Jesse Brewster

The Lonely Pines

Crooked Prairie, 2021

9/10

Listen to The Lonely Pines

The Bay Area artist Jesse Brewster has played plenty of genres during his many years as a musician, and here with his 5th LP he lyrically examines the process of moving on while using country, folk, Americana and roots sounds in his highly memorable formula.

“Let’s Run Away” starts the listen with Brewster’s sharp guitar playing that helps radiate warm, organic melodies as smooth singing complements the rootsy setting, and “Kicking And Screaming” follows with some folk-rock sensibilities as Brewster hits some high notes alongside plenty of grit.

“Southern” resides near the middle and recruits subtle gospel influences into the acoustic guitar and harmonica friendly display, while “Close To Home” isn’t short on vocal harmonies and jangly riffs in its rural rockin’ climate. “So Much Good Right Here”, a pretty yet rugged form of Americana, then makes an immediate impression in its glowing songwriting.

Closer to the finish, “No One To Blame” is vocally strong and musically inviting amid stirring storytelling and a cautious atmosphere, and “Amber Kinney” exits the listen with strings adding an emotional aspect to the Celtic folk influenced conclusion to a very well thought out listen.

The kind of music Brewster plays might seem more suited for Nashville than San Francisco, but that isn’t stopping the seasoned veteran from placing twang into his rock formula that’s easy to enjoy and difficult to forget. How he’s this many albums deep into a solo career without being everyone’s go to Americana singer-songwriter is beyond me, cause few people are doing it better.

Travels well with: Domenic Cicala- Come On Over; D.L. Marble- One Line At A Time

Byla Rose

How Far

Self-Released, 2021

9/10

Listen to How Far

The moniker of vocalist, poet and songwriter Julia Rose Cummings, as Byla Rose the songstress offers us 5 very thoughtful tracks on this debut, where nods to the Laurel Canyon sound are certainly present amid a timeless emotional quality and even some grit, too.

The quick listen starts with the playful folk ideas of the anthemic “What Water Does”, where a soulfulness thanks to Cummings’ strong pipes make an immediate impression, and “How Far” follows with proficient acoustic guitar from David Immergluck, as Stephen Hodges turns in exceptional drumming.

At the halfway point, “A Secret” is a bare display of strategic pedal steel as Cummings’ expressive singing is both eloquent and moving, while “Time” glides with a rootsy energy that’s raw, inviting and full of soothing backing vocals from Kudisan Kai. “Last Call” exits the listen, and brings some bluesy swagger into the electric guitar friendly and very memorable finish.

Self-described as ‘Pacific Coast Folk’, Byla Rose is off to an impressive start, where similarities to Tom Waits or Fiona Apple won’t go unnoticed or unappreciated, and her strong lyrical content and organic song craft will resonate with fans of folk, Americana, or even the lighter, earlier days of rock.

Travels well with: Dave Desmelik- The Calendar Album; Sadler Vaden- Anybody Out There?

Kenney Polson

Colors Of Brazil

Rosetta, 2021

9/10

Listen to Colors Of Brazil

A West Coast jazz saxophonist, Kenney Polson integrates his time in Brazil into his jazz formula, where plenty of help and atypical instruments are on hand across this cultured and textured affair.

The album leads with “Aquarela do Brazil (Colors Of Brazil)”, where Polson’s colorful sax is complemented by Noah Simpson’s trumpet and Kyle Molitor’s trombone, among many others, as breezy melodies soar in the warm landscape, and “Hipnotizado (Mesmerized)” follows with furious drumming from Cidinho Moreira as Polson’s acrobatic alto sax doesn’t disappoint.

As we enter the middle, “Flor de Lis (Lily Flower)” is nothing short of beautiful, where a pair of kotos from Mitsuki Dazai and Dr. Osamu Kitajima adds much grace, while “Mariana” benefits greatly from Marinho Boffa’s keys and Nico Assumpcao’s playfully plucked bass. “Passeio de Bicicleta (Bicycle Ride)”, a very noteworthy track, then gets busy and lush with Alessandre Carvalho’s precise guitar bringing much to the rhythmic highlight.

