Megan Lacy

Salvation

Self-Released, 2021

8/10

Listen to Salvation

A rising Austin songstress, this first EP from Megan Lacy highlights her heartfelt, eloquent singing and keen detail to lyricism, as very subdued instrumentation pairs well with the haunting yet sweet delivery.

Lacy starts the listen with the title track, where her gorgeous vocals align with Christopher Cox’s warm keys in a bare but powerful climate, and “Don’t Rest” follows with subtle but effective drumming from Aaron Parks as Lacy’s versatile pipes unfold with a poetic quality.

The middle track, “Caroline”, is full of timeless folk ideas where gentle acoustic guitar contains as much beauty as the singing, while “No Better” is soft and agile Americana that we could never tire of. “Watch This”, the last track, then recruits sparing pedal steel from Justin Douglas as a bold vulnerability unfolds amid the forthright storytelling.

Lacy’s songs are nothing if not intimate and stirring, and this brief listen gives us a glimpse of a talent that has the potential to pen a record that penetrates deep into your soul, while connecting on an emotional level that few artists will ever accomplish.

Travels well with: Jenny Reynolds- Any Kind Of Angel; Teghan Devon- Little Lion

Brightwire

Cracked, Flawed And Frayed

Sam’s Handmade, 2021

9/10

Listen Cracked, Flawed And Frayed

A Houston, Texas trio who are firmly planted in the area of folk rock but certainly tip their hat to Americana and even some subtle grit towards punk rock, Brightwire also take help from members of The Urban Pioneers and Grifters & Shills on this exceptional sophomore album.

“Out Of Smokes” gets the listen started with spirited harmonica and warm twang as rugged yet melodic vocals from Samuel and Kimberly Barker radiate with a timeless Americana angle, and “Tears Through The Sunshine” unfolds with breezy folk rock that benefits much from Kimberly’s pretty pipes, as well as Samuel’s precise drumming.

Landing near the middle, “Before The Ghosts” offers a raw, rural quality with an anthemic appeal that would go well with a Tim Barry record, while “Playing Favorites” is a calmer display of organic beauty where subtle violin adds much to the poetic beauty. “Save Myself”, written by Susan Garlington Parsons, is another sublime track that brings lush, cautious instrumentation to a heartfelt climate.

Further yet, the precise acoustic strumming of “The Righteous Hand” presents a darker spirit as vivid storytelling hints at alt-country territory, and “Goodbye Letter” exits the listen with strategic electric guitar amid a rugged, even retro appeal that embraces guitar crunch and some of the most firm singing on the record.

A very diverse listen that welcomes dobro and washboard, among many others, Samuel and Kimberly Barker and Michael Helfenstein have crafted one of the most memorable folk albums in recent history, and the contributions from John Stoll (electric guitar, baritone guitar, harmonica, upright bass, theremin), and Liz Sloan McGovern (violin, fiddle) further solidify Cracked, Flawed and Frayed as essential listening in 2021.

Travels well with: Grifters & Shills- Pretty Little Secrets; The Jayhawks- XOXO

Ian Charleton Big Band

A Fresh Perspective

Self-Released, 2021

9/10

Listen to A Fresh Perspective

It’s been 8 years since Ian Charleton has graced us with new music, and he makes the wait worth it by bringing his 18 piece big band to ten tracks of originals and interpretations that showcase his unparalleled swing talent in spades.

“West 67th Street” starts the listen with playful keys from Bart Kuebler as John Lloyd’s well timed trombone accents the upbeat and timeless swing jazz climate, and “Sunday Morning” follows with Kerry Moffit’s agile flugelhorn working elegantly with Ryan Persaud’s bass and Kuebler’s keys in the soothing, breezy formula.

