Miguel de Armas Quartet

Continuous

Three Pines, 2021

9/10

Listen to Continuous

The Cuban pianist Miguel de Armas now resides in Canada, and he brings his heritage to a fascinating Afro Cuban/jazz hybrid, where March Decho, Michel Medrano Brindis and Diomer González make up the core of his band, though there’s many guests in attendance, too.

The title track starts the listen with no shortage of rhythm and energy as Yasmina Proveyer’s alluring pipes draw us in and Roberto Riverón’s bass and Elmer Ferrer’s guitar flow alongside Joel Cuesta’s congas, and “Couscous” follows with Armas’ proficient piano meshing well with Decho’s fluid bass lines.

Near to the middle, “Welcome Back From Varadero” is a percussively strong album highlight where Eliel Lazo’s mesmerizing congas are complemented by Brindis’ clever drumming and Armas’ keyboards, while “Eva Luna” welcomes strings from Elizabeth Rodriguez (violin) and Gabriela Ruiz (cello), as a dreamy orchestral quality enters. “Song For Bebo” then gets playful and upbeat, and includes Yaima Caballero on güiro and René Lavoie displaying soaring flute skills.

The last two tracks, “It Meant Something” and “Gone Too Soon”, don’t disappoint either. The former is full island grooves that benefit from Tyler Harris on alto sax and the latter dances around frisky melodies that places the Latin jazz prowess in the spotlight.

An album with a global spirit, Armas is nothing if not eclectic, and he puts his heart and soul into these rich, precisely layered, fusion gems.

Travels well with: L’abíme- L’abíme; Winnipeg Jazz Orchestra- Twisting Ways

Matthew Schreibeis

Sandburg Songs

Albany, 2021

9/10

Listen to Sandburg Songs

The Hong Kong resident Matthew Schreibeis has an impressive resume that includes orchestral, chamber and vocal music, and here he offers us 5 pieces that span minimal to busy in his colorful, imaginative vision.

“Inner Truth” starts the listen with Daniel Pesca’s fascinating and atmospheric piano work mesmerizing us for the 10+ minute opener, and “Noticing” follows with Sammy Lesnick’s precise clarinet and Hanna Hurwitz’s quivering violin working together to produce a mysterious and, later on, aberrant climate.

Moving on, “In Search Of Planet X” brings Lesnick’s clarinet, Hurwitz’s violin and Pesca’s keys into a very dynamic and energetic display of unpredictable chamber ideas, while “They Say” allows Dieter Hennings’ guitar prowess to shine across 3 movements where he manipulates his instrument in ways that don’t seem possible.

The last track and title track is the standout, and recruits all the players in the album up to this point, as well as Molly Barth on flute, Colin Stokes with cello, Paul Vaillancourt handling percussion, and Tony Arnold’s soaring soprano as the exit gets thick while pushing and pulling with emotion, exploration and calmer ebbs of pretty song craft.

Much like everything Schreibeis has been a part of, Sandburg Songs is aglow with intricate drama and a distinct imagery as all the musicians here use their talents to blur the lines of classical, orchestral and chamber sounds with allure.

Travels well with: Joseph Fennimore- Blow: Music For Winds And Piano; Dave Walther- Distance

Joseph Fennimore

Blow: Music For Winds And Piano

Albany, 2021

9/10

Listen to Blow: Music For Winds & Pianos

The composer and pianist Joseph Fennimore, who has been active since the ‘50s, returns with a 12th album on Albany Records, as he showcases his love for wind instruments while lending his own inimitable piano skills to nearly 80 minutes of very well thought out chamber sounds.

“Sonata For Clarinet And Piano” starts the listen with David Niethamer’s swift clarinet and Charles Schneider’s playful piano interacting with fluid, exciting gestures, and “Sextet For Woodwind Quintet And Piano” follows with the Chelsea Chamber Ensemble and Fennimore’s piano prowess alternating between calm moments of beauty and bouts of firm, triumphant musicianship.

Later on, “Romance For Flute, Clarinet And Piano” indeed brings a romantic spirit as Tim Malosh’s dreamy flute works well alongside Larry Guy’s precise clarinet and Fennimore’s warm keys, while “Duo For Oboe And Piano” embraces both serene moments as well as bouncy bursts of upbeat ideas from Eugene Box and Fennimore. “Second Sextet For Woodwind Quintet And Piano” exits the listen with a cinematic elegance that emits timeless melody as the many instruments blend together seamlessly.

