Dan Moretti

Tres Libre

Roots Grooves, 2021

8/10

Listen to Tres Libre

The saxophonist Dan Moretti has enjoyed a multi-decade career where he’s played his very diverse brand of jazz all over the globe. His 20th album(!), Tres Libre brings noisemakers like Cuban baby-bass, congas, and pandeiro, among many others, to help his worldly vision shine.

“Jim Brown’s Cousin” starts the listen with no shortage of energy as funky grooves are cultivated thanks to the alto sax and Marty Richards’ strong drumming alongside Marty Ballou’s bouncy bass, and “Mumbo Jumbo” follows with Moretti’s love of reggae coming through on his tenor sax prowess amid Ray Gennari’s strategic bass work.

In the middle, “Pandeiro-Funk” showcases Bruce Bartlett’s superb electric guitar amid the glowing soprano sax acrobatics and Marcus Santos’ pandeiro, while “The Inner Side” benefits from Michael Farquharson’s fretless bass as sublime melodies unfold with nods to European sounds.

Nearing the end, “When You Leave This World” offers an exciting interpretation of traditional Indian Bhajan that embraces a free jazz approach with much exploration, and “The Missing Breath” finishes the listen with Moretti on 3 tenor saxophones, where a spiritual quality surrounds the harmonies with much beauty as influence from the Norwegian saxophonist Jan Garbarek are appreciated.

Few artists will have a career as lengthy or consistently great as Moretti. Now having released original music in 4 different decades, he brings his vast experience and inestimable talent to another exceptional body of work.

Travels well with: Jack Brandfield- I’ll Never Be The Same; David Larsen- The Mulligan Chronicles

Quinn Sullivan

Wide Awake

Mascot Label Group, 2021

8/10

Listen to Wide Awake

At just 22 years old, the singer-songwriter and guitarist Quinn Sullivan is already on his 4th album, and he’s expanding on his creativity and universally enjoyable song craft with much thoughtfulness and sincerity.

“All Around The World” starts the listen with smooth, agile vocals as upbeat drumming and fluid guitars highlight the flowing, groove filled climate, and “She’s So Irresistible” follows with a funky spirit as a playfulness unfolds alongside a rugged delivery of grit and melody.

Further along, “She’s Gone (& She Ain’t Coming Back)” offers soulful pop nods as Sullivan displays much mature skill, while “Baby Please” is tailor made for the FM dial with its heartfelt, melodic singer-songwriter approach. “You’re The One”, one of the album’s best, is then perfect for summertime fun, where driving with the windows down and blasting your favorite soaring, pop melodies are encouraged.

Landing close to the end, the ballad “Jessica” makes great use of acoustic guitar and Sullivan’s flawless singing as he plays will a talent well beyond his years, and “Keep Up” exits the listen with sophisticated piano amid a lush, pretty landscape.

An artist who is getting better and evolving with each subsequent record, Sullivan has been touring the world since he was 11 years old and has already shared the stage with Buddy Guy and Carlos Santana. Most importantly, though, he can pen a song that you won’t forget anytime soon and will want to revisit often, as evidenced by this articulate and diverse effort.

Travels well with: Gina Sicilia- Love Me Madly; Kenny Wayne Shepherd Band- Straight To You Live

Gary Louris

Jump For Joy

Sham/Thirty Tigers, 2021

9/10

Listen to Jump For Joy

It’s been 13 years since Gary Louris, the frontman for the always exceptional The Jayhawks, has released a solo album, and he makes it worth the wait as 10 tunes that he wrote, recorded and produced himself embrace pop influences while still being true to the rootsy sounds of his full band work.

Louris starts the listen with what he does best on “Almost Home”, i.e. breezy acoustic guitar alongside his unmistakable, poetic singing as some playful synth buzzing giving it a modern pop angle, and “Living In-Between” follows with a jangly folk quality that even embraces some psychedelic ideas.

Entering the middle, “New Normal” uses well timed piano and frisky drumming to point towards the ‘60s, while “Mr. Updike” is flawless folk-rock that gets a bit dreamy as Louris’ vocals soar high. “Too Late The Key” then trims the pace and volume back to sublime, warm guitar strumming alongside soothing backing vocals.

