New York Polyphony

And The Sun Darkened

Bis, 2021

8/10

Listen to And The Sun Darkened

The long running male classical vocal quartet New York Polypony are back with a return to form, where in an hour they offer new and ancient works organized around texts appropriate for Passiontide, the last two weeks of the lenten season in the Roman Rite of the Catholic Church.

Loyset Compére’s “Crux triumphans” starts the listen with the many voices harmonizing with much skill and attention to pitch as the 6 minute opener displays both power and restraint, and “Tu pauperum refugium” follows with the precisely layered vocals emitting much emotion and spirit in the Josquin Desprez composition.

Further on, Adrian Willaert’s “Paster noster- Ave Maria” spreads across 2 movements of timeless classical sounds amid a dizzying display of vocal acrobatics, while “Officium de Cruce” unfolds over several dramatic movements where a spiritual quality enters as similarities to Pierre de la Rue and Josquin des Prez presents itself on the Loyset Compére work.

“O Salutaris hostia”, by Pierre de la Rue, exits the listen, and showcases gentle, tuneful rhythm, as some of the most glorious singing develops alongside a majestic finish.

It’s no surprise that New York Polyphony have been Grammy nominated multiple times, and with And The Sun Darkened they are further solidifying themselves as one of the most exciting vocal chamber ensembles who exists today.

Travels well with: The Crossing- Tower And The Garden; George Palmer- Breaking The Silence

Juan Carlos Quintero

Caminando

Moondo, 2021

8/10

Listen to Caminando

A Colombian guitar wizard, Juan Carlos Quintero’s early music is not often easy to come by, and here The Way Home!, which has been out of print for decades, is reissued as Caminando, where jazz, pop, Latin and Caribbean flavor all mesh under Quintero’s inimitable vision.

“El Baile” starts the listen with Quintero’s agile and intricate guitar playing as light drumming and subtle keys from Joe Rotondi add much to the elegance of the cumbia influences, and this smooth formula continues to the rhythmic and cultured “Caminando”, which is Quintero’s version of the cha-cha-chá.

“Libre” lands in the middle, and displays calm moments of beauty along with meticulous picking in the agile climate, while “This Way Home” finds a romantic place to reside as timeless jazz qualities are presented with much care. “Spring”, one of the album’s best, then flows with playful Latin ideas imbedded in the dreamy landscape that actually began as a nursery rhyme.

Near the end, the percussively strong “Little Indians” alternates between firm moments of dynamic instrumentation and calmer ebbs of unparalleled guitar acrobatics amid the Latin jazz, and “Porque Si!” exits the listen with a mesmerizing and fascinating execution of roots steeped in Cuban descargas.

Recorded live in the studio onto 2” tape, Quintero and company find a comfortable medium between straight forward jazz, and Latin and World music on these 10 tracks, and we should all be grateful that this classic is back in print.

Travels well with: David Sanchez- Carib; Diego Baliardo And The Gypsy Evolution- Este Ritmo

Claire Kelly

The Scenic Route

Self-Released, 2021

9/10

Listen to The Scenic Route

After a small handful of EPs, the Nashville based singer-songwriter Claire Kelly offers us a debut LP, where her inviting soprano and vivid storytelling unfolds with much sincerity, a healthy amount of creativity and often a lot of fun.

“Thank You (Intro Song)” starts the listen with warm acoustic guitar and Kelly’s expressive, eloquent singing which is literally a thank you to the listener as she discusses her career up to this point, and “Dandelion Wine” follows with a fuller approach as strings add much grace to the melodic and breezy, folky strummer.

As we approach the middle, “The Restless And The Reckless” displays Kelly’s versatile pipes as she hits some high notes that builds into a lush form of Americana, while “The Land That Time Forgot” moves cautiously, powerfully and with much soaring beauty in a dreamy landscape. “Randy”, a particularly noteworthy track, then showcases her deft guitar playing amid a poetic and intimate climate that’s even a bit raw in nature.

The lone cover is the Irish folk tune “Grace”, where Kelly’s flawless, heartfelt pipes illuminate the tragic love story, and “Jeffrey Jones” (about a cat, not the actor), exits the listen on a playful live finish that’s charming and even a bit humorous, too.

While there’s no shortage of young women armed with an acoustic guitar and a lovely voice, Kelly has the chops to be everyone’s new favorite artist, and when she sings that she’s not selling out arenas quite yet, we all get the feeling that it’s certainly on the horizon.

Travels well with: Megan Lacy- Salvation; Jenny Reynolds- Any Kind Of Angel

Steve Gulley & Tim Stafford

Still Here

Mountain Home, 2021

9/10

Listen to Still Here

Both legends in the bluegrass scene for several decades now, Steve Gulley and Tim Stafford return here with Ron Stewart, Barry Bales, Thomas Cassell and Dale Ann Bradley for 11 tracks of love, loss and life on the mountain.

The title track starts the listen with a soulful, acoustic guitar driven opener that brings in Stewart’s fiddle acrobatics, and “Living Shouldn’t Be This Hard” follows with a swift bluegrass spirit where both Gulley and Stafford’s pipes highlight the timeless, melodic landscape.