All the recordings here are unedited concert performances between 1973 and 1989, and the quality of the recordings range from very good to exceptional. The delivery, of course, is flawless as Fennimore and company delight us with their keen attention to detail.

Travels well with: Dave Walther- Distance; Bruce Leto, Jr.- Singing Style

Dave Walther

Distance

Albany, 2021

8/10

Listen to Distance

The violist and composer Dave Walther has an impressive resume that includes playing on more than 500 motion pictures and soundtracks, as well as being a member of The Debussy Trio. Here, with his sophomore effort on the Albany label, he offers us a work for violin and piano; a string quartet; a work for solo piano; and a work for flute and piano.

“Eighth Duo” starts the listen with 3 movements that recruits firm keys and moody strings that interact in playful, even bouncy ways but don’t shy away from bare, atmospheric moments, too, and “Second String Quartet” follows with sublime and very articulate strings emitting warmth, mystery and awe.

The back half of the listen leads with the hypnotic keys of “Grandfather Clock”, where Duncan Cumming mesmerizes us with his finger acrobatics that are as sublime as they are memorable, and “Sixth Duo” exits the record with Catherine Karoly’s dreamy flute and Jonathan Karoly’s cello working together with precision, beauty and no shortage of cautious, thoughtful instrumentation.

An extremely well executed chamber effort, Walther and company are proficient in both bare and busy settings, as the 4 compositions here flow with grace, wonder and much intrigue.

Travels well with: Bruce Leto, Jr.- Singing Style; Aaron Jay Myers- Clever Machines

Bruce Leto, Jr.

Singing Style

Albany, 2021

9/10

Listen to Singing Style

The always exceptional pianist Bruce Leto covers sounds from baroque to present on the aptly titled Singing Style, where the arrangements occasionally welcome vocals alongside Leto’s expressive and artistic approach to his tonal manipulation.

“August Rose” starts the listen with Leto’s keys displaying both intimate and brisk, even firm, ideas highlighting the warm spirit, and “Valses nobles et sentimentales II. Assez lent” follows with much beauty and grace as a darker spirit flows near the end.

Deeper into the listen, “Apparition” offers tumbling keys that weave in and out of cinematic qualities, while “La petite négre” bounces playfully as the brief track makes an immediate impact. “Deux Romances: I. L’ame évaporee” then brings in Lauren Angelini on soprano as her sublime pipes complement Leto’s deft finger acrobatics.

“Armed And Dangerous” arrives near the end and offers a live performance that’s as flawless as it is memorable, and “Ma mére l’oye: IV. Les entretiens de la belle et de la béte” finishes the listen with Scott Cohen’s piano skill complementing Leto’s prowess on the flexible, absorbing exit.

An extremely technical but universally embraceable effort, Leto shows us his multifaceted skill in both calm and muscular environments where tone, harmony and articulation are key. For fans of piano music, few are doing it as well as Leto.

Travels well with: Neil Rolnick- Oceans Eat Cities; Susan Kander- dwb (driving while black)

Aaron Jay Myers

Clever Machines

New Focus, 2021

8/10

Listen to Clever Machines

The Boston resident Aaron Jay Myers approaches chamber music with much creativity and diversity, and here he handles electronics and guitar as many exceptional players accompany him across very rhythmic and unpredictable compositions.

“Skins” starts the listen with Philipp Staudlin’s tenor saxophone acting unpredictably as Matt Sharrock’s marimba contributes in exciting, unconventional ways, and “Lichens II” follows with 8 chapters as Nicole Parks displays her violin with both intimate and abstract ideas present in the often quivering delivery.

Elsewhere, “Have-Not”brings Amy Advocat’s bass clarinet and Sharrock’s marimba into fascinating harmonic progressions, while “Night Of Pan” benefits from Sarah Brady’s flute, Sarah Bob’s toy piano, Amanda Romano Foreman’s harp and Sharrock’s vibraphone in a highly and uniquely rhythmic climate.

“Own Your Own Shadow” lands near the end, and displays Natalie Cristina Calma Gómez on violin and Kevin Price on bass clarinet across the adventurous and often cinematic atmosphere, and “Paraxysm” exits the listen with a busy execution of clarinet, guitar, piano and drums as prog-rock ideas enter a quirky and meticulous finish.