In the middle, “Everything I’ve Got”, one of the two tracks with vocals, recruits Emily Charleton’s colorful and commanding pipes amid Moffit’s trumpet in the glorious, festive setting, while “Stardust” moves with an emotive and nearly meditative quality that benefits greatly from Moffit’s flugelhorn. “Blues Skies”, one of the album’s best, then showcases Keith Philbrick’s tenor sax prowess as Emily displays her exceptional vocal range in the waltz atmosphere.

Near the end, “When Sunny Gets Blue” will have you searching for your dancing shoes as Lloyd’s trombone and Philbrick’s sax weave in and out of plenty of Latin rhythm, and the aptly titled “Party On Park” finishes the listen with Wes Wagner’s guitar, David Fatek’s baritone sax, Kuebler’s keys and Persaud’s bass all working together with much melody in 6/4 time on the bluesy conclusion.

Charleton’s adoration of the big band tradition goes back many decades, and he even started penning his own compositions at age 15. Now well into his 40’s, he’s led Navy bands on five continents, and, as evidenced by this strong effort, is making some of the best modern swing sounds that exists today.

Travels well with: The TNEK Jazz Quintet- Plays The Music Of Sam Jones ; Schapiro 17- Human Qualities

Lorenzo Wolff

Down Where The Valleys Are Low

Storysound, 2021

9/10

Listen Down Where The Valleys Are Low

A tribute record to the troubled yet brilliant singer-songwriter Judee Sill, Lorenzo Wolff handles drum programming, synth, guitars, lap steel and about 10 other instruments on this very well thought out project, where a different lead singer for each track gives it a varied quality while still very much being anchored to Sill’s under appreciated and articulate vision.

The title track starts the listen with soulful vocals from Mary-Elaine Jenkins, as Jon Cowherd’s strategic piano and Emily Holden’s violin add much to the spiritual quality of the expressive opener, and “The Pearl” follows with a rootsy flavor as Bartees Strange provides his versatile pipes amid Ryan Weisheit’s saxophone and Simon Kafka’s strong electric guitar.

Landing near the middle is “Crayon Angels”, where Grace McLean’s soft and agile singing radiates as Wolffe’s playful electronic work complements Scott Metzger’s guitar on the industrial like buzzing, while “The Kiss” is pure power and emotion as Emily Holden’s voice and Eric Finland’s Wurlitzer create a dreamy expanse of much beauty.

Near the end, “There’s A Rugged Road” places Osei Essed’s deep vocals front and center as Jeremy Gustin’s drumming, Bobby Hawk’s violin and Grant Gordy’s acoustic guitar texture the album highlight with a gospel slant, and “The Phoenix” exits the listen with Bobby Hawk and Kate Ferber on vocals in a country-rock meets psychedelic haze that leaves us wishing there were more than 7 tracks present.

Though Sill never achieved the success of her label mates Joni Mitchell or Tom Waits, her two proper albums gained her a loyal fanbase that still exists today. Sadly, she died in 1979 at the age of 35 from a drug overdose, so for many people this tribute will be their first taste of Judee Sill, which, of course, is a great place to start.

Travels well with: Jesca Hoop- The House That Jack Built; Marissa Nadler- The Sister

Janácek Philharmonic Orchestra

Sparks Vol. II

Navona, 2021

9/10

Listen to Sparks Vol II

Under the expert conducting of Stanislav Vavrinek and Jiri Petrdlik, the Janácek Philharmonic Orchestra bring us 8 pieces by 8 different artists here, where modern and traditional ideas unfold with technical and timeless instrumentation.

Dave Dexter’s “Hiraeth” starts the listen with much atmosphere as beaming strings enter the cinematic and soaring landscape, and this triumphant approach continues to the galloping spirit of William C. White’s “Recollected Dances”, as well as the soft mysteriousness of “Till Voices Wake Us”, by Simon Andrews.

Of the middle tracks, Rain Worthington’s “Within Deep Currents” recruits dynamic and meticulous string interaction in the album highlight, while “Seed Of Doubt”, by John A. Carollo, dances with graceful melodies amid some strategic tension.