Closer to the middle, the gentle beauty of “She Threw Herself Away” flows with an emotive quality, while “My Last Excuse To Drink” finds itself benefitting from Cassell’s mandolin prowess as the vocal harmonies impress, too. “Long Way Around The Mountain”, one of the album’s best, then glides swiftly with incredible string interaction and harmony vocals from the always impressive Bradley.

Near the end, “It’s All About The Game” offers some country influences into the banjo friendly climate, and “Back When It Was Easy” exits the listen with group vocals contributing to the cautious and gentle finish to a very articulate and powerful effort.

Gulley gained quite a bit of fame being the founder and leader of Mountain Heart, and Stafford has done much great work in Blue Highway. Very sadly, this will be the last joint release from the pair, as Gulley passed away shortly after they recorded Still Here. He leaves behind an esteemed body of work, and this swan song is certainly an unexpected, exceptional farewell from one of the best musicians to ever grace the bluegrass community.

Travels well with: Thomm Jutz- To Live In Two Worlds Volume 2; Sideline- Breaks To The Edge

Slow Burning Car

Projection

Trifonic, 2021

8/10

Listen to Projection

The long running Los Angeles outfit Slow Burning Car return with their 5th album, and much like everything they’ve done, it’s an alt-rock, metal and space hybrid that brings in plenty of surprises to their hard hitting yet cautious approach.

“Public Cynic” starts the listen and wastes little time impressing us with its driving rhythm section and calmer moments of sonically charged alt-rock that thumps with a ‘90s energy, and “Lad-Ish Man” follows with some punk nods amid the soaring female vocals as both grit and melody present themselves in absorbing ways.

Further along, the buzzing of “Memoirs Of A Gentleman Ghost” mixes well with the talking and singing of the modern rocker that also hosts a violin, while “The Quantum Mariner” brings spacey synth into the equation as more abrasive drumming enters an anthemic climate. “Seems So Nice” then trims the pace back with a ballad like setting of emotive singing, some psychedelic bouts and plenty of beauty.

Landing near the end is “Meraki”, where the sounds of water flow into Eastern arrangements that are subdued, mesmerizing and recruit plenty of cultured sounds, including a Bouzouki and singing in Greek, and “Transfer Terminal Twelve” exits the listen with some prog-rock indebted into their propulsive formula that builds into a dramatic finish of instrumental prowess.

It’s not hard to spot similarities to Queens Of The Stone Age and Swervedriver here, though, ultimately, Slow Burning Car have been steering their own journey since day one, and the traces of the best days of grunge and early days of punk won’t go unnoticed or unappreciated either.

Travels well with: Electric Peace- You’re Going To Hell; Dizzy Box Nine- Radio Fiction

Melody Duncan

Wolf Song

Self-Released, 2021

8/10

Listen to Wolf Song

A singer-songwriter and multi-instrumentalist who was born and raised in Alabama, Melody Duncan’s childhood was rich with diverse music, and that certainly carries over to the varied sounds of this debut solo album that she wrote, performed and recorded herself.

After the brief “Prelude” opens the album with spiritual, a cappella voices harmonizing in a wordless way, “Wolf Song” follows with Duncan’s unique, gravelly vocals guiding the string friendly, folk influenced landscape of beauty and eloquence.

Closer to the middle, “Dear Friend” carries an orchestral feel to its intimate and acoustic guitar fueled climate that even recruits a whistle solo, while “Paper” resonates a dreamy quality as Duncan’s versatile pipes show much range. “Reunion”, another very strong track, then benefits from warm keys as a very poetic appeal helps make this the standout.

The final two tracks, “Campfire” and “Rainstorm”, don’t disappoint either, as the former is a quick display of Duncan’s inimitable brand of folk song craft, and the latter, believe it or not, is 4+ minutes of the sound of rain, which actually comes with a meditative effect that complements the soft nature of the entire record.

Duncan picked up much experience in her years playing for and touring with The Mulligan Brothers, and that combined with her lifelong interest in all things musical helps shape this unique and alluring indie-rock, Americana, chamber and folk-pop adventure.

Travels well with: Julian Taylor- The Ridge; Siren Songs- Siren Songs

Williamson Branch

Heritage & Hope

Pinecastle, 2021

8/10

Listen to Heritage & Hope

The family band Williamson Branch return with a double disc effort, where the Hope portion offers inspiration and optimism, while the Heritage half are songs that will already be familiar with most church-goers.

“Swing Low, Sweet Chariot” starts the listen with the band’s incredible vocal harmonies alongside bluegrass friendly string work, and this formula continues to the soaring mandolin of “There Is Power In The Blood”, as well as the soothing “When I Die I’ll Live Again”.

Other highlights from disc 1 include the emotive and stirring “I Just Steal Away And Pray”, while the breezy melodies of “Where The Roses Never Fade” are difficult to forget. “Oh, How I Love Jesus”, a late highlight on this portion, then adds some gospel spirit to their passionate delivery.