Myers has a background in punk, metal, flamenco, classical, jazz and much more, and he brings his rich arsenal of influences to this exciting chamber experience that you won’t regret spending time with.

Travels well with: SEAMUS- Music From SEAMUS, Vol. 30; Peter Gilbert- Burned Into The Orange

New Chums

Shruggin’ Off The Feelings

Self-Released, 2021

10/10

Listen to Shruggin’ Off The Feelings

Ever listen to a band who are so good that you’re actually ashamed you had never heard of them before? That pretty much sums up the 15 minutes of my first spin of Phoenix’s New Chums, who are well versed in power-pop, alt-rock, indie-rock, and, most importantly, really memorable songwriting.

“The Ride” gets the album off to an atmospheric start before thumping drums and bright vocals burst into a soaring guitar rock setting of fluid and anthemic sounds, and “Recall” follows with riff driven indie-rock that’s full of energy and possesses enough appeal to fill stadiums in a Jimmy Eat World sort of way.

The middle track, “Trade The Market”, moves with a calmer approach that’s soaked in melody, heartfelt singing and pop sensibilities, while “4 on 1’s” bounces with a youthful spirit where the hooks arrive in spades. “Don’t You Know I Know” exits the listen, and just when you think the record couldn’t get anymore catchy, the trio illustrate a dynamic chemistry amid glorious, tuneful and gripping song craft.

New Chums consists of Seth Boyack (guitar, vocals), Ben Hedlund (drums) and Cassandra Clark (bass, vocals), and, if you’re willing, they’ll make you a fan pretty quick on this fantastic EP.

Travels well with: The Guilty Lenses- Somewhat Romance, Somewhat Poetry; Dizzy Box Nine- Radio Fiction

L'abíme

L’abíme

Multiple Chord, 2021

8/10

Listen to L’abîme

An outfit that emerged from the Jonathan Turgeon Trio, L’abíme have been making quite an impression everywhere they go, and this strong debut certainly parallels the work of their previous incarnation, who gained two nominations for Jazz Album Of The Year.

“Requiem” begins this third album with graceful piano from Jonathan Turgeon, as Hugo Blouin’s carefully plucked bass enters the thick climate of bright brass and proficient drumming, and “Perdu dans les bois” follows with a soulful setting of brass and woodwinds interacting with much skill and cautiousness.

In the middle, “Le culte I” moves with a deep approach that’s as mysterious as it is mesmerizing, while “Le culte II” expands into a very adventurous mashing of jazz and chamber ideas that get busy in a controlled chaos sort of way with Alex Dodier’s sax prowess on display.

Near the end, “L’étang au crépuscule” is an intimate track of agile keys, bouncy bass and soothing woodwinds from Gabriel Genest, and the single version of “L’abíme” exits the listen with an infectious energy that’s anchored by Jean-Philippe Godbout’s inestimable drumming.

A very modern listen that includes classical, rock and jazz wrapped up in a rich tapestry of very well executed arrangements, this first album is so detailed, repeated listen yield new finds that you can never tire of.

Travels well with: Winnipeg Jazz Orchestra- Twisting Ways; CODE Quartet- Genealogy

Seafoam Green

Martin’s Garden

Mellowtone, 2021

8/10

Listen to Martin’s Garden

Dave O’Grady and Muireann McDermott, a pair of Irish musicians, are the movers and shakers behind Seafoam Green, and this sophomore album brings a wealth of influences into their inimitable and soulful formula.

“For Something To Say” starts the listen with a breezy, warm roots formula where dual gender vocals harmonize with grit and beauty amid the spirited organ and firm guitar work, and “House On The Hill” follows with a thicker atmosphere of precise drumming, rollicking keys and some playful psyche-rock influence.

Things get even better from here, including the cautious beauty of the sublime Americana that is “Mine All Mine”, while “Swimming In Paint” recruits country influences into their poetic, organic formula. “Winter’s Getting Warmer”, one of the best tracks, then get muscular as well executed riffs make an impression.

Deeper yet, “Working Man” brings in accordion alongside the intricate acoustic guitar and stirring vocals, and the live ballad “My Oldest Friend” exits the listen, where their divine chemistry is showcased with a heartfelt and diverse finish.

A listen that brings traces of blues, gospel, country, folk and roots sounds, Seafoam Green also embrace their Celtic heritage as they impress in both intimate and full environments on this unique rock’n’roll adventure.