Landing near the end, “Torso”, for four violins and string orchestra, displays fascinating string manipulation in the John Franek tune that even gets a bit eerie, and “Reflection” finishes out the listen with much emotion and warmth wrapped around the Jeff Mangels finish.

Although the inspiration for the songs derive from many different places, i.e. ancient myths, rites of passage, reflection, etc., the album flows seamlessly with a unifying theme of raw energy from the exceptional musicians and flawless conducting.

Travels well with: Herb Deutsch- Encounters; Stanley Grill- Remember

Stanley Grill

Remember

Navona, 2021

8/10

Listen to Remember

The esteemed composer Stanley Grill knows his way around a song with medieval and Renaissance influences, and here’s aligned with Brett Deubner and Thomas Steigerwald on viola and piano across a handful of very unique compositions.

“Remember” opens the listen with elegant strings from Deubner as firm keys from Steigerwald accent the 5 movements that bring heartfelt and sophisticated classical ideas to the very skilled landscape, and “O, Mystery!” follows and really allows the precise and playful viola work to shine.

In the middle, “Aphorisms II” is 20 minutes of divine beauty as sublime and calculated interplay between the pair unfolds with both bare and lush approaches, while “In Memory” is a glorious display of subdued, stirring song craft plus jumpy, frisky moments of adventurousness. “Civil War Songs” finishes the listen, where agile piano and proficient strings produce an absorbing and profound climate.

A listen that’s not short on melody or modal harmonies, Grill and company tackle themes of translating elements of the tangible into sound as well as advocating for peace through music, and it results in a highly technical and easily enjoyable peek into a very creative mind.

Travels well with: The Crossing- Tower And The Garden; Herb Deutsch- Encounters

Rosśa Crean

The Priestess Of Morphine

Navona, 2021

8/10

Listen to The Priestess Of Morphine

Under the skilled vision of composer Rosśa Crean and Libretto Aiden K. Feltkamp, The Priestess Of Morphine tells the story of Gertrud Gunther, who was a young Jewish lesbian caught up in much turmoil during the Third Reich.

The album leads with the bare, fascinating manipulation of strings in the very graceful, emotive “Prelude”, and “The Awakening” follows with a more playful approach as Jessie Lyons brings her strong soprano to the eloquent atmosphere.

In the middle, “Morphine” benefits greatly from Alex Giger’s precise violin and Stephen Hudson’s moody cello as both Lyons and Katherine Bruton’s expressive pipes illuminate the setting, while “Tumbling” enters darker areas where Ben Zucker’s strategic vibraphone, Crean’s waterphone and Bruton’s diverse delivery interact with mystery.

At the end, “The Harvest Song” is an a cappella track where both vocalists work together to radiate much beauty, and “The Flower Of Oblivion” exits the listen with a swirling blend of strings, vibraphone and Bruton’s soaring voice.

A listen that’s precisely textured, often powerful and not short on a poetic demeanor, the storyline of bravery and passion suits the equally daring and ebullient songwriting from the exceptional ensemble.

Travels well with: Carl Vollrath- Transit Voices; The Lowell Chamber Orchestra- The Suite

Will Liverman

Dreams Of A New Day

Cedille, 2021

9/10

Listen to Dreams Of A New Day

A well timed February release, Will Liverman brings his stunning vocals alongside Paul Sánchez’s proficient keys as they highlight songs from Black composers from across many generations on this very passionate and artistic project.

Damien Sneed’s “I Dream A World” starts the listen with warm piano alongside Liverman’s expressive baritone in a brief but effective, emotive climate, and “Five Songs Of Laurence Hope” follows with daring vocal acrobatics that are both full and rich, as well as soft and agile, as playful keys accompany Liverman on the Henry Burleigh selection.

Deeper into the listen, Margaret Bonds’ “Three Dream Portraits” displays timeless musicianship and moments of cathartic singing, while Thomas Kerr’s “Riding To Town” is a quick and bouncy execution of both upbeat and subdued song craft.

