prowess on the dreamy, elegant standout track.

Residing near the end, Bennett’s key acrobatics on “Plastique” mesh well with the firm drumming and strategic bass, and “Tum Hi Ho”, the lone cover, exits the listen with both waves of tension and beauty as Bennett reworks the modern Bollywood standard in a captivating, highly creative light.

An artist who rarely sits in one genre long, expect funk, classical, gospel and raga traces in these unpredictable, jazz rooted tracks, as Bennett brings a worldly approach to his unconventional, artistic song craft.

Travels well with: Avishai Cohen- Two Roses; N.O.A.- Afterallogy

Robert Finley

Sharecropper’s Son

Easy Eye Sound, 2021

10/10

Listen to Sharecropper’s Son

Even though Robert Finley had been playing guitar since the age of 11 and involved in various touring bands throughout his life, his debut studio album in 2016 arrived when he was 62 years old. Discovered while busking, his gravelly singing and blues meets soul song craft is finally being laid down formally, and this 3rd album in 5 years is an autobiographical listen that surrounds Finley’s early years on a crop share in Louisiana.

The appropriately titled “Souled Out On You” starts the listen with Finley’s raspy, expressive pipes alongside firm piano and plenty of grit in the blues influenced climate, and this formula continues to the snappy, punchy and rhythmic “Make Me Feel Alright”, as well as the playful guitar work and inviting drumming of “Country Child”.

In the middle, “My Story” brings well timed brass, cultured guitar playing and Finley’s robust vocals to the gospel influenced climate, while “Starting To See” recruits some funk flavor amid the breezy melodies and ‘70’s spirit that’s as timeless as it is nostalgic.

Close to the end, “Better Than I Treat Myself” brings an upbeat and R&B friendly approach to the album highlight, and “All My Hope” exits the listen emotive, even spiritual, with soothing backing vocals adding even more appeal to Finley’s rugged yet tuneful vision.

Dan Auerbach is back working alongside Finley on this effort, and he again illuminates Finley’s inestimable formula of blues, rock, country, soul, R&B and southern swampy flavor that you can’t wait to hear again. Sure, he came into recorded music late in life, but Finley is making up for it with an unparalleled amount of quality that even landed him in the semi-finals on America’s Got Talent.

Travels well with: Rev Peyton’s Big Damn Band- Dance Songs For The Hard Times; John Hiatt- The Eclipse Sessions

Balsam Range

The Gospel Collection

Mountain Home, 2019

8/10

Listen to The Gospel Collection

The bluegrass legends Balsam Range have always put their faith into their esteemed storytelling, and here they devote an entire record to both traditionals and originals on the appropriately titled The Gospel Collection.

“Gonna Be Movin’” starts the listen with their sublime vocal harmonies alongside the rural finger pickin’ acrobatics, and this level of song craft continues to the playful and spirited “The Boat Of Love”, as well as the a cappella finger snapping fun of “Stacking Up The Rocks”.

Back half highlights include the banjo and mandolin interplay of “Row By Row”, while “Place No Wreath” trims the setting back to soulful and emotive with a soothing template. At the end, their version of “Wish You Were Here” puts a thoughtful, cautious bluegrass spin on the Southern Gospel classic.

As with every album from Balsam Range, you get top notch singing and instrumentation, as each track has been built with the utmost care and delivery with precision and timelessness.

Travels well with: Dale Ann Bradley- The Hard Way; Hot Buttered Rum- Lonesome Panoramic