The final tracks include “Obsessao (Obession)”, which has Polson holding down soprano sax, clarinet and bass clarinet with much expertise as Federico Pena tosses in a glorious piano solo, and “Luz do Sol (Sun Light)”, where a sublime and dreamy climate thanks to Chuk Barber’s percussion, Dan Balmer’s guitar work and, of course, Polson’s sax finish the record on a very high note.

Polson’s unique vision and embracing of harp, koto, vibraphone, and a nGnoni, to name a few, places his jazz template into an unclassifiable category that’s rich with creativity and flowing with fascinating musicianship on Colors Of Brazil.

Travels well with: David Larsen- The Mulligan Chronicles; Lyle Workman- Uncommon Measures

David Larsen

The Mulligan Chronicles

Self-Released, 2021

8/10

Listen to The Mulligan Chronicles

A saxophonist, composer and educator, David Larsen pays homage to Gerry Mulligan here, where pieces spanning his entire catalog are illuminated by Larsen and esteemed musicians who actually worked with Mulligan.

“Walkin’ Shoes” starts the listen with a bright and vibrant appeal as Larsen’s sax shines alongside graceful keys from Bill Mays and frisky drumming thanks to Ron Vincent, and “Curtains” continues the strong song craft with plenty of spirited and cautious interplay that allows Dave Glenn’s trombone prowess a spotlight.

The middle tracks offer us the flowing melodies of the warm “Lonesome Boulevard”, while “Idol Gossip” picks up the pace with a lively energy that’s got plenty of rhythm amid the sax acrobatics. “The Flying Scotsman”, a late album highlight, then benefits greatly from Dean Johnson’s agile bass lines as all the players have their respective talents on display.

Deeper still, the lush and intimate “Etude For Franca” proves that the ensemble excel in calmer areas with much emotion, and “Taurus Moon” exits the listen on a swift and dynamic finish of calculated and beaming jazz that we could never tire of.

An excellent starting point for those unfamiliar with either Larsen or Mulligan, the inclusion of veteran musicians who played with Mulligan gives this tribute an authentic touch, and Larsen’s reimagining certainly proves that he’s got the chops in area of modern jazz sounds.

Travels well with: Lyle Workman- Uncommon Measures; Melbreeze- I Love Paris

Dave Stryker

Baker’s Circle

Strikezone, 2021

8/10

Listen to Baker’s Circle

Dave Stryker sure has been prolific in recent years, and here he’s back with his esteemed band for 10 tracks of both originals and covers, where his inimitable guitar playing is just as impressive as ever.

The frisky and luminous “Tough” starts the listen with plenty of solos from all the players on hand, and “El Camino” follows with some Latin flavor entering the conga friendly setting thanks to Mayra Casales.

At the midpoint, Jared Gold’s “Rush Hour” is indeed a swift tune full of Walter Smith III’s sax acrobatics and furious drumming from McClenty Hunter, while “Superstar” trims the volume back for a warm and intimate display of Stryker’s sublime guitar work. “Baker’s Circle”, an album highlight, then brings Casales back on percussion as Gold’s organ prowess impresses alongside Smith’s brass skills.

Close to the end, “Love Dance” is especially pretty, even romantic, in its cautious delivery, and “Trouble (No. 2)” exits the listen with a solid groove and plenty of soul that you won’t forget anytime soon.

An artist with 20+ albums in his catalog, Stryker’s jazz guitar skills are never short on creativity and always executed flawlessly, and Baker’s Circle is certainly another exceptional record you’ll be glad you spent time with.

