Jim Witzel Quartet

Breaking Through Gently

Joplin Sweeney, 2024

9/10

Listen to Breaking Through Gently

The 3rd album from the guitarist and composer Jim Witzel, the selections here welcome Phil Aaron, Dan Feiszli and Jason Lewis for 7 originals and a Paul Simon cover.

“My Compass” gets the album off to a rich start, where Witzel’s radiant guitar is met with bouncy bass from Feiszli and Lewis’ frisky drums, and “Firefly Waltz” follows with a dreamy guitar tone amid Aaron’s elegant keys via the rich delivery.

Landing in the middle is the frisky “Abjohn”, where the dancing keys align with the animated bass, while “Hello My Friend” is an intimate moment of warm guitar, sophisticated keys and stylish bass lines.

Further still, “Old Friends” tugs on the heartstrings, as Witzel’s moving guitar does justice to the Paul Simon original, and the title track exits with cozy textures, where all 4 players contribute their inimitable talents in spades.

A meticulous effort with plenty of modern ideas and ECM nods, Witzel recruits plenty of soul, grooves and swingin’ fun to the timeless affair.

Travels well with: Jim Witzel Trio & Quartet- Feelin’ It; John Fedchock- Justifiably J.J.

Freysteinn

Að einhverju/To Somewhere

Self-Released, 2024

9/10

Listen to Að einhverju/To Somewhere

The Iceland resident and double bass player Freystenn is in some excellent company for these adventurous and precise jazz tracks.

“To Somewhere” starts the listen with meticulous bass plucking amid Hilmar Jensson’s dreamy guitar that sets the mood, and “Lisboa” follows with Helgi R Heiðarsson’s animated sax amid Óskar Kjartansson’s playful drumming which suits the unpredictable climate.

In the middle, the cautious spirit of “Fallegt/Skrítið” radiates much cautiousness between the soulful wind and light guitar, while “Fæðing”, the best track, is a mesmerizing moment of beauty and richness via the hypnotic guitar, well timed drums and strategic bass.

“Vera” and “Endir” exit the listen. The former emits a distinct intimacy of emotion in its haziness, and the latter is a frisky and lively finish of meticulous guitar, rock-esque drumming and bass acrobatics that you won’t soon forget.

This is Freysteinn’s 3rd album, and it isn’t short on melodic gestures, vivid storytelling and atypical jazz that’s immediately striking.

Travels well with: Naomi Moon Siegel- Shatter The Glass; Víkingur Ólafsson- From Afar

Ken Field

The Canopy

Neuma, 2024

9/10

Listen to The Canopy

An effort where all the tracks are composed, performed and sequenced by Ken Field, the music here was commissioned by the choreographer and dancer Joanie Block for the 2024 production of Under The Canopy.

The percussive and wind focused “The Serving” opens with flowing and melodic playing, and “Also Known As” follows with warm, layered guitars making for a hint of mystery amid much elegance.

In the middle, the playful vibes of “Culture” aligns with the dreamy mood, while “Four Words” focuses on the saxophone via the soulful and expressive landscape.

Moving along, “Deluge” recruits dancing keys and bright flute that makes this the record’s best, and “Darkness Into Light” exits with rich tonality and textures of adventurous versions of jazz.

A body of work that surrounds love, loss and resilience pertaining to members of the Boston dance community, the sounds here vary from solo moments to busier bouts that illustrate Field’s impressive versatility.

Travels well with: Lina Bahn- Axolotl; Elisabet Curbelo- Resonance Unbound

Jeremy Dion

Bend In The Middle

Inner View, 2024

9/10

Listen to Bend In The Middle

The 4th album from the singer-songwriter and therapist Jeremy Dion, the 11 songs here recruit plenty of riffs, lots of guests and similarities to Neil Diamond, The Grateful Dead or John Mayer.

“All I See Is You” starts the listen with warm acoustic guitar and cozy vocal harmonies thanks to the timeless folk song craft, and the title track follows with Eric Moon’s well timed keys and Christian Teele’s fluid drumming that adds much playfulness.

Landing in the middle, the warm spirit of “Sweet June” is full of melody and harmonic singing that’s heartfelt, while “It Happened So Fast” showcases Dion’s smooth pipes amid some jam band ideas surrounding the textured and rich songwriting.

Arriving close to the end, “Better You Know My Name” is a precise, animated and collaborative album highlight that invites a sing-along, and “The Haunting” exits with an indeed haunting mood via Courtlyn Carpenter’s atmospheric cello, the eerie fiddles and layered voices.

Dion uses strategies from his therapy for the enlightening wordplay, and the musicianship balances folk and bluegrass with technical yet easily accessible songs that resonate long after the music ends.