Further still, “Mortal Storm”, by Robert Owens, unfolds across 5 movements that are indeed turbulent, but also with bouts of serenity amid the eloquent storytelling, and Richard Farina’s “Birmingham Sunday” exits the listen with Liverman’s arrangement showcasing much beauty as the diverse singing flows with much detail.

In addition to the stirring environment, there’s 2 booklets included in the packaging, including 20 pages of thorough program notes by Dr. Louise Toppin, as well as complete song texts with words by Langston Hughes, Adela Florence Nicolson and Marcus Amaker, plus many more.

A truly inimitable listen, Liverman and Sánchez shine a spotlight on the influence of Black composers on art song, and they do it with much respect, integrity and skill that you’re not likely to hear anywhere else.

Travels well with: Scott Lee- Through The Mangrove Tunnels; Catalyst Quartet- Uncovered Volume 1

The Still Brothers

“ Wake Up” b/w “The Deep” 7”

Lewis, 2021

8/10

Listen to “ Wake Up” b/w “The Deep” 7”

The Brooklyn duo of Andrew LeCoche and Evan Heinze, who play in the bands Ula Ruth and The Shacks, as The Still Brothers the lifelong friends bring much diversity and creativity to these 2 tracks.

Side A offers us “Wake Up”, where Marina B’s soft, expressive pipes complement the warm beat and crisp atmosphere that’s hazy, soulful and expertly produced by Will Dorey (Skinshape), while benefitting from samples and organ.

The B Side, “The Deep”, is a louder tune, where much emphasis is on percussion as bright horns add a jazzy spirit to the hip-hop influenced and New Orleans flavored fusion that even recruits a flute amid the funk gestures.

As to be expected considering their excellent past work, The Still Brothers are off to an exceptional start, and let’s hope these 2 eclectic and attentive tracks are a precursor to an LP on the horizon, cause talent like this deserves a wider platform.

Travels well with: DJ Yoda- Homecooking; Kid Koala- Music To Draw To: Io

The Fleshtones

Face Of The Screaming Werewolf

Yep Roc, 2021

9/10

Listen to Face Of The Screaming Werewolf

The legendary garage rockers The Fleshtones have enjoyed a 40+ year career, where they’ve seemingly done just above everything a rock band can do. Thankfully, that includes releasing one top notch record after another, and here we’re treated to their 23rd LP, Face Of The Screaming Werewolf.

The title track starts the album with their familiar and timeless guitar driven garage rock, where organ and energetic harmonica add much to the thumping rawness, and “Alex Trebek” follows with jangly acoustic guitars helping elicit a retro-rock climate of busy, tuneful grit that pays homage to the late Jeopardy host.

There’s 11 tracks here and not a dud in bunch, as the middle tracks offer the powerful and rugged “Manpower Debut”, while the soulful and bluesy swagger of “Swinging Planet X” will have you headed straight for the dance floor as Peter Zaremba’s harmonica prowess really shines. “Violent Crumble, Cherry Ripe”, one of the record’s best, then recruits acrobatic drumming from Bill Milhizer, as soaring guitar work suits the scrappy, rockabilly tinted atmosphere.

The finals two tracks, “The Show Is Over” and “Somerset Morning”, don’t disappoint, where the former is a blazing and loud blast of charged and melodic garage rock that only The Fleshtones could make, and the latter finishes on some honky tonk fun that’s subdued and full of spirited harmonica and subtle keyboards from guest Michael Giblin.

Though the lyrical content might not be too serious, The Fleshtones deliver seriously great rock’n’roll that’s been consistently relevant and exceptional since 1976. Whether you’ve been on board for awhile or are a first time listener, Face Of The Screaming Werewolf will not disappoint.

Travels well with: The Neptunas- Mermaid A Go Go; Jon Spencer- Spencer Sings The Hits

Cameron Knowler & Eli Winter

Anticipation

American Dreams, 2021

10/10

Listen to Anticipation

A collaboration that began in 2018 when Cameron Knowler and Eli Winter found themselves in Southern Texas, playing solo and duo sets, this first album together brings Winter’s midwest roots and Knowler’s southern heritage into a compelling and extremely absorbing display of guitar acrobatics.