Travels well with: Jared Gold- Reemergence; Dave Stryker- Eight Track Christmas

Domenic Cicala

Come On Over

Self-Released, 2021

8/10

Listen to Come On Over

A Washington D.C. songwriter with a penchant for twangy Americana, the 9 tracks here from Domenic Cicala are all covers by legends like Donnie Fritts, Dave Alvin, and Fred Eaglesmith, among others, and they all reside in a duet setting.

“Loving Arms” starts the listen extremely inviting and warm as Cicala’s gentle pipes are complemented by Michelle Hannan’s lovely singing amid rustic steel guitar, and “Goodbye Again” follows with breezy acoustic guitar as Cicala is joined by BettySoo’s pretty vocals on the timeless Americana setting.

In the middle, “We Had It All” benefits much from Jack O’Dell’s proficient drums as Mindy Miller’s expressive singing aids in the folk influenced climate, while “If Only You Were Mine” highlights Moe Nelson’s acoustic bass and Mark Noone’s baritone guitar, alongside Jaimie Harris and Cicala duetting with much beauty and grace.

Further down the line, “Come On Over” recruits Rachel Harrington as traditional country nods unfold with intimacy and even piano from Bill Starks, and “If I Needed You” exits the listen with Janine Wilson’s soaring contributions on the classic Townes Van Zandt tune that’s just as stirring in Cicala’s vision.

An album that took 3 years to make, you can tell much work went into the project, as each track is reimagined with much detail and care. Although he may be an obscure name outside of his immediate area, Domenic Cicala is more than worth a spin for anyone with an affinity for country, folk, Americana and rootsy sounds.

Travels well with: D.L. Marble- One Line At A Time; Andy Baker- North Country Sky

DUO Stephanie & Saar

Cavatine

New Focus, 2020

8/10

Listen to Cavatine

The duo of Stephanie Ho and Saar Ahuvia return with Cavatine, where the piano virtuosos reimagine legendary work in a new environment as they interpret Ludwig van Beethoven and Franz Schubert in their very alluring formula.

The first six tracks offer us Beethoven’s “String Quartet In B-Flat Major, Op. 130”, where the keys vary from soft to quick and agile on “Adagio ma non troppo- Allegra”, to the dancing melodies of the playful “Presto”. Later on, “Alla danza tedesca. Allegro assai” displays dynamic interaction between the four hands, while “Grosse Fuge Opus 134” uses its 16+ minutes to offer firm, nearly abrasive keys, as well as flowing key acrobatics that you can’t help but admire.

The final track, Schubert’s “Fantasie in F minor, D. 940”, finds the keys emitting a contemplative, ominous atmosphere of unparalleled skill and sublime, adventurous musicianship.

A record that coincides with Beethoven’s 250th birthday, Stephanie & Saar perform with an elegance and artistic quality here, and if their chemistry seems very intimate, well, it should as they have been married for 15 years now. If you’ve got an ear for piano music, it’s best you’re prepared to spend much time with Cavatine, and you’ll likely appreciate every second of it.

Travels well with: Sid Richardson- Borne By A Wind; George Lewis- The Recombinant Trilogy

Claire Chase

Density 2036

Corbett Vs. Dempsey, 2020

8/10

Listen to Density 2036

A project that began in 2013, Claire Chase’s vision with a flute unfolds across a 4 CD set that features 18 works by 16 composers as electronics from Levy Lorenzo and other appearances help shape the very intricate compositions.

Disc 1, parts i & ii, starts with Marcos Balter’s “Pesso” for six bass flutes, where the low woodwinds move cautiously and later on mysteriously and with much atmosphere, and Mario Diaz de Leon’s “Luciform” emits much playfulness and a daring approach as flute and electronics weave in and out of each other with incredible dynamics.

Later on, “Parabolas na Caverna”, by Felipe Lara, shows us just how much one can accomplish with just a flute in an amplified setting, and Edgard Varése’s “Density 21.5” exits the listen with both cautious and firm displays of Chase’s strong flute prowess.