Travels well with: Jim Patton & Sherry Brokus- Harbortowne; Nick Taylor- Not Alone

Isata Kanneh-Mason

Mendelssohn

Decca, 2024

9/10

Listen to Mendelssohn

The British pianist Isata Kanneh-Mason returns with a 4th solo album, where selections from both Mendelssohn siblings welcomes the London Mozart Players and conductor Jonathan Bloxham.

“Piano Concerto No 1 in G Minor, Op 25” opens the listen with dancing keys and the dynamic orchestra emitting much grace and beauty across the 3 lively chapters, and “A Midsummer Night's Dream, Op 61, Scherzo” follows with the animated piano and also soft, intimate gestures amid the poetic delivery.

Deeper into the listen, “On Wings of Song S. 547: I. Auf Flügeln des Gesanges” flows with color and expressive techniques that embrace much care, while “Lieder ohne Worte VI, Op. 67” showcases the finger acrobatics alongside tremendous skill.

The last selections are from Fanny Mendelssohn. “Notturno in G Minor, H-U 337” allows for Kanneh-Mason’s precise playing to tug on the heartstrings with wonder and awe, and “Easter Sonata” exits with both calm and upbeat playing that few could parallel.

Kanneh-Mason has picked up many awards and is globally revered. Her take on both Felix and Fanny Mendelssohn’s work is superb, and the added three transcriptions by other composers who were inspired by Felix are just as intriguing and memorable.

Travels well with: Sheku & Isata Kanneh-Mason- Muse; Yunchan Lim- Chopin Études

Carlos Mena

With The People

Self-Released, 2024

8/10

Listen to With The People

A New York city bassist and composer, Carlos Mena blends Ecuadorian Sierra amid influences from jazz and classical music via this trio format.

“Comenzar” starts the listen with fluid piano and playful drumming for the stylish and warm version of jazz, and “Dr. Tarantula” follows with frisky bass lines surrounding the adventurous drumming and bright keys.

In the middle, “Con Personas” welcomes animated singing to the lively and rhythmic delivery, while “Close To You” is a more intimate moment of grace and melodic song craft that employs scatting for the album’s best. “Vuela”, the last track, then emits cozy vocal harmonies and meticulous instrumentation to the timeless exit.

A professional musician since the age of 7, this debut record as leader showcases Mena’s globally revered abilities that embrace jazz and blues in spades.

Travels well with: Alex Sipiagin- Horizons; Alexa Torres Quartet- In Situ

Kenny Wayne Shepherd Band

Dirt On My Diamonds Volume 2

Mascot/Provogue, 2024

9/10

Listen to Dirt On My Diamonds Volume 2

The sophomore installment of Shepherd’s powerful series, the 8 tracks here embrace plenty of grooves and energy.

The rhythmic and melodic “I Got A Woman” starts the listen with Shepherd’s inimitable vocals that help balance rugged and harmonic gestures, and “The Middle” follows with bouncy drums and animated brass that complement the timeless blues nods.

Halfway through, “Long Way Down” comes with dense guitars and flowing vocals that are matched by the dynamic rhythm section, while “Never Made It To Memphis” carries plenty of southern spirit via the modern rock qualities and soulful backing vocals.

“Pressure” and “She Loves My Automobile” exit the listen. The former flirts with funk thanks to the frisky horns, and the latter is a busy and dance floor ready finish that will get your body moving.

Much like everything Shepherd does, this is top notch blues, modern and classic rock packed into meticulous and memorable songwriting that continues to justify his worldwide fame.

Travels well with: Kenny Wayne Shepherd Band- Trouble Is… 25; The Georgia Thunderbolts- Rise Above It All

Rachel Barton Pine

Corelli: Violin Sonatas, Op. 5

Cedille, 2024

9/10

Listen to Corelli: Violin Sonatas, Op. 5

The always impressive violinist Rachel Barton Pine interprets the recording of Corelli Violin Sonatas, Op. 5, where David Schrader, John Mark Rozendual and Brandon Acker are along for the 12 selections.

“Sonata No. 1 D major” starts the listen with 5 segments that showcase meticulous violin alongside Rozendual’s elegant violoncello for the graceful delivery, and it isn’t long until “Sonata No. 3 in C major” benefits much from upbeat strings and strong attention to mood.

Deeper into the first disc, “Sonata No. 5 in G minor” showcases Schrader’s dreamy harpsichord playing via the distinct mood, while “Sonata No. 7 in D minor” is a charming record highlight that illustrates dynamic string interaction with both adventurousness and caution.