“Strawberry Milk” starts the listen with lovely guitar picking, as an incredibly warm setting unfolds with intricate grace, and “And So I Did” follows with fascinating string manipulation as Knowler’s bluegrass roots shine amid the glowing atmosphere.

In the middle, “Sippin’ Amaretto” touches on jazz influences alongside the duo’s flawless, improvised chemistry, while “Parapraxis Of A Dragonfly” resonates with a folk quality that’s both timeless and stirring, effectively telling a reflective story with no actual words but endless harmonies.

Approaching the end, we are treated to “A White Rose For Mark”, where a dreaminess is present amid a tribute to the late Mark Fosson, whose finger picking style is certainly embraced here, and “Southern Filibusters” exits on a live track, where the pair prove their organic, artistic formula is just as vibrant on stage, as they interpret the Tut Taylor song with much adventurousness.

Although Anticipation truly defies comparison, if names like Jack Rose, William Tyler, and Daniel Bachman mean anything to you, there’s a good chance Knowler and Winter’s advanced guitar songwriting will resonate well and endlessly.

Travels well with: Eli Winter- Unbecoming; Damien Jurado- In The Shape Of A Storm

Alyssa Trahan

Baby Blues & Stilettos

Self-Released, 2021

9/10

Listen to Baby Blues & Stilettos

A New York native who now calls Nashville home, though this is multi-instrumentalist Alyssa Trahan’s debut record, you certainly wouldn’t think so based on her exceptional genre blurring and sharp songwriting skill.

“We Used To Be Happy” starts the listen with warm acoustic guitar and Trahan’s pretty, eloquent singing as a punchy pop flavor enters with no shortage of melody, and “My Favorite Song” follows with grit and tunefulness as Trahan’s versatile pipes guide the country rock fun that benefits from a mandolin.

Near the middle, “Psychology” is equal parts barn yard hoedown and late night club energy as Trahan’s bright pipes make an impression amid strategic banjo, while “Tilt-A-Whirl” is a dreamy, even romantic, dip into calmer, string friendly song craft that’s no less impactful. “The Narcissist”, one of the album’s best, then plants plenty of driving rock’n’roll into Trahan’s timeless formula, where Charles Trahan provides proficient slide guitar.

Closer to the end, “Memories Not Dreams” finds itself closer to ballad territory, as Trahan’s wise storytelling is supported by her deft acoustic guitar playing and Craig Wilson’s piano, and “My Turn” exits the listen with the songstress hitting some pretty high notes on the reflective finish where she plays all the instruments.

No one could deny that country influences are rapidly seeping into mainstream music, and Trahan’s modern pop production and easily relatable tunes are so well executed, I doubt I’d be the first person to claim that she could easily be a household name this time next year, as this woman has talent like few others will ever possess.

Travels well with: Lilly Winwood- Time Well Spent; Terry McBride- Rebels & Angels

Makes My Blood Dance

Disco Metal

Self-Released, 2020

9/10

Listen to Disco Metal

There’s certainly no shortage of imaginative bands coming out of Brooklyn these days, but few are as unique as Makes My Blood Dance. A quartet comprised of Evan Russell Saffer (vocals), John Christian Polimeni (guitar), Allan Zapar (drums) and Filia Luna (bass), Disco Metal is just that, as well as much more in their abrasive yet elegant formula.

“Drive To Mars” starts the listen and makes an immediate impression with an energetic and charged approach that’s part ‘80s metal, part symphonic pop and entirely interesting in a way that you could dance or leap into the pit to, and “Power Of The Lightside” follows with a thicker approach of loud versus quiet dynamics that chug with a raw intensity but also welcome much soaring beauty.