The title track lands near the end and shows even more admiration for his wife, Stephanie, who the album is dedicated to, as keys and strings provide an elegant backdrop, and “Dead Man’s Burden” exits the listen with a retro quality as 8+ minutes of manipulated melodies with piano take focus on the adventurous finish.

Louris fills this fantastic effort with guitar solos, plenty of synth stabs and his always eloquent wordplay that even offers a straight forward love song. For fans of anything Louris has done, this is on par with some of his best work, and if for some reason you’re still unacquainted with him, well, you may as well rectify that with Jump For Joy.

Travels well with: Mark Erelli- Blindsided; The Jayhawks- XOXO

Rod Picott

Wood, Steel, Dust & Dreams

Welding Rod, 2021

8/10

Listen to Wood, Steel, Dust & Dreams

The always impressive Rod Picott has been writing songs with Slaid Cleave, his childhood friend and esteemed singer-songwriter, for over 30 years now, and here he’s assembled 2 discs full of them. A collector’s items of sorts, there’s only a handful made, and they’re numbered, signed and even come with a 28 page booklet with in depth explanations of the songs.

Primarily a stripped back affair where the songs are reflective, even melancholic at times, selections like “Double Crossed Heart” and “Sinner’s Prayer” tug on the heartstrings with much warmth. Elsewhere, there’s grit and more firm singing on twang friendly tunes like “Bring It On”.

Picott occasionally seems on the cusp of a catharsis, such as “Fire Inside”, whereas “Beyond Love” is a vocally strong and emotively aware moment of bare beauty. A brand new song, “The Ballad Of The Magic Rats”, exits the listen, and brings a bluesy, talking strategy and comparisons to Lou Reed to go along with his parallels to Dylan and Springsteen.

Musicians like Will Kimbrough (guitar), Lex Price (mandolin, bass), Matt Mauch (acoustic slide guitar) , Neilson Hubbard (percussion) and even Cleaves making an appearance are greatly appreciated, and while Cleaves has recorded many of these songs, too, it’s nice to hear Picott’s cautious versions. Probably aimed at the diehard fan, it works for the first time listener as well, as familiarizing yourself with one of Nashville’s finest is absolutely necessary if you haven’t already.

Travels well with: Matt Eckstine- Lil’ Blue; Last Year’s Man- Brave The Storm

Ross Ingram

Sell The Tape Machine

Hogar, 2021

9/10

Listen to Sell The Tape Machine

An El Paso, Texas resident who sings and plays guitar in EEP and is also a producer and engineer, Ross Ingram delivers an impressive debut solo album here, where some additional musicians help illuminate his alt-rock, shoegaze and eclectic form of indie-rock.

Ingram places the title track in the lead off position, where thoughtful atmosphere segues into a very dreamy climate as his soft vocals guide the twinkling haze that benefits from Nathan McGehee and KT Neely’s backing vocals, and “Come Sunlight” follows with playful percussion and synth manipulation that’s a bit spacey, highly creative and fits in quite well with today’s indietronica.

There’s 10 tracks here and each offers new surprises, including the folk influences of the adventurous and anthemic “Marionette”, while “Walled In” brings a charm that runs parallel to the first time you heard The Postal Service, as very pretty singing is present thanks to Ingram exploring his falsetto. “So Stay”, another exceptional track, the recruits flute from Kristyn Ingram, where a light and airy environment is both soothing and gorgeous.

Close to the end, “Bookshelves” is a poetic, bare display of soft synth buzzing amid Ingram’s expressive pipes, and “Ashes” finishes the listen swift with synthetic drumming, glowing synth, Sebastian Estrada’s proficient guitar work and versatile singing in an exit that could get you to dance or maybe just mull things over.

Ingram’s resume is quite exceptional, so it’s no surprise that this first record on his own is so remarkable. Perhaps at its core a bedroom pop effort, there just isn’t a second here that’s not mesmerizing.

Travels well with: Au.ra- Cultivations; Hermetic Delight- F.A. Cult

Sour Ops

X

Feralette, 2021

10/10

Listen to X

A Nashville outfit fronted by Price Harrison, Sour Ops prove that there’s a lot more to Music City than twang, as X births a very nostalgic power-pop meets glam-rock adventure where George Lilly and Tony Frost contribute drums and bass.