Further still, the intimate “Sonata No. 10 in F major” uses Schrader’s organ with much sophistication, and “Sonata No. 12 in D minor” incorporates Acker’s warm guitar into the gripping violin prowess.

Pine is well versed in many styles, and this peek into baroque sounds is highly technical, expressive and timeless.

Travels well with: Rachel Barton Pine- Violin Concertos By Black Composers Through The Centuries; Eighth Blackbird/David Lang- Composition As Explanation

Mondo Cozmo

It’s PRINCIPLE!

Last Gang, 2024

10/10

Listen to It’s PRINCIPLE!

Mondo Cozmo, i.e. Josh Ostrander, returns with a multi-faceted rock album that’s intense, detailed, authentic and unpredictable.

The stylish ambience of the title track opens the listen, as gritty vocals and crisp drumming enters the alt-rock ideas, and “Angels” follows with an ethereal backdrop that suits the soaring and percussively strong delivery.

“Killing Floor” occupies the middle spot and is an intimate moment that builds into a cathartic, soulful mood, while “Sundown In The Age Of Fear”, the best track, swirls with melody and emotion in a way that reminds us of Radiohead’s best work.

Residing close to the end, “Leave A Light On” comes with a unique dreaminess that’s heartfelt and poetic, and “I’ll Be Around” exits with gorgeous vocal harmonies and a touching quality that finishes on a very lush note.

A tribute to his late dog, Cozmo, Ostrander pens a substantial rock effort that’s vulnerable, creative and embraces abstract and touching song craft.

Travels well with: Robert Finley- Black Bayou; Jenny Owen Young- Avalanche

Michael Torke

Bloom

Ecstatic, 2024

9/10

Listen to Bloom

The always impressive composer Michael Torke allows the Sandbox Percussion to illuminate his groove filled and rhythmic vision that employs a trio of three-part cycles

“Bloom 1” starts the listen with 3 chapters, where glowing vibes and bongos emit precision and warmth, and “Stem 1” follows with a slower movement of cautious mallet gestures.

In the middle, “Bloom 2” meshes the congas and wooden slats with dynamic and playful interaction, while “Stem 2” unfolds with a dreamy and bright mood that’s charming and memorable.

“Bloom 3” exits the record, and it’s a rich and textured blend of marimba and tom-tom’s amid flowing and melodic songwriting.

Each Bloom track comes with 3 segments, morning, noon, and night, and they illustrates Torke’s approach that utilizes pitched and non-pitched instruments for the Pulitzer Prize finalist who makes for a memorable, organic affair.

Travels well with: Michael Torke- Time; Matt McBane & Sandbox Percussion- Bathymetry

Daryl Mosley

Long Days & Short Stories

Pinecastle, 2024

9/10

Listen to Long Days & Short Stories

The inimitable hit maker Daryl Mosley returns with a 4th solo album on the Pinecastle label, where bluegrass, gospel, Americana and country are all covered with his always authentic spirit.

“When The Good Old Days Were New” starts the listen with Tony Wray’s warm banjo and Jamie Harper’s flowing fiddle that complement Mosley’s smooth voice, and “Everything That’s Right” follows with intricate picking which suits the careful melodies.

“I Can Pray” lands in the middle and uses Mosley’s playful bass amid gorgeous harmonies via Jaelee Roberts and Jeanette Williams, while “Forever After All” trims the pace back with sublime intimacy that benefits from the heartfelt singing and dreamy musicianship.

Deeper still, “Still The Solid Rock” welcomes New Tradition for the harmonic climate that allows for Richie Dotson’s banjo and vocals to shine, and the acoustic version of “I’m Still Here” exits with Sarah Divison’s graceful piano amid Mosley’s powerful pipes.

Mosley is as prolific as he is timeless, and this body of work is yet another effort of genuine and thoughtful song craft that anyone with an ear for bluegrass, Americana and Christian sounds will admire.

Travels well with: Troy Engle- Back Home; Wilson Banjo Co.- Memory Lane

Arun Ramamurthy Trio

New Moon

Greenleaf, 2024

9/10

Listen to New Moon

A well thought out record that touches on the inspiration of ancestors, family and tradition, the Arun Ramamurthy Trio pens songs that surround our journey as multicultural beings with these 6 rich selections.

The dynamic and intricate “Walk As One” starts the listen with Ramamurthy’s distinct violin alongside Gupta’s thumping drums, as much culture enters the cautious yet adventurous climate, and “Bangalore To Brooklyn” follows with strong attention to mood via the tense strings, agile drumming and Banks’ well timed electric bass.