The 2nd disc is equally mesmerizing, and includes Dai Fujikura’s “Lila”, where solo flute, bass flute and contrabass flute showcase the many dimensions of the woodwind, and “Limn” by Nathan Davis, adds electronics to the bass and contrabass flute for an exercise in minimalism that also gets nearly sci-fi like.

The 3rd disc, part iv, is where some of the most adventurous tracks reside, including the glissando flute and ondes Martenot friendly “The Stimulus Of Loss”, where Suzanne Farrin’s song craft is illuminated gently and with much attention to space and tension. Vijay Iyer’s “Five Empty Chambers”, possibly the best track present across all the discs, then flirts with organic and synthetic noises that can be both nature-esque, but then also strategically jarring with a very unconventional rhythm.

The final installment is entirely work by Marcos Balter, and brings vocals used as an instrument into the flute dominated disc that showcases Chase’s inimitable proficiency with an incredible performance.

Amazingly, this entire listen includes no overdubs or corrections, and was recorded over 4 years. Even if you’ve heard flute music before, it’s never sounded like this and likely never will, as Chase’s vision is completely unclassifiable and beaming in a very unique realm of its own.

Travels well with: George Lewis- The Recombinant Trilogy; Wang Lu- An Atlas Of Time

Dominique Fils-Aimé

Three Letter Words

Self-Released, 2021

9/10

Listen to Three Letter Words

The final installment in her trilogy of exploring African-American music culture, the Canadian songwriter and vocalist Dominique Fils-Aimé exits the series with a dip into cathartic and expansive soul music, and it just might be her most diverse effort yet.

“Grow Mama Grow” starts the listen with hand clapping fun as Fils-Aimé’s soulful and playful vocals flow alongside bright trumpet from Hichem Khalfa, and “While We Wait” follows with smooth, expressive singing as the early days of rock’n’roll enter a very neo-soul setting of warm beauty.

Near the middle, “Mind Made Up” benefits from layered vocals and bare but strategic percussion from Elli Miller Maboungou as the tune builds into an emotive, R&B influenced album highlight, while “Fall And All” resides in sublime balladry thanks to Fils-Aimé’s flawless pipes and David Osei Afrifa’s stirring piano. “Home To Me”, another exceptional tune, then emits a soothing intimacy amid light backing vocals and elegant strings.

Deeper into the record, “The Healing Song” is a vocally strong and musically light display of gentle African percussion, and the calm bass plucking of Jacques Roy and Afrifa’s agile keys finish on a very well executed cover of “Stand By Me” that certainly does justice to the original in Fils-Aimé’s creative vision.

A superb record that embraces ‘50s doo-wop as well as much cultured, unpredictable song craft, horns, synth, didgeridoo, and orchestral moments help cultivate plenty of groove and rhythm. It wouldn’t surprise me at all if Fils Aimé sees her 2nd Juno Award here, cause Three Letter Words is an amazing body of work.

Travels well with: Simone Kopmajer- Christmas; George Benson- Weekend In London

Scott Lee

Through The Mangrove Tunnels

Panoramic, 2021

8/10

Listen to Through The Mangrove Tunnels

Known for his atypical meter groove and iconoclastic forms of orchestral and classical ideas, Scott Lee’s meticulous compositions are fleshed out by the JACK Quartet, as well as Steven Beck on piano and Russell Lacy behind the drum kit on this work that’s inspired by Lee’s Florida roots.

Lee starts the listen with the low piano of the title track, where plucked strings and bare percussion adds mystery to the atypical chamber opening, and this unpredictability follows to the loud versus soft dynamics of “The Man In The Water”, where frantic drumming and quivering strings add a very jagged and inviting element.

Halfway through, the brief “Flying Fish” offers violin acrobatics alongside bouts of swift keys and drum fills, while “Playthings Of Desire” benefits much from Beck’s piano skills in a cinematic delivery that could both soundtrack a romantic film, just as it could an action flick.