Travels well with: Blue Cactus- Stranger Again; Run Katie Run- Running On Love

Seamus

Music From SEAMUS, Vol. 30

New Focus, 2021

8/10

Listen to Music From SEAMUS, Vol. 30

A stunning ensemble in the area of electroacoustic music, SEAMUS (Society for Electro-Acoustic Music in the United States) brings a wealth of talent to compositions that are vastly different from each other while still retaining a keen attention to detail and exciting songwriting dynamics.

“Monstress”, by Christopher Briggs, starts the listen with firm, unpredictable piano as plenty of mysterious atmosphere complements the 10+ minutes of calm, twinkling moments as well as the bold experimental ideas, and “Clouds Pattern” follows with an ominous quality as low buzzing and sound manipulation mesmerize the listener thanks to Elizabeth Hoffman’s vision.

Near the middle, Julie Herndon’s “A Long Postlude” brings spoken word that actually pairs with a lightbulb used as an instrument, and, later on, processed vocals, while “Giant Dipper” mashes samples of the sounds of a boardwalk in Santa Cruz with a young child amid plenty of unique electronic texturing from Mei-Ling Lee’s mind.

Further yet, Kelley Sheehan’s “Talk Circus” combines 2 percussionists and electronics in a way that sounds like a machine in its remarkable delivery, and “Waterside”, by Lyn Goeringer, flows and ebbs like water in its reflective, soothing tone.

Much like everything on the New Focus label, Music From SEAMUS, Vol. 30 bridges organic and synthetic exploration in very fascinating, even perplexing, avenues, that showcase immense skill you’re not going to hear anywhere else.

Travels well with: Peter Gilbert- Burned Into The Orange; Curtis K. Hughes- Tulpa

Avishai Cohen

Two Roses

Naive, 2021

9/10

Listen to Two Roses

The bassist and vocalist Avishai Cohen is in fine company here as Elchin Shirinov handles piano, Mark Guiliana sits behind the drum kit and the Goteborg Symphonic Orchestra lends their inimitable talent to Cohen’s cautious melodies and diverse influences.

“Almah Sleeping” starts the listen and brings in an elegant beauty that’s full of sweeping strings as a cinematic quality welcomes ebbs of calm and swells of tense emotion, and “When I”m Falling”, an original, follows with expressive singing amid the Goteburg Symphony Orchestra’s textured, rich song craft.

Approaching the middle, “Nature Boy” builds into sublime, orchestral musicianship alongside soft singing in a poetic climate, while “Emotional Storm” brings a frisky pace to an exciting atmosphere that could soundtrack a chase scene. “A Child Is Born”, the album standout, then displays a soothing chemistry as the carefully manipulated strings and percussion interact with a glorious atmosphere in E major.

Deeper still, “Morenika”, a traditional Ladino tune, is full of cultured song craft as the flutes add a dreamy aspect, and “Nature Talking”, a Eben Ahbez song, finishes the listen with flowing, precise skill from the orchestra.

Some of these songs are hundreds of years old, and Cohen’s meticulous interpretation of them touches on Afro-Caribbean sounds, Israeli folk music, and traces of Russian, African, and Middle Eastern lineage in his unique and absorbing vision. A truly remarkable listening experience, this is.

Travels well with: N.O.A- Afterallogy; Eileen Ivers- Scatter The Light

This Twisted Wreckage

Ei8ht

Self-Released, 2021

9/10

Listen to Ei8ht

Perhaps best known as the frontman for the British New Wave outfit Fàshiön, Luke Skyscraper James has enjoyed a lengthy and creative career in both music and writing, and this new outfit as This Twisted Wreckage continues his consistently innovative approach to art.

James is aligned with Ricky Humphrey (Nature Kills, Rise) on the record, and “Dancing With Angels” opens the listen with playful drumming, bouncy bass and soulful vocals that float somewhere between the atypical edges of pop and rock, and “Another Ride” continues the imaginative landscape with some proto-punk nods in a gritty yet melodic ‘80s sort of way.

“Honesty” lands in the middle and moves slowly, mysteriously and with firm keys, expressive singing and an ominous quality that embraces hazy synth, too, while “Robogirl” is an upbeat display of buzzing guitars and agile drumming amid a dense approach that flirts with grunge, even.