The middle track belongs to “Aaji”, where intimacy and beauty populates the 9+ minutes, while “Mirrors” uses bouncy bass and an uplifting collaboration that guides the album highlight.

The final track is just as graceful, as “Sri Valli” embraces grooves, style and timeless jazz qualities.

A highly technical effort that pairs Indian classical sounds with American jazz nods, the trio possess a wealth of talent and each track here is packed with intrigue and enlightenment.

Travels well with: Moria Smiley- The Rhizome Project; Les Arrivants- Towards The Light

The Shadow's Gone Out

John Doe/Final Alarm

Bitume, 2024

9/10

Listen to John Doe/Final Alarm

An industrial rock outfit from France who don’t need vocals, The Shadow’s Gone Out pair 2 releases into this disc, where the first half is more rock focused, and the back half lands closer to metal.

The John Doe portion leads with “John Doe”, where dense drumming from Julien is met with Anthony’s fluid bass and plenty of soundbites for the energetic landscape, and “Unlucky Young Men” follows with strategic repetition and a swirling intensity that leaves it unclear if you should dance or jump into the pit. “3BY4”, the best selection from this portion, then buzzes with a sci-fi flavor that chugs amid melodic intensity.

The back half leaves an impression, too. “Pills” relies on acrobatic drumming and ambience, while “Sous La Pluie” welcomes grooves to the rich and dynamic delivery. “Alone With A Ghost” and “Whispering Ghost” exit the listen. The former is a bit eerie via the wordless vocals and mysterious ideas, and the latter is beat driven and cinematic in its hard hitting and cryptic presence.

A unique record that also touches on doom, punk and grunge aspects, the use of double pedals and a distinct darkness makes for an atypical, industrial focused affair.

Travels well with: Onioroshi- Shrine; Thy Apokalypse- Fragment Troisiéme

Matt Steckler/Yayoi Ikawa/Lonnie Plaxico/Tony Lewis

Old Friends Beckoned New Sounds Reckoned

Skydeck, 2024

9/10

Listen to Old Friends

A quartet of immeasurable talent, the 10 tracks here from Steckler, Ikawa, Plaxico and Lewis make for a timeless and collaborative jazz experience that’s easy to admire and hard to forget.

“Forgive” starts the listen with Steckler’s dreamy flute and Ikawa’s warm keys making for a cozy and bright opener, and “Labor Day” follows with flowing sax from Steckler, as Lewis’ playful drums guide the lively climate.

The middle spot belongs to “I’d Know It If I Heard It”, where the mature piano and light drumming complement the soaring sax, while “Show Some Class” bops and shakes with an infectious energy via the frisky drums and Plaxico’s well timed bass lines.

Near the end, the melodic gestures of “Vegas Mode” makes this the album’s best, and “Nunavut” exits with dense keys, soulful sax and a meticulous rhythm section populating the straight ahead jazz that will always be admirable.

Steckler is a multi-instrumentalist with a history in many musical settings, and the company he keeps help illuminate this dynamic, rich and heartfelt body of work.

Travels well with: Hollaway- Jazz-ish; Greg Chako- Standard Roots

Various Artists

American Woman

Navona, 2024

8/10

Listen to American Woman

Juliana Soltis’ cello and Ruoting Li’s piano interact with much care for these 13 pieces by under appreciated female composers.

Mary Howe’s “Ballade Fantasque” starts the listen with the strings and keys interacting with much grace and beauty across the 10 minutes of elegance, “Three Pieces Op. 40”, by Amy Beach, follows with a gentle fluidity that emits melody, warmth and emotion.

In the middle, Margaret Bond’s “Troubled Water” showcases Li’s playful keys amid the firm strings for the animated album highlight, while “Six Idylls for Cello and Piano, Op. 51” spans 6 chapters that are mesmerizing, intimate and intriguing.

The last selection, Florence Price’s “Adoration”, then exits with a rich and cautious display of timeless musicianship.

A highly expressive and powerful effort, Soltis and Li’s inimitable talents are front and center for these delicate, romantic and energetic gems.

Travels well with: Cornelia Sommer- New Enchantments; Dan Goble- Second Flight

Julia Glenn/Konstantinos Valianatos

Ink Traces

Navona, 2024

8/10

Listen to Ink Traces

The violinist Julia Glenn and pianist Konstantinos Valianantos come together for these 10 pieces that explore Glenn’s 15-year journey with Chinese culture and interactions between Chinese language and music.

Chen Yi’s “Romance and Dance” begins the listen with a pair of fluid movements, where the playful keys and warm strings interact with an animated presence, and “Air”, by Yao Chen, follows with a solo violin delivery, as Glenn’s meticulous delivery is restrained and gripping.