“There She Goes” starts the listen with no shortage of energy as thumping drums, driving guitars and gritty yet melodic singing highlight the timeless power-pop spirit, and "Do You Wanna Be Like Them?” follows with some garage rock flavor entering the sing-alongs and vibrant rhythm section.

At the halfway point, “Inside My Mind” moves swiftly with a bouncy and precise approach that occasionally dips into calmer, soulful moments with brass, while “My Baby Shut Down” displays chunky guitar alongside some Brit-rock nods in its keyboard friendly climate and ‘80s sensibilities. “I Want You Around”, one of the most diverse tracks on the listen, then touches on Nashville influences as some raw country exists alongside the proto-punk remnants.

Further down the line, “The Sexy Sadist” recruits Price’s brother Mark on guitar for a buzzing, retro rock’n’roll delivery, and “Out Of Place” exits the listen with charming synth and atypical rhythm that’s quite stylish and highly memorable.

It’s difficult to not think of legends like Cheap Trick, Jesse Malin or Alex Chilton when listening to X, which could never be a bad thing, as Harrison and company offer us one of the best rock’n’roll albums of 2021.

Travels well with: Richard Hell And The Voidoids- Destiny Street Complete; The Buzzcocks- The Way

Kenny Carr

Distance

ZOOZAZZ, 2021

8/10

Listen to Distance

A New York City artist who is classically trained, Kenny Carr knows his way around a song that embraces jazz, blues, funk and fusion ideas, as evidenced by this 9th album that welcomes Richie Morales on drums and Lincoln Goines on bass.

“Tune 77” starts the listen with precise, warm electric guitar as frisky drumming aligns well with the grit and melody present, and “Springs” follows with a calmer pace as the trio work together dynamically to produce spirited and playful blues rock.

Landing in the middle, “Distance” displays Carr’s sublime guitar playing alongside the skilled drumming, while “Funk Delux” will indeed get your body groovin’ to the funky swagger. “Arrival”, a very noteworthy tune, then gets busy with flowing textures that are as firm as they are inviting.

Approaching the end, “Like Old Times” bounces with a contagious energy that you can’t help but admire, and “Primal Scream” exits the listen spotlighting the bass acrobatics in a punchy and thriving conclusion.

Amazingly, 6 of the 9 tunes here are over 25 years old, but they sound very modern, as Carr’s expertise in guitar, synth and keyboards are in top form on an appropriately titled effort that will sound just as great 25 years from now, too.

Travels well with: Steve Hunt- Connections; Lyle Workman- Uncommon Measures

Ole Teigen

Aske og Jord

Apollon, 2021

8/10

Listen to Aske og Jord

A multi-instrumentalist and composer who has played in bands like Superlynx and Skitliv, among many others, on this debut solo album Ole Teigen births a very unique and comforting version of modern jazz and neo-classical sounds with the help of Christian H. Svendsen, Frode Berg, Monica Boroni and Anita Antal.

“Barndom” starts the listen with a quivering display of firm keys, atmospheric strings and much attention to detail as classical and jazz ideas meet with much skill, and “Aske Og Jord” follows with mature melody thanks to the graceful keys, frisky drumming and some prog-rock nods amid the sophistication.

In the middle, “Det uvisse” moves softly with much beauty, while “Magician In Despair” showcases a light and airy landscape where a flute is met with tumbling percussion and twinkling piano. “Fugl”, the last track and one of the best, then relies solely on Teigen’s piano that rumbles, glides and flows with a fluid, timeless execution.

Unfortunately inspired by the untimely passing of his big brother, Teigen balances both haunting and beautiful textures on this very intimate but also adventurous first record on his own that’s as heartfelt as it is imaginative.

Travels well with: Wudewuse- Northern Gothic; Brudini- From Darkness, Light

Joe Cardamone

Quarentina

Sonic Ritual, 2021

8/10

Listen to Quarentina

Joe Cardamone has an impressive resume that includes nearly two decades fronting the punk outfit The Icarus Line. On his own, though, Cardamone is much harder to label, and the many problems of 2020 were the impetus for this very unique, minimal and raw commentary on the status quo.

“Laws” starts the listen with much atmosphere as Cardamone’s mysterious vocals steer the hazy opener, and this leads to the equally unique “Dead Sky”, which uses soundbites amid a dreamy landscape.