Some of the later tracks are the best, including the bass acrobatics of the angular, alt-rock influenced “Through The Wall”, and “Digging The Same Hole” exits the listen spacey, tense and full of absorbing textures and emotive singing that pushes the boundaries of iconoclastic rock’n’roll.

An extremely well done debut that tips it hat to post-punk, goth and art-rock while still retaining raw melody and moments of dark beauty, James and Humphrey make every second here an experience you won’t forget and, perhaps most importantly, one you’ll want to revisit again.

Travels well with: Glaare- Your Hellbound Heart; Creux Lies- The Hearth

Fifth Element

Fifth Element

Self-Released, 2021

8/10

Listen to Fifth Element

A dynamic quintet spearheaded by the saxophone extraordinaire Dave Coules, Fifth Element have been plugging away since 2016 with their collective strength that radiates timeless jazz qualities amid much creativity.

“I Can’t Believe That You’re Still In Love With Me” starts the listen with punchy drumming from Glenn Anderson and a snappy climate, as Nina Richmond’s pretty pipes guide the memorable jazz opener, and “A Nightingale Sang In Berkeley Square” follows with sublime balladry, where the gorgeous singing is complemented by Coules’ proficient tenor sax prowess.

Further down the line, “The Gentle Rain” displays Dale Scaife’s skilled piano work as the elegance from Richmond and soulful sax set the mood, while “There Will Never Be Another You” bounces with an infectious energy of swift drumming, well timed keys and bright sax. “The Look Of Love” then gets romantic, as Richmond’s vocals soar high and Ron Johnston’s effective bass adds much to the dreamy delivery.

“My Romance” and “My Shining Hour” exit the listen, where the former is a soft and gentle display of lightly textured beauty, and the latter bursts into a frisky jazz finish that’s as fun as it is meticulous.

An outfit known for their stunning live performances, these 12 tracks certainly capture their undeniable chemistry, and the top notch songwriting settles in quite nicely on the first listen, though I hardly doubt you’ll only listen once.

Travels well with: Dan Rose- New Leaves; Larry Newcomb Quartet- Love, Dad

Jenn Cleary

All Together Now

Self-Released, 2021

8/10

Listen to All Together Now

A singer-songwriter and guitarist with a penchant for the blues, Jenn Cleary shines in both bare and full settings on this 10 track listen, where her songs for kids are an extension of her non-profit work that promotes health and economic sufficiency programs in Nepal, India and Tibet.

“Our Wild Family” starts the listen with Cleary’s playful formula reminding us to care for our earth and animals as harmonica from Mad Dog Friedman and piano from Eric Moon complement Cleary’s melodic guitar work, and “My Sisters And Me” follows with a bluesy quality as the diverse singing aligns with frisky drumming from JJ Jones and warm backing vocals from Kate Hope and Megan Burtt.

In the middle, the rhythmic “Clean Water” bounces with a striking energy as Cleary encourages us to stop pollution in her charming, even soulful way, while “Love Right Now” brings in Mai Bloomfield on cello for an organ friendly folk song. “Backyard Farm”, one of the record’s best, then displays Moon’s accordion skills as Cleary shows some grit in her pipes, in between the quirky animal noises.

Approaching the end, “Less Gravity” showcases firm piano as John McVey’s strong electric guitar prowess doesn’t disappoint in the rock’n’roll climate, and “Families Of All Kinds” exits the listen with retro approach that includes keys, harmonica and brushed percussion working together with much nostalgia.

A multi-talented artist, Cleary is also a beekeeper, and this 4th album brings her 20 years of experience to an educational, wise and delightfully fun 32 minutes.

Travels well with: Beth Jean- Let’s Put On A Show; Stacey Peasley- Make It Happen

Greg Smith

Redemption Road

Self-Released, 2021

8/10

Listen to Redemption Road

A veteran singer-songwriter from Savannah, Georgia, the multi-instrumentalist Greg Smith knows his way around a very thoughtful tune that embraces, folk, country and even pop sounds, and he’s got Zack Greene, Bob Duncan, Tom Murray and Campbell Tunney with him.

Smith places the title track in the lead position, where warm, mesmerizing acoustic guitar aligns well with his poetic, soft singing as quick drumming enters the emotive landscape, and “Amarillo” follows with flowing guitar, where a timeless folk quality is present with much eloquence.