Landing in the middle, “Ink Traces of Sigh” is another lone violin selection, where Glenn’s strings unfold with intimacy and elegance via Pan Kai’s vision, while Gao Weijie’s striking and low keys are met with the tense violin of “The Road”.

Landing close to the end, “Drum & Song” is a more upbeat moment that you could dance to thanks to the swift strings and lively piano that’s never short on melody in the Chen Gang album highlight, and Chen Yihan’s “EHOHE” exits with baroque violin and fixed media paired together for the atypical and cinematic qualities.

A highly creative effort that meshes poetry, dance, painting, calligraphy, and music, Ink Traces illustrates the unique connection between gesture and sound, often in an enlightening light.

Travels well with: Anthony Brandt- LiveWire And Meeting Of Minds; The Merian Ensemble- The Book Of Spells

Rakish

Now, O Now

Top Floor, 2024

9/10

Listen to Now, O Now

The Boston duo Rakish return with a sophomore album, where Maura Shawn Scanlin and Conor Hearn are joined by a couple of guests for the cultured folk tunes.

The warm and flowing “Lonely Hotel Room” opens with Scanlin’s bright voice alongside Dylan McKinstry’s agile drumming and Hearn’s light guitar, and the title track follows with the folk friendly guitar alongside Scanlin’s meticulous fiddle via much beauty.

Further along, “The Morning Glory” is strong on ambience and mood thanks to the mature strings and cozy acoustic guitar, while “Islands In The Sea” brings back the drums amid gentle banjo and poetic singing for the album’s best.

Deeper yet, “The Soldier, The King, The Peasant” benefits much from the elegant fiddle and acoustic guitar interacting with much intimacy, and “Fool’s Spring/The Tourtoise” exits with rich instrumentation and an authentic Celtic spirit.

A very unique blend of Americana and Celtic nods, Rakish also embrace chamber moments for these adventurous and often mountain-esque rooted songs that leave an indelible impact.

Travels well with: Matt Krahula- Last Goodbye 11; Rubyjoyful- The Pie Chart Of Love

Mike Montrey Band

Love, Time & Mortality

Self-Released, 2024

9/10

Listen to Love, Time & Mortality

Mike Montrey and his band bring Americana, Soul and Rock’n’Roll into these 10 harmonic and poetic tracks that are both wise and timeless.

“Stained Glass Window Panes” starts the listen with Montrey’s gruff voice and warm guitar alongside Nicole Scorsone’s graceful violin for much beauty, and “Holdin’ On To Nothin’” follows with John Ginty’s well timed keys that suit the emotive and powerful delivery.

Halfway through, “Cimarron County” benefits much from Jen Augustine’s gorgeous voice and Santo Rizzolo’s scrappy drumming, while “The Devil Caught Me Napping” is a thicker display that makes great use of Mike Noordzy’s upright bass and Montrey’s fluid piano.

Close to the end, the meticulous guitar of “Take Me Home” offers a mesmerizing and soothing climate, and Dylan’s “Emotionally Yours” exits with dreamy organ, eloquent vocals and a rare intimacy.

A well thought out effort that’s strong on storytelling, Montrey and company surround tales of the human condition with sincerity for this atypical version of folk and Americana that you won’t soon forget.

Travels well with: Mac Leaphart- Motel Breakfast; Tai Shan- Wildflower Moon

Gracie Curran & Friends

Come Undone

VizzTone, 2019

8/10

Listen to Come Undone

Gracie Curran’s sophomore album arrives a half decade after her acclaimed debut, Proof Of Love, and much like that first effort the songstress shows us how well those raspy, alluring pipes can resonate.

The title track starts the listen with spirited yet sparse guitars before a warm, rhythmic blues setting sweeps in as Curran’s soulful expressive vocals take center stage, and “Ernestine” follows with a quieter setting of timeless folk sounds and dreamy singing.

Further along, “Stay Up!” recruits bright horns on a bouncy and upbeat excursion into jazz fun, while “The Things We Love” has the album turning into an emotive display of power and melody.

Near the end, “If Mama Ain’t Happy” is a piano rocker that’s animated and full of body shakin’ melodica that would make Jerry Lee Lewis proud, and “Chasing Sunsets” ends on a contemplative note where Curran’s pipes soar.

After 5 years of touring between her 2 records, Curran has stories to tell, and they unfold here with forthrightness, cautiousness and plenty of help from her esteemed friends. If Curran sees another Blues Award for Come Undone, it wouldn’t surprise me one bit.

Travels well with: Alabama Shakes- Boys & Girls; Grace Potter & The Nocturnals- This Is Somewhere