There’s 20 tracks here, and each one is unclassifiable. Songs like “New Moon” rely on bits from the news alongside bright synth that unfolds in an almost spiritual fashion, while “Count In Sevens” is light and airy, and embraces a cinematic quality that’s a bit ominous. “December Piano” then buzzes with a playful execution of spacey ideas that eventually leads into warm piano.

Closer to the end, the jarring “The Tower” offers some of the most intense moments of the listen and probably represents the violent unrest of the year, and “Ur So Cool 2” allows Cardamone’s versatile pipes to shine in a stirring, pretty, late album highlight.

Also a film, Quarentina documents life in Los Angeles during the pandemic, as the short songs tell the story of struggling with a new way of life during forced closures. Perhaps the most ambitious work he’s done in his lengthy and esteemed career, this is nowhere near as noisy as his full band work, but equally creative.

Travels well with: Coddiwomple- The WALK And Other Stories; Brudini- From Darkness, Light

Lucy Kruger And The Lost Boys

Transit Tapes (for women who move furniture around)

Unique, 2021

8/10

Listen to Transit Tapes (for women who move furniture around)

The Berlin artist Lucy Kruger is fine company here, as Martin Perret, Liú Mottes and Andreas Miranda, i.e. The Lost Boys, help her find a place to reside between indie-rock and folk music as much attention is paid to mood and texture.

“Braille” starts the listen with a slow burning display of breathy vocals alongside calm guitar and bare percussion as intimacy and melody meet at a very gentle intersection, and “Evening Train” follows with a similar approach where a poetic quality enters the atmospheric folk template.

Closer to the middle, “The Ceiling” is especially pretty as a lullaby climate yields a soothing demeanor, while “Tired” flows with a meditative approach that’s vocally more firm amid a hazy guitar line. “Promised Land”, the album highlight, then floats with a dreamy mystery as Kruger and company bridge vulnerability and exploration.

Near the end, “Window” turns minimalism into an art form as the song moves with a faint pulse of sparse instrumentation and light singing, and “Warm II” exits the listen with a bigger presence on drums, where soulfulness and well timed bass emit a strong synergy between the players.

A very agile and often pensive effort, dramatic moments collide with a raw emotive component, and it makes for an absorbing and fascinating listen.

Travels well with: The Building- Petra; Alice Phoebe Lou- Paper Castles

Craig Cummings

The Gulf Between Us

Azalea City, 2021

9/10

Listen to The Gulf Between Us

A Baltimore singer-songwriter who knows his way around an Americana tune, Craig Cummings is armed with a healthy set of pipes that tell stories about love and loss, and he’s got Gantt Kushner, Andy Hamburger, Brian Simms, Tiffany Shanta and Wall Matthews along with him on this 3rd album.

Cummings puts the title track in the lead off position, where his smooth, inviting vocals accompany the melodic Americana that benefits much from Shanta’s violin and Hamburger’s proficient drumming, and “The Southern Wall” follows with a calmer pace of cultured folk songwriting that’s as skilled as it is timeless.

In the middle, “Momma And Me” is a vocally strong album highlight that recruits Simms’ well timed accordion, while “Like Thieves” is a percussively bright and djembe friendly move into precise layers of world music influences. “Sleeping Alone”, a particularly glowing track, then makes great use of Kushner’s electric guitar as vivid storytelling aligns with graceful song craft that points towards Cummings’ rock’n’roll roots.

“Living Without You” and “Safe” exit the listen, where the former comes with some pop nods amid the rural song craft, and the latter is a cozy acoustic strummer that displays meticulous dynamics between the band a whole lot of talent.

How Cummings isn’t a more visible name in the Americana scene is beyond me; he’s got the chops, the backing band, and songs with as much mass appeal as Jason Isbell but with enough grit for the New West roster, too.

Travels well with: The Jayhawks- XOXO; Steve Earle & The Dukes- Ghosts Of West Virginia

Paul Bergmann

The Other Side

Diggers Factory, 2021

8/10

Listen to The Other Side

The multi-instrumentalist and songwriter Paul Bergmann is in the company of Dylan Ryan, Mike Clauss and Stephen Heath here, as his inimitable folk formula welcomes plenty of unclassifiable and experimental ideas into the existential The Other Side.

“Change From The Rust” leads with some dense atmosphere as brief psyche-folk and slide guitar from Heath segues into the dark textures of “The Other Side”, where a gothic, nearly carnival-esque climate swirls with mystery and intrigue.