The middle tracks offer “Beaming Right Up”, where an anthemic thumping collides with a club friendly approach, while “Sick As Our Secrets” gets a bit darker in scope, as power metal nods unfold amid wailing guitar solos.

The final two tracks, “We Push And They Shove” and “Communion”, are among the best, where the former pushes and pulls alongside tension and melody, and the latter recruits a sing-along quality where industrial-ish moments emit much absorbing grit.

A very unusual and exciting effort that will appeal to fans of legends as diverse as Ministry, Skid Row and White Zombie, as well as today’s version of pop, Makes My Blood Dance won’t take long to make an immeasurable mark on your listening experience.

Travels well with: Selfless Orchestra- Great Barrier; Cosse- Nothing Belongs To Anything

Lydmor

Capacity

HFN, 2021

8/10

Listen to Capacity

The recording moniker of Jenny Rossander, as Lydmor she returns with more artistic and eloquent songwriting, where pop and experimental ideas enter her most personal work to date.

“Amanda’s Lullaby” starts the listen vocally strong with some effects adding to the layered harmonies, and “Nevada” follows with help from Eivor as buzzing electronica enters the pop melodies and versatile singing from Lydmor.

An album where each song welcomes surprises, “Someone We Used To Love” is an intimate exploration into initially bare but impactful song craft that erupts into a dance floor rocker, while “LSD Heart” takes a more minimal approach with flashes of thick ambience amid dense beats. “The Gadget Song”, one of the record’s best, then emits much soul alongside it’s playful electro-pop prowess that’s an innovative as it is timeless.

Deeper still, “Heavier In Life” recruits Lasse Ziegler on a shimmering and cautious display of dreamy dynamics, and “Hotel Ads” exits the listen with warm piano and expressive singing that escalates into a cathartic, spacey finish of sublime beauty.

An album born of self-examination, there is a profound amount of depth present across Capacity, as her work in film scoring is certainly present on this concept album that further solidifies Lydmor as one of the most exciting minds in today’s indie-pop/electro-pop crowd.

Travels well with: Kasper Bjorke- Fool; Tom And His Computer- Future Ruins

Shijin

Theory Of Everything

Self-Released, 2021

9/10

Listen to Theory Of Everything

The sophomore album from SHIJIN, their unconventional take on jazz is just as exciting here as 2018’s self-titled effort, where Laurent David, Stéphane Galland, Stéphane Guillaume and Malcom Braff developed the 8 tracks initially as duets before being completed by the rest of the band, and includes both acoustic and electric elements.

“Mystery Of A White Dwarf” starts the listen with Galland’s swift, playful percussion as Guillaume’s soulful sax takes focus on the fusion jazz setting that also benefits from Braff’s keys, and “Unexpected Discovery” follows with a very unique mashing of furious drumming alongside cautious and bright sax, strategic flute, and even electronics.

At the halfway point, “Implosion” swirls with dynamic and adventurous musicianship that’s full of David’s bass acrobatics and well timed synth stabs, while “Time Travel” flows with much elegance and warmth as it builds into a busy and atypical climate where bass clarinet and some of the best sax playing resides.

Approaching the end, “Separating Circle” showcases fascinating, absorbing drumming for nearly 2 minutes before brass and bass enter the lively atmosphere, and “Curved Wrinkles” exits the listen with all members taking their turn in the spotlight amid the innovative song craft.

An outfit where all the members have had successful solo careers, SHIJIN is a supergroup of the highest degree, and their complicated yet easily digestible version of jazz nearly puts them in a genre entirely their own.

Travels well with: Sonic Twist- Unity; Judy Stuart- The Apostolic Session

Vinnie Riccitelli

For The Record

Self-Released, 2021

9/10

Listen to For The Record

Although the saxophonist, pianist and composer Vinnie Riccitelli made his living as a musician for his entire adult life, until now he only recorded one album, and that was way back in 1958. Now retired, here he documents his life’s work while revisiting some of his unrecorded compositions and arrangements from a lengthy and esteemed career.