The best tune lands near the end, where “The Ballad Of Willie Cole” spends 11+ minutes mesmerizing us with furious swells of orchestral rock, though calm ebbs of picked and bowed strings are nearby, too. “Floating Away” then exits the listen on a dreamy note, though, in the middle, it bursts into tense textures that add a muscular dimension to the fascinating finish.

A listen that’s capable of being both dark yet ethereal, Lee’s unconventional approach to harmonies and bold approach to songwriting might be quite complicated, but it’s also easily accessible to those willing to embark on the journey.

Travels well with: Catalyst Quartet- Uncovered Vol 1; The Crossing- Tower And The Garden

Robert Connely Farr

Country Supper

Self-Released, 2020

9/10

Listen to Country Supper

A Canadian based singer-songwriter with his roots in Mississippi, Robert Connely Farr certainly retains the spirit of the south in his diverse formula that embraces Americana, country, folk and many different variations of the blues, too.

“Cypress Grove” starts the listen with plenty of warmth as slow burning blues rock guides the raw and emotive opener, and this powerful formula continues to the loud and thick southern rock of “Girl In The Holler”, as well as more bare, expressive and highly soulful “Catfish”.

The middle tracks impress, too, and include the gritty and poetic “Train Train”, while “All Good’” benefits greatly from bouncy bass lines amid strong riffs and proficient drumming. “Bad Bad Feeling”, one of the album’s best, then brings in Ben Yardley for a driving and melodic display of timeless blues that’s not short on grooves either.

“Lately” lands near the end and recruits breezy acoustic guitar as some folk and country ideas enter the cautious landscape, and “I Know I’ve Been Changed” exits the listen on an intimate, gospel influenced finish that’s both spiritual and gripping.

A record that points towards the past will still being very modern, Farr is just as versed in the area of Delta blues as he is indie-rock or alt-country, and it’s quite easy to see why Country Supper ended up on many year end lists. For fans of names of Springsteen, Earle and Fulks, you’re not going to want to pass this up.

Travels well with: Patrick Sweany- Close To The Floor; Kevin Burt- Stone Crazy

Gregg Karukas

Serenata

Night Owl, 2021

9/10

Listen to Serenata

The composer, producer and keyboardist Gregg Karukas has had an impressive career, as this is his 13th album. Additionally, he’s played on over 100 recordings and has seen his work covered by names like George Benson and Pauline Wilson, among others. On Serenata, his first release after a four year break, Karukas interprets classic songs from Brazilian legends Milton Nascimento, Clube da Esquina and Dori Caymmi, and he tosses in some originals, too.

Karukas starts the album with the elegant and glorious keys of “Travessia” emitting so much warmth, and “Ponte de Areia” follows with an upbeat and flowing display of timeless jazz ideas.

While 15 tracks of just piano might out welcome its stay in some situations, each track here brings a unique vision, including the summery melodies of “Better Days”, and “Clube de Esquina No. 2” find a cultured place to reside amid a soulful approach. “Dori’s Song”, one of the record’s best, then finds the perfect balance between emotion and playfulness in Karukas’ very capable hands.

Close to the end, “Historia Antiga” displays incredible key acrobatics and unparalleled diversity, and “Long Ago” exits the listen with a very thoughtful and timeless execution of gentle, agile jazz prowess.

It’s no surprise that Karukas has won a Grammy, as he paints a beautiful portrait with his deft playing and unique brand of songwriting. Although this is his first solo album of piano songs, let’s hope it is isn’t his last, cause his inimitable talent is at its best in this climate.

Travels well with: The David Angel Jazz Ensemble- Out On The Coast; Mark Winkler & David Benoit- Old Friends

Dan O'Farrell And The Difference Engine

Richard Scarry Lied To Me

Gare du Nord, 2021

10/10

Listen Richard Scarry Lied To Me

The 3rd album from the Southampton trio that features Dan O’Farrell on vocals and guitar and Rick Foot and Chris Walsh handling double bass/vocals and drums/percussion respectively, Richard Scarry Lied To Me is all over the place as far as genres go, and not quite as political or dreary as their earlier work.