In the middle, the thick guitars and firm drumming of ““Blue Hearts” emits power and melody in a blurry setting, while “Oh, My Love” gets dreamy, playful and unfolds with both a soothing and adventurous spirit. “Diamond Fawn”, an especially great tune, then flows with a cinematic quality as a bare form of vintage folk radiates a raw demeanor.

Further still, “Bring On The Rain” benefits from backing vocals and strategic harmonica and “Rust From The Change” exits the listen with an ominous and ambient instrumental that’s oddly charming and a bit eerie.

A record that’s fuzzy, jangly, spacey and, most importantly, unconventional, Bergmann defies all norms surrounding songwriting, which is certainly part of his appeal on yet another exciting effort.

Travels well with: Evvan- Home; Nainnoh- Nainnoh

Mark Rubin- Jew Of Oklahoma

The Triumph Of Assimilation

Rubinchik, 2021

8/10

Listen to The Triumph Of Assimilation

Perhaps best known for his time in the ‘90s roots-punk outfit Bad Livers, Mark Rubin has dabbled in countless genres during his esteemed career, and here he’s reminding us in song to not forget about Jews when thinking of the many disenfranchised Americans in today’s divided society.

“A Day Of Revenge” starts the listen with Rubin’s inimitable, husky vocals alongside playful accordion and skilled drumming as some polka ideas enter the anthemic setting, and “It’s Burning” follows with intricate banjo plucking as Rubin’s raw vocals guide the folk and bluegrass inspired bareness.

The middle tracks offer some of the best selections, including the warm acoustic guitar and vivid storytelling of the campfire-esque “The Murder Of Leo Frank”, while “Yiddish Banjo Suite” is an instrumental that displays superb banjo playing amid a hypnotic delivery. “My Resting Place”, the album highlight, then recruits Danny Barnes on banjo for a unique version of Americana that’s quite insightful in its social commentary.

Further still, the upbeat and charming “Good Shabbes” is a feel good tune of breezy melody and soaring vocals, and “Spin The Dreidel”, one of the busiest tunes, brings sousaphone, gang vocals, accordion and plenty of energy to the festive exit.

Rubin embraces his cultural heritage in spades on this clever, important record, where folk, Klezmer, bluegrass, rock and many other ideas are fleshed out. An effort that addresses deep seated anti-Semitism while also being poetic, wise and even, at times, fun, the Jew of Oklahoma is still finding unique places to reside with his always exceptional songwriting.

Travels well with: Danny Barnes- Man On Fire; Hot Buttered Rum- Lonesome Panoramic

Ricardo Silveira

Solo

Moondo, 2021

8/10

Listen to Solo

A revered Brazilian guitarist, Ricardo Silveira makes quite an impression on this first solo album, where his love for jazz and rock music are present and appreciated as much atmosphere and even romantic moods unfold.

“Rio Texas” starts the listen as Silveira’s stunning guitar work flows with both beauty and meticulousness that shimmers with warmth, and “Preciso Aprender A Ser Só” follows with his timeless craft displaying a keen sense of melody.

In the middle, “Luiza” emits a contemplative spirit amid a hypnotic delivery, while “My Romance” is indeed a romantic venture into subdued and stirring song craft. “Noite Clara”, one of the album’s best, then illustrates much skill in the area of Latin jazz ideas as Silveira amazes us with his inimitable vision.

“Eu e Brisa” and “Amazon Secrets” exit the listen, where the former is a sublime and gentle, and the latter glides swiftly, with strong attention to detail as Silveira finishes as strong as he started.

Silveira has spent much time in America playing with Randy Brecker and Bill Frisell, among others, and he brings that experience to his Brazilian roots on this groove filled and very well thought out debut on his own.

Travels well with: Mike Scott- Collecting Things; Henry Robinett Quartet- Jazz Standards Volume 2: Then Again

Saskatchewan All Star Big Band

Saskatchewan Suite

Chronograph, 2021

9/10

Listen to Saskatchewan Suite

Spearheaded by the composer Fred Stride, this live recording features some of Saskatchewan’s brightest musicians, including Al Muirhead, Tom Richards and Miles Foxx Hill, plus many more, as they tell the Saskatchewan story with vivid and lush song craft.