“Minor Seventh Heaven” starts the listen with flowing and fluent alto saxophone from Nathan Childers that’s aligned with precise drumming from Tony Tedesco in the timeless jazz climate, and “I’m Old Fashioned” follows with Leo Ursini’s soulful alto sax front and center alongside Eddie Monteiro’s subtle but very effective piano work.

There’s 17 tracks included, and each one is superbly textured, including the highly melodic and uplifting “Stompin’ At The Savoy”, while the aptly titled “Blues Dominant” displays much subdued beauty while using 13 chords. “Along Came Betty”, one of the record’s best, then recruits accordion from Monteiro as the soft brass and calm percussion intertwine with a meticulous nature.

Further down the line, “Flugelsville”, one of the four originals featured, showcases Glenn Drewes on trumpet, whose veteran skills are finely honed, and “Round Midnight” makes use of half time and double time on the unpredictable interpretation of the Thelonius Monk tune. “Little Boy Blew” exits the listen on a very high note, as Childers contributes his sax prowess amid Chris Stelluti’s stunning baritone sax

A fantastic, lively and memorable set of tunes where Lou Stelluti’s contributions on bass and Bruce Bonvissuto’s trombone won’t go unnoticed, one might wonder why Riccitelli didn’t make more albums. Turns out, he was too busy working with Diana Ross, Natalie Cole and Smokey Robinson, among many others. At least we have this collection of authentic, emotive and spirited songs to revisit often.

Travels well with: Kenney Polson- Colors Of Brazil; David Larsen- The Mulligan Chronicles

Rebecca Dumaine And The Dave Miller Trio

Someday, Someday

Summit, 2021

8/10

Listen to Someday, Someday

The esteemed vocalist Rebecca DuMaine again aligns herself with her father, the acclaimed pianist Dave Miller, and they’ve also got Bill Belasco and Chuck Bennett on drums and bass to help navigate the 12 standards and 2 originals.

“Just Friends” starts the listen with an upbeat and danceable, timeless jazz flavor, as DuMaine’s bright and elegant vocals guide the quick opener, and “Alone Again (Naturally)” follows with a calmer pace of reserved keys from Miller, as DuMaine’s expressive pipes and Belasco’s deft drums steer the eloquent storytelling.

Landing near the middle, “Both Sides Now”, a Joni Mitchell tune, then finds an emotive and dreamy place to reside, while “Time To Get Unstuck (Happy Little New Song)”, a DuMaine original, is a playful and melodic highlight where scatting and gorgeous singing are both present. “I Guess I’ll Have To Change My Plan”, another standout tune, then displays DuMaine’s versatility as her flowing delivery complements the ballad and then later on swing atmosphere.

Close to the end, the glorious “Wrap Your Troubles In Dreams” showcases Miller’s exceptional skills as bouncy bass from Bennett adds much to the feel good climate, and “Sunny” exits the listen with a brisk atmosphere of piano acrobatics, a glowing rhythm section and, of course, DuMaine’s inimitable singing.

Although many of the tracks here are tinted with melancholy, it’s ultimately a very hopeful listen, where Bossa Nova and boppish solos are present as Dumaine and company offer a top notch jazz listen that all fans of the genre will enjoy.

Travels well with: Dave Miller Trio- Just Imagine; Rebecca DuMaine And The Dave Miller Combo- Chez Nous

Schapiro 17

Human Qualities

Summit, 2021

9/10

Listen to Human Qualities

Schapiro 17’s debut, New Shoes: Kind Of Blue At 60, impressed me with its interpretations of Miles Davis’ work, and this follow up album makes quite a dent as Jon Schapiro welcomes his 17 piece big band to flesh out the swinging 7 originals and 1 standard.

“Count Me Out” starts the listen and makes an immediate impression with lively keys from Roberta Piket, as vibrant brass accents the feel good jazz setting that also embraces an orchestral approach, and “Tango” follows with a calming beauty that’s packed with soulful saxophone prowess from Matt Hong that gets pretty adventurous, too.