The album starts with the strong guitar work of “Here It Comes”, where grit and melody meet at an intersection that embraces folk and alt-rock, and “Dear Life” follows with a softer quality where punchy keys and crisp percussion guide a dreamy elegance of mature indie-rock.

Things only get more interesting from here, including the Bossa Nova nods of the acoustic guitar picking friendly “What Do I Know?”, while the moody strings of the bare and intimate “Hedgehog” is pure beauty and grace. “Extinction Man”, a truly great tune, then bristles with an alt-rock rock spirit where a busy display of noisy but tuneful dynamics impress and captivate.

Further still, “Tempus Fugitive” is a scrappy rocker that recruits crashing percussion alongside bass acrobatics and driving guitars, and “Tame Atlantics” exits the listen with much atmosphere as hypnotic keys and eloquent singing illuminate the sea shanty finish.

A record that can entertain a protest song ala Billy Bragg, just as it can the early rawness of Frank Turner, O’Farrell and company are diverse enough to welcome flute, saxophone, mellotron, and piano, among others, and there just isn’t a second wasted on this exceptional effort.

Travels well with: Mekons- Deserted; Calexico- Algiers

Richard Pryor

Craps (After Hours)

Omnivore, 2021

8/10

Listen to Craps (After Hours)

Richard Pryor’s sophomore album, Craps (After Hours), really set the tone for his work in the ‘70s, as he was becoming more political/socially outspoken and also, most notably, more controversial. Originally released in 1971, this expanded edition brings back the original 32 tracks, plus 4 bonus tracks from the out of print Evolution/Revolution: The Early Years (1966-1974).

At this point in his career, Pryor was performing for mostly black audiences, and even when it was a mixed crowd, he didn’t have a ‘clean’ act. This approach is more than apparent in sketches like “Big Tits” and “Gettin’ Some”, where problems in marriages more than hint at his own failed unions. Elsewhere, the ongoing battle of being a black man and dealing with white cops shines through in bits like “I Spy Cops” and “The Line-Up”.

Not so surprisingly, Pryor was knee deep in hedonism in the ‘70s, and that’s reflected in pieces like “Gettin’ High”, “Dope” and “Gettin’ The Nut”, where, by his own admission, he’s snorting cocaine. While this was recorded he was being sued by two women for child support, and going through a divorce, and one can easily speculate that Pryor’s sexual prowess had something to do with that.

Pryor wasn’t at a great place in his life when Craps (After Hours) was recorded. Financial and personal problems plagued him, and he parlayed these struggles into his loose, often messy act, that, even though raw and sometimes disjointed, is still quite insightful at its core and always brutally honest.

Certainly a must for longtime fans, it’s not a bad place to start, too, and even though there’s just a small amount of bonus material included, Scott Saul’s lengthy liner notes alone are worth picking up this reissue for.

Travels well with: Richard Pryor- Richard Pryor- Richard Pryor; George Carlin- Class Clown

Tusmørke

Nordisk Krim

Karisma, 2021

9/10

Listen to Nordisk Krim

The long running Norway legends Tusmørke are back with a double concept album that thematically surrounds Danish bog bodies, which, incidentally, was a fascination that was ignited about the same time the band developed an interest in heavy metal.

“Ride The Whimbrel” starts the listen with a firm, psychedelic groove as nods to much earlier decades enter the soulful yet playful opener, and “Age Of Iron Man” follows with a brisk pace of keys and drums working together in some type of folk-rock meets psyche-rock hybrid that’s as daring as it is exciting.

Further into the listen, “Cauldron Bog” spends 7 minutes mesmerizing us with its unusual prog-rock approach, while “Dog’s Flesh” adopts a dreaminess that unfolds with a nearly hypnotic quality and some spacey nods. ‘Moss Goddess” then gets even more other worldly where strategic flute, dual gender vocals and acrobatic bass lines impress.