Deeper into Chapter One, “San Joaquin Station” brings a sublime intimacy as Murray’s precise percussion adds much to the lovely climate, while “Snowfall” emits a lush and expressive display of pop influences amid the reflective tone.

Chapter Two starts with the darker approach of “Redemption Redux”, where Smith handles keys in the brief, ominous environment, and “Go” follows with much strategic tuba from Tunney helping lay down the atmospheric and introspective album highlight. “Ten Sinners” exits this portion of the listen with fuller drumming and thicker guitars that approach rugged rock territory, which segues well into the tuba and guitars working together playfully, skillfully and, most importantly, memorably on the final track, “Fais Do-do”.

Now 10 albums deep into a very respected career, Smith’s attention to detail and articulate wordplay won’t go unnoticed on this rich, forthright and sometimes haunting listen that draws you in immediately.

Travels well with: Deep Rivers- Nothing Even Happens To Me; Cody Lee- Woodpecker Crisis

Robert Allen Parker

The River’s Invitation

Broken String, 2021

8/10

Listen to The River’s Invitation

A longtime player in the Memphis scene, guitarist, songwriter and producer Robert Allen Parker offers us a large handful of his gritty and powerful song craft, where singers like Kennard Farmer, Candice Ivory, Chris Stephenson and others are on hand for the diverse listen.

Parker gets the listen off to an exciting start with the chunky and elegant “The Sound Of A Revolution”, where his flowing guitar acrobatics are met with incendiary drumming amid a very distinct brand of roots sounds. Further on, the psychedelic, blues rock of “My Mind Comes From A High Place” flows with rugged, soulful vocals from Farmer, and “Skydog”, a tribute to Duane Allman, brings eastern influences into the acoustic guitar fueled beauty that also benefits from cultured drumming and spirited electric guitar.

Deep album highlights include the sublime balladry of the soulful “Speed Of Light”, while the rockin’ and rhythmic “Wolf Man” will get your body moving with its punchy and energetic delivery. “And The Song Goes On Forever”, a particularly noteworthy track, then gets funky, playful and colorful as bright brass and intricate guitar work cultivate some classic rock nods, too.

A very muscular, careful and meticulous affair, fans of all kinds of rock’n’roll and even jam bands will be enamored here, as Parker lives up to the praise that legends like Luther Dickinson and Gary Clark Jr. are deservedly throwing his way.

Travels well with: North Mississippi Allstars- Up And Rolling; New Moon Jelly Roll Freedom Fighters- Volume 1

The Polyphonic Spree

Afflatus

Good, 2021

8/10

Listen to Afflatus

If you’re like me, you enjoy a covers record as much as anyone, but, of course, tracking one down is often easier said than done. Well, the Dallas residents The Polyphonic Spree have filled that void for us, where legends like The Rolling Stones, The Association and many others are reworked in their inimitable, choral rock vision.

“Don’t Change”, the best INXS tune, starts the listen and buzzes firmly as the charged and melodic delivery does justice to the original with much playfulness, and “You Put My Love Out The Door”, by Daniel Johnston, brings ‘70s nods the soulful, soft rocker.

Elsewhere, “Run To Me” (Bee Gees) offers a lush and retro-pop climate that’s quite dreamy, while “The Porpoise Song” embraces a busy approach of textured nods to symphonic rock that few others could replicate. “Could It Be Magic”, a Barry Manilow original, then recruits firm keys amid the orchestral, chamber filled setting.

Closer to the end, “Let’Em In” relies on piano and drums to help illuminate the cautious yet adventurous Wings tune that even features a whistle solo, and “The Spirit Of Radio” places psychedelic nods into The Rush classic that’s as quirky as it is nostalgic.

A precursor to an album of new material- their first since 2013- which will arrive later this year, if Afflatus is any indication, Tim DeLaughter and company just might be bringing us a career highlight very soon, as their many vocalists, strings and brass are working together in exciting, innovative ways.

Travels well with: Rogue Wave- Nightingale Floors; The Flaming Lips- King’s Mouth Music And Songs

Grace Pettis

Working Woman

Mpress, 2021

8/10

Listen to Working Woman

Originally from Alabama and now residing in Austin, the singer-songwriter Grace Pettis brings a wealth of influences to this first record on the Mpress label, and she’s got an all star cast of very talented women to help her songs glow with grit and melody.