“Movement I- The Place” starts the listen with a soothing and spacey introduction where the brass is reserved yet effective, as a cosmic form of jazz unfolds with warm guitar work and much atmosphere. “Movement II-The First” follows, and brings a busy spirit of bright brass, frisky drumming and playful keys to the big band setting that’s so well done, it alone is worth the price of admission.

Halfway through, “Movement IV- The In-Between” showcases violin acrobatics amid dynamic horns and a strong rhythm section, while “Movement V- September 1905” flows with an uncontainable energy of busy jazz sensibilities that few, if anyone, could replicate.

At the end, “Movement VII- Thank You, Mr. Douglas” trims the volume back with much beauty in a bare, dreamy climate that benefits from precise bass plucking, and “Movement VIII- Saskatchejazz” exits the listen with a festive quality that shuffles, bounces and mesmerizes.

A listen that covers the last 150 years of the Saskatchewan’s history, the music here is as rich, diverse and exciting as Western Canada itself, as the Regina Jazz Society brings us one of the best big band efforts of the year.

Travels well with: Winnipeg Jazz Orchestra- Twisting Ways; Al Muirhead Quintet- Live From Frankie’s & The Yardbird

Kate Schutt

Bright Nowhere

Self-Released, 2021

8/10

Listen to Bright Nowhere

The singer-songwriter and guitarist Kate Schutt returns with a 3rd album, and it’s a tribute to her late mother where her jazz, pop and folk sensibilities unfold with strong attention to both wordplay and musicianship.

“Mothers” starts the listen with strings and keys complementing Schutt’s elegant guitar and rich vocals, and “You More Than Me” follows with soft harmonica and percussion entering the poetic climate of folk influenced beauty.

Entering the middle, the uptempo and percussively strong “Keep Her Out Of Heaven” welcomes soulful backing vocals amid some pop friendly melody, while “That Spring That Felt Like Fall” enters ballad territory where an emotive quality is met with haunting song craft. “Roll The Stone Back”, one of the album’s fullest and louder tunes, then mixes rock and pop with a playful spirit of nearly gospel songwriting.

Closer to the end, “Carrying On Without You” presents a breezy landscape alongside very personal wordplay, and the title track exits the listen dreamy, vocally diverse and with agile instrumentation that truly showcases Schutt’s vast talent.

Schutt spent 5 years as her mother’s primary caregiver, and started the process for this record during that time. Understandably, the record’s tinted with melancholy as it documents the journey with her mother in powerful, heartbreaking and very articulate avenues of expression.

Travels well with: Carrington MacDuffie- Kiss Make Better; Jacqui Naylor- The Long Game

Ojoyo

Ojoyo Plays Safrojazz

Sunnyside, 2021

8/10

Listen to Ojoyo Plays Safrojazz

The saxophonist and penny whistle extraordinaire Morris Goldberg started the Ojoyo project in 1996, where he embraces his South African heritage and meshes it with his adoration for melodic jazz. Ojoyo Plays Safrojazz, which was originally released in 1996, feature two overlapping groups, as Goldberg and company deliver plenty of grooves and solos across the 9 originals.

“Station Road Strut” starts the listen with a bright and melodic approach as Goldberg’s flowing saxophone and Cyro Baptista’s fluent percussion complement Dan Carillo’s spirited guitar work, and “Forward Motion” follows with a dance friendly spirit where Chris Botti’s lively trumpet and Anton Fig’s strong drumming interact playfully amid much warmth.

“Madagascar” resides in the middle and emits much beauty alongside Bakithi Kumalo’s strategic bass and Tony Cedras’ well timed keys as Botti’s trumpet mesmerizes in the cinematic atmosphere, while “Dolphin Jive” moves swiftly with a festive flavor that benefits from quick drumming and bouncy brass.

The final two tracks bring some line up changes, as John Guth’s intricate guitar and Diego Urcola’s glowing trumpet don’t disappoint in the hard swing setting of “Rockwela”, and “Sophiatown Society” exits the listen with Goldberg’s meticulous sax playing front and center on the busy, rhythmic finish.

Goldberg made his recording debut way back in 1959, and has worked alongside Hugh Masekela and Harry Belafonte, among many others. This reissue has been remastered, and the superior sound enhances the instruments as the recording never sounds dated, and actually seems ahead of its time considering these songs are 25 years old. If you missed Ojoyo Plays Safrojazz the first time around, it’s preserved in fine form here, and remains a classic piece of cultured jazz history.