Close to the end, “Heksejakt” is a lively rocker that could soundtrack a dance party with its complicated violin, and “(The Marvellous And Murderous) Mysteries Of Sacrifice” finishes the listen with 17+ minutes of precise, timeless instrumentation as spoken word and singing are both present and appreciated.

Much has changed in the music industry since 1994, when Tusmørke began their career. However, what hasn’t changed is Tusmørke’s technical proficiency, atypical time signatures and memorable solos that populate this striking and encompassing record.

Travels well with: Wobbler- Dwellers Of The Deep; Meer- Playing House

Colin Cannon

McGolrick

Infrequent Seams, 2021

8/10

Listen to McGolrick

A guitarist and composer whose music rarely stays in one single genre for very long, Colin Cannon returns with a concept album about the pre-Covid disarray of life in Brooklyn, where jazz ideas are just as prevalent as alt-rock, and strings and brass accompany Cannon’s creative vision.

“Get Up” starts the listen with strings and woodwinds interacting in playful, exciting ways as calm ebbs of beauty enter the unpredictable opening that benefits from CJ Camerieri’s trumpet, and “Can’t Get The Time” follows vocally and percussive strong as a very modern approach to jazz unfolds amid Cannon’s strong guitar work.

The deeper tracks are just as adventurous, and include the experimental and swift “Electric”, where Derek Van Wormer’s bass prowess impresses us in the dynamic landscape, while “Sunshine” brings a flurry of brass, strings, drums and wordless vocals to a blurry and charming execution of controlled chaos. “The Scraps I: Thirty Four” then trims the pace back to just a lone guitar in a very reflective and intimate delivery.

Near the end, “The Scraps III: Near The Park (For Kayo)” is a busy, majestic and precise adventure that few could replicate, and the title track exits the listen with a festive spirit that’s full of trumpet fills, marching band style drumming and, of course, Cannon’s keen attention to songwriting.

Known for his modern jazz and contemporary classical sounds, Cannon proves that he’s well versed in just about any category of music, as fans of fusion, prog-rock, electronica and just about everywhere in between will find much intrigue here.

Travels well with: Ty Citerman- Bop Kabbalah + Voices: When You Speak Of Times To Come; Wesley Fuller- Seven By Seven

Bruce Brown

Death Of Expertise

Self-Released, 2021

9/10

Listen to Death Of Expertise

A New Zealand resident for two decades now, Bruce Brown’s 4th album, Death Of Expertise, again showcases the vocalist and songwriter’s sage like presence, where heartfelt and joyful themes run alongside darker moments, as an all star cast of American and Australian musicians are on hand.

Brown starts the listen with the warm and melodic title track, where his smooth singing suits the agile keys from John Harkins and warm trumpet from Steve Crum, and “They’re Everywhere” follows with Glen Berger’s spirited sax amid a soulful climate of timeless song craft.

Close to the halfway point, the upbeat and danceable “Back In The Day” benefits much from Andrew Dickeson’s playful drums, while “Doreen” shifts into balladry with moving piano complementing Brown’s emotive pipes. “To Find Things Out”, a swift and highly memorable track, then makes the most out of the dynamic songwriting where each instrument shines in its own light.

Deeper yet, “Giving Up Is Not An Option” unfolds with a strategic swinging approach, and “The Music Plays Again” exits the listen on a romantic note, as elegant singing flows alongside equally sophisticated instrumentation.

A very artistic and also cathartic endeavor, it wasn’t too many years ago that Brown suffered a nearly fatal stroke, and although that reduced his piano playing, it certainly sharpened his focus, as evidenced by this career highlight.

Travels well with: The David Angel Jazz Ensemble- Out On The Coast; Mark Winkler & David Benoit- Old Friends

The Red Step

The Red Step

Pravda, 2021

10/10

Listen to The Red Step

An outfit spearheaded by Tobias Nathaniel, of The Black Heart Procession, with The Red Step he’s in the company of some of Belgrade’s finest musicians, who also perform as Serbia’s Kazna Za Usi.