Pettis starts the listen with the thick and spirited title track that abruptly gets calm, soulful and full of strong storytelling before erupting into a soaring display of roots rock, and “Landon” follows with help from Indigo Girls as breezy country nods enter her warm and soothing formula.

As we enter the middle, Dar Williams is present on “Any Kind Of Girl”, as a bare climate of poetic folk rock radiates much beauty, while “Never Get It Back” welcomes The Watson Twins as the atmosphere alternates between soft and reflective to busy with crashing percussion, dreamy backing vocals and dense guitars. “Paper Boat”, an especially great tune, then recruits Mary Bragg for the piano and pedal steel friendly album highlight that’s intimate, eloquent and just so moving.

Further down the line, “Pick Me Up” benefits from Ruthie Foster’s expressive pipes as near gospel territory is reached amid the elegant piano and rhythmic guitars and drums, and “Mean Something” exits the listen in Gina Chavez’s company, where Pettis’ versatile pipes flow alongside gentle guitar in a very memorable finish.

A very well thought out and powerful listen that truly showcases Pettis’ diverse songwriting abilities, the company she keeps is nothing short of awe inspiring as she impresses in both loud, rockin’ tunes as well as serene moments of grace.

Travels well with: Maia Sharp- Mercy Rising; Rachael Sage- Character

Swift Silver

Swift Silver

Self-Released, 2021

9/10

Listen to Swift Silver

A Kentucky outfit spearheaded by songwriters Anna Kline and John Looney, this self-titled album brings the artist back to their roots, as they explore soul, twang, gospel and blues with a wealth of talent supporting them.

“Belleville Blues” starts the listen with Kline’s sturdy, soaring pipes guiding the rhythmic form of blues rock that’s got plenty of soul present, and “We’ve Given Up On Us” follows with Looney’s warm electric guitar complementing the cautious drumming from Hayden Miles as well as the poetic, emotive singing.

The middle tracks are some of the best, including the precise keys of the gospel flavored beauty that is “Tonight, Forever Yours”, while “Come On Home To Yourself” picks up the pace with its fuzzy guitar and bouncy landscape of gritty yet melodic southern rock. “The Fields Have Turned Brown”, the lone cover, then displays breezy acoustic guitar amid a harmonic duet that’s a bit rugged but still very pretty in their unique form of Americana.

Further still, “We All Get Our Turn” finds its way into cautious, emotive folk rock, and “Ain’t Wrecked Yet” exits the listen with classic country influences embedded in the eloquent and stirring balladry.

In addition to Miles on drums, Kenny Miles lends a hand on baritone guitar, organ, bass and harmony vocals, and Chris Justice holds down bass on 1 track. Together, they make this debut a very unique and absorbing effort that puts much diversity into their brand of Southern roots music.

Travels well with: The Drunken Hearts- Wheels Of The City; Bill Scorzari- Now I’m Free

Bobby Hawk

Lights On Kinks Out

Self-Released, 2019

8/10

Listen to Lights On Kinks Out

Though this is Bobby Hawk’s debut solo album, the multi-instumentalist has a long history playing alongside Abigail Washburn and Noam Pikelny, among others.

While he’s primarily spent time navigating the fiddle, Lights On Kinks Out has the Brooklyn resident transitioning to guitar, saxophone and violin with very eclectic, accomplished results.

The title track starts the listen with Hawk’s smooth baritone vocals on a warm, melodic opener, and “Let Things Go”, with Ana Egge, follows with a breathy delivery of ethereal sounds on the soft jazz influenced tune.

In the middle, “The One” offers soft acoustic strumming in the cautious Americana and folk flavored setting, while “Future Strangers” flows with a sparse setting of atmospheric beauty that parallels the greatness achieved by Elliott Smith.

Near the end, “Away We Go” brings a percussive strong, louder tune of playful dynamics, and “Hammer” emits a jangly display of indie-rock where piano courtesy of Seth Glier adds much to the formula. “Carry Me Through” ends the listen restrained and emotive with clarinet, as traces of country linger amid the catharsis.

Ultimately a break up album, Hawk has an impressive cast supporting him, including Colin Jalbert, Darby Wolf and Alec Spiegelman, to name a few, and together they really illuminate this pensive, intimate and adventurous effort.

Travels well with: Richard Buckner- Our Blood; Ana Egge- Is It The Kiss