At the halfway point, the lone cover, “The First Time I Ever Saw Your Face”, finds itself mesmerizing us for 9+ minutes of romantic and graceful yet dark song craft that benefits from Eddie Allen’s trumpet, while “Human Qualities” bounces and shakes with frisky drums from Jon Wikan, as Evan Gregor’s strategic bass plucks playfully alongside spirited and upbeat sax prowess which never follows predictable patterns.

As we get towards the end, “A Bounce In Her Step” flows with both busy moments of dynamic, rhythmic chemistry in the timeless jazz climate, as well as calmer, agile moments of harmony, and “House Money” exits the listen with a soulfulness that transcends time amid its groove friendly, New Orleans nods.

Also an academic and educator, Schapiro brings an innovative and highly articulate set of skills to some of the most exciting modern day big band jazz with Human Qualities, and it’s likely you’ll find nothing but intrigue for all 71 minutes of it.

Travels well with: Paul Shaw Quintet- Moment Of Clarity; Alberto Pibiri- Jazz Legacy

Yulia Musayelyan Tango Project

Oblivion

Zoho, 2021

8/10

Listen to Oblivion

A Russia native who now calls Boston home, the flautist Yulia Musayelyan is in very diverse, international company here, as the Ukraine born Maxim Lubarsky handles piano, the Argentinian Fernando Huergo holds down bass and Chicago’s Mark Walker sits behind the drum kit.

“Fuga Y Misterio” starts the listen with Musayelyan’s bright and swift flute, which is complemented by Lubarsky’s dancing keys and, later on, Walker’s frisky drumming, and “Flor De Lino” follows with Huergo’s playful bass acrobatics underneath the dynamic instrumentation that’s not short on melody.

Residing in the middle, “Como Dos Extranos” brings in expressive singing from Musayelyan on the only track with vocals, while “La Muerte Del Angel” benefits from propulsive drumming amid soaring flute in the swift album highlight. “Nada”, another strong track, then get calm and emotive, where the warm keys align fluidly against the low bass flute and flourishing solos.

Deeper yet, “Nostalgias” flows with a cinematic quality that tells a heartfelt story without any actual words, and “Libertango” exits the listen with a dazzling display of lightning quick keys, energetic drumming, and, of course, inviting flute.

An exciting tango listen that’s emotionally charged, spiritually aware and full of very fun and memorable instrumentation, Musayelyan puts her inimitable stamp on these classics, proving that she can tango with the best of them, too.

Travels well with: Julio Botti- Pure Tango; Pablo Ziegler Chamber Quartet- Radiotango

Daystar

The Complete Recordings

Self-Released, 2019

8/10

Listen to The Complete Recordings

A Portland outfit with an affinity for the sounds of the ‘60s and ‘70s, Daystar brings us equal parts rock and pop, where classic and psych-rock ideas are used alongside power-pop on this stunning debut.

“Right At Home” starts the listen with hand clapping and fluid guitar work as organs enter the power-pop influenced setting, and “A Lot To Love” follows with vocal harmonies in a calmer display of retro-rock fun.

Near the middle, “Summer Girls” jangles in all sorts of melodic ways in the spirited and soaring tune, while “A Warped Reality” flows with timeless ideas that the ‘60s left us, while bringing in string arrangements amid nods to The Beatles.

Deep in the listen, “Angelina” offers us a hazy execution of dreamy song craft with thick guitars, and “Get Yourself Away” finds a rugged place to reside somewhere close to folk music. “Fade Away, Love” ends the listen soft and reflective, as violin and cello populate the quaint exit.

A listen that’s never short on hooks, harmonies and nostalgia, The Complete Recordings is a fine first effort and will strike a chord with those who fawn over legends like Badfinger or Wings.

Travels well with: Kacy & Clayton- Carrying On; Susan Gibson- The Hard Stuff