The debut album leads with the hazy atmosphere of “For The Dead”, where Nathaniel’s gritty vocals, warm keys from Boris Eftovski, and Vladimir Markoski’s powerful drumming guide the dramatic landscape, and “A Nice Way To End” follows with a raw yet melodic approach that’s crunchy in a punk rock sort of way.

Closer to the middle, “Before The Storm” trims the pace back with a powerful display of both garage rock and post-punk ideas, while “The Harvest” benefits greatly from subtle cello underneath a ragged bout of tension that’s carefully textured. “We Live On High”, the best of the best, then flows with a swift pace of angular and driving punk that’s irresistible.

As we approach the end, “The Ghosts Of Our Beginning” is a bit chunky, very melodic and full of contagious energy, and “Through The Seasons” exits the listen calm, intimate and not short on emotion amid well executed piano.

Sometimes gloomy, always creative and with plenty of cultured musicianship, The Red Step’s brand of ominous and mature punk meets indie-rock and throwback alt-rock just might be your new infatuation, cause it’s probably one of the best records you’ve heard in years.

Travels well with: Shannon Wright- In Film Sound; Zilched- Doompop

Dom La Nena

Tempo

Six Degrees, 2021

8/10

Listen to Tempo

The multi-talented artist Dom La Nena uses her singer, songwriter, cellist and producer skills here, where her varied song craft revolves around her Brazilian roots and current Paris home, as both weave their influence into the song craft.

La Nena leads the album with the soft strings of “Tempo”, where an orchestral angle welcomes much beauty and dreaminess where wordless singing accents the climate, and “Oiseau Sauvage” follows with gentle guitar and flowing piano amid expressive vocals that are layered sublimely.

The middle tracks include “Quien Podrá Saberio”, which brings in Julieta Venegas for a duet of cultured, rhythmic playfulness, while “Moreno” is nothing short of heavenly with its calm strings, light drumming and nearly lullaby-esque singing from La Nena. “Teu Coracao”, one of the album’s best, then welcomes a warm intimacy alongside bare instrumentation.

Near the end, “Vejo Passar” emits an upbeat and frisky spirit, and “Milonga” exits the listen vocally strong, while integrating pizzicato cello, cello-percussion and keys into the inimitable formula.

Her 3rd solo release, Dom La Nena’s multi-lingual, chamber friendly mixture of pop and world music ideas again proves that whether on her own or with her band Birds On A Wire, her talent seemingly knows no bounds and impresses on a universal level.

Travels well with: Emily Wells- Mama; Birds On A Wire- Ramages

Drifting In Silence

Away

Labile, 2019

8/10

Listen to Away

The brainchild of multi-instrumentalist and composer Derrick Stembridge, Away is his 6th album as Drifting In Silence, as he deftly manipulates minimalism with cascading beauty and plenty of organic tones across the adventurous landscape.

“1111” starts the album ambient and mysterious, as swells of synth invade the chilling opener, and “Obscure” follows with a darker spirit where percussive noise complements the cinematic backdrop.

In the middle, “Shifting” pushes and pulls with soaring tension on the ethereal atmosphere, while “Away Pt. 1” finds a dreamy place to reside with its soothing qualities.

Near the end, “Away Pt. 2” taps into an emotive aspect of the human condition with gorgeous texturing, and “Darkwithin” continues that theme with keys and meticulous attention to mood alongside inventive percussion. “Memory” ends the listen with nearly 10 minutes of exploration that gets ominous, surreal and unpredictable in the best ways.

While you’ll find remnants of post-rock and New Age within these tunes, ultimately Drifting In Silence is an experience like no other, and one that you’ll want to revisit again.

Travels well with: Trentemoller- Obverse; Heron- Sun Release