Travels well with: Reza Khan- Imaginary Road; Gabor Lesko- Earthway

Chrystal Für

Elusion

What Are We, 2021

8/10

Listen to Elusion

The recording moniker of the multi-instrumentalist Christopher J. Vibberts, as Chrystal Für the artist pens songs about loss, acceptance and restored life that are instrumental and soaked in atmospheric and mature melodies.

“Requiem” starts the listen and makes an immediate impression with its soothing, ambient landscape that flows with nods to post-rock and neo-classical ideas, and “I’m Losing You” follows with warm piano alongside scattered samples which eventually fade away so the powerful keys take over.

Closer to the middle, “Nova” enters cosmic territory, where precise sound manipulation seems like it could soundtrack a sci-fi film, while “There Is No Second Chance” moves gently, emotively and with a radiant glow. “I’ll Rise At Dawn Once More” then brings in the Echo Collective for 10+ minutes of haunting yet stirring instrumentation that recruits violin, harp, viola and wind sounds to an innovative version of orchestral song craft.

Residing near the end, “Pass The Torch” then turns minimalism into a refined art form in Vibberts’ inimitable vision, and “Other Side Of The Mirror” exits the listen with precise piano that’s as hypnotic as it is cathartic in its sublime execution.

It shouldn’t be surprising that Vibberts has a lengthy and esteemed career soundtracking film, and he takes that experience with him on the droning beauty, cautious texturing and post-classical spirit of this fascinating record.

Travels well with: Orions Belte- Villa Amorini- Echo Collective- The See Within

Patti Parks

Whole Nother World

Booga/VizzTone, 2021

8/10

Listen to Whole Nother World

An animated and expressive vocalist who first impressed us with her 2013 debut album Cheat’n Man, Patti Parks returns with a follow up record, where Kenny Neal lends his inimitable talents to the 8 sturdy and well thought out tracks.

“I’m Trouble” starts the listen with plenty of soulful swagger as Parks’ strong and sassy vocals guide the playful keys, frisky drums and bright brass, and “More Than You’ll Ever Know” follows with a calmer pace of gentle guitar lines and versatile singing in the powerful blues climate.

In the middle, “Baby Bee” displays warm harmonica as a duet with Kenny Neal unfolds with a poetic quality amid a southern spirit, while “Stickin’ To My Guns” flows with no shortage of melody and rhythm to the bouncy, timeless blues formula.

“I Can’t Think” and “No Means No” bookend the listen, where the former is full of vibrant horns and strategic organ alongside Parks’ inviting pipes, and the latter finishes with retro rock’n’roll and funk traces as Parks exits far too soon on this energetic and charming listen.

A full time nurse and a regular performer for charity, Patti Parks may not be a name you’re immediately familiar with, but Whole Nother World is a record you won’t soon forget, as she brings Chicago Blues, Memphis Soul and bluesy funk to a highly memorable sophomore album.

Travels well with: Danielle Miraglia- Bright Shining Stars; Casey Hensley- Good As Gone

Bonzo Squad

There’s Always Tomorrow

Self-Released, 2019

8/10

Listen to There’s Always Tomorrow

A Chicago quartet with a penchant for flourishing grooves and a knack for rock’n’roll ideas, Bonzo Squad deliver 7 originals of their ‘comfort in chaos’ formula on There’s Always Tomorrow.

“83” starts the listen with ambience that bursts into a swift jazz rocker with keys guiding the fun, and “Remedy” follows with a soulfulness as funk and grooves enter the equation.

Further along, “Hungry Hungry Hippos” display Zack Marks’ strong drumming prowess on the rhythmic album highlight, while “iO” trims the pace back to sparse balladry with quivering keys that builds into reed acrobatics from Corbin Andrick on the busy display of dynamic instrumentation.

Near the end, “#Smaeshtag”recruits one of the most playful settings, and the title track ends the listen with nearly tribal drumming and quirky keys in an adventurous exit.

With a couple of tunes falling under 2 minutes. Bonzo Squad aren’t around for a long time, but they are certainly up for a good time on this incendiary, rowdy and unique experience.

Travels well with: Kiefer- Happysad; R+R= Now- Collagically Speaking