Disc 2 leads with “Which Train”, which is a busy and lush display of timeless bluegrass chemistry, and “Walking In The Spirit” follows with a sublime mix of pretty female vocals with deep male singing. Further down the line, the string acrobatics of “The Light Of His Love” flows with intricate and memorable songwriting, and “I Am Fearfully And Wonderfully Made” offers a playful and glorious disc 2 highlight with children handling the vocals. “Every Time He Held A Nail” exits the listen steeped in gorgeous balladry that radiates a tremendous amount of beauty.

As always, Williamson Branch are nothing if not harmonic, spiritual and precisely penned, and their country, gospel and bluegrass meshing is still some of the best of its kind.

Travels well with: Dale Ann Bradley- Things She Couldn’t Get Over; JB & Jamie Dailey- Step Back In Time

Michael And Peter Formanek

Dyads

Out Of Your Head, 2021

8/10

Listen to Dyads

A father-son project where Michael Formanek brings a body of work that goes all the way back to the early ‘80s, his son, Peter, shares his father’s passion for music and brings his tenor saxophone and clarinet prowess that, even at just 25 years old, sounds like a seasoned vet.

“Two, Not One” starts the listen with Michael’s low bass alongside Peter’s soothing sax as the atmosphere unfolds with a cautious jazz landscape, and “Wandering, Searching, Digging, Uncovering” follows with bright, playful clarinet that’s strategically reserved, and benefits from the well timed, plucked bass.

Deeper down the line, “How Was The Drive?” carries a frisky energy as bass acrobatics and soulful sax meet at a very interesting intersection, while “There’s No There There” flows with a cinematic quality amid intricate dynamics between the woodwind and bass. “Wavvy Lines”, one of the album’s best, then sounds like a tugboat coming to port with its deep rumbling and charming appeal.

Close to the end, “Ballad Of The Weak” possesses much beauty in its calm, agile climate where the sax takes focus, and “That Was Then” exits the listen with an avant-garde approach of free jazz that’s seems like it was as fun to make as it is to listen to.

This is the first time the Formanek’s have collaborated on a record, and let’s hope it isn’t the last, cause their respective talents work together in a way that few could or would replicate.

Travels well with: Jane Ira Bloom- Wild Lines: Improvising Emily Dickinson; Vinnie Riccitelli- For The Record

Jordan Vanhemert Quintet

I Am Not A Virus

Big Round, 2021

8/10

Listen to I Am Not A Virus

A very aptly titled record from the composer Jordan VanHemert, he brings along Rob Smith, Lisa Sung, Kazuki Takemura and Andy Wheelock for these piano led, jazz tunes that touch on the Coronavirus pandemic, police brutality and the Black Lives Matter Protests of 2020.

“The Path Ahead” starts the listen with hypnotic keys from Sung, as Smith’s soulful trumpet and Wheelock’s precise drumming enter the warm jazz atmosphere, and “Autumn Song” follows with playful bass from Takemura before VanHemert’s incredible sax skills take focus.

Halfway though, “Justice For The Unarmed (Black Lives Matter)” is a bright and energetic display of timeless jazz sounds, while “The Moment” moves cautiously, sublimely and with much emotion in its reflective, stirring nature.

Near the end, “Arirang Interlude” is brief but impactful 90 seconds of a Korean traditional arranged by Vanhemert, and this leads into “Arirang”, which exits the listen with each instrument taking its turn in the spotlight, as the very talented players interact with much chemistry to produce a precisely textured finish.

VanHemert’s work is both atypical and universally enjoyable here, where his keen attention to melody and Korean heritage all make for a very topical and exciting listening experience.

Travels well with: Elaine Freeman- La Speranza; Jonathan Badger- Piano Quartets

Lydia Luce

Dark River

Self-Released, 2021

9/10

Listen to Dark River

A Nashville multi-instrumentalist with a resume that includes working with artists as diverse as Dolly Parton and Eminem, Lydia Luce offers a sophomore solo record here, where a unique landscape brings in influences from classical, chamber, orchestral and indie-rock ideas.

“Occasionally” starts the listen with a mysterious, inviting atmosphere as Luce’s intimate and alluring vocals guide the light drums and emotive climate of subdued beauty, and “Dark River” follows with an upbeat energy of melodic roots rock that’s both eloquent and powerful.

Further on, “Never Been Good” thumps with a warm retro-rock flavor where some of the best singing on the album resides, while “Maybe In Time” lands in ballad territory with a dreamy, sublime display of incredible song craft. “Somehow”, a truly exceptional track, then showcases cinematic strings alongside a poetic quality where Luce’s classical training really shines.

Approaching the end is “Stones”, which pairs expressive piano with Luce’s diverse pipes amid much vulnerability as strategic strings enter, and “Just The Same” exits the listen with an incredibly moving, even cathartic finish of majestic song craft.

A very impressive sophomore listen, Luce puts her own inimitable spin on the traditional sounds from her hometown, where her melancholic storytelling unfolds with very graceful, stirring and inventive arrangements that you can’t but admire.

Travels well with: Brooke Annibale- Hold To The Light; Emily Jane White- Ode To Sentience

Douglas Boyce

The Hunt By Night

New Focus, 2021

8/10

Listen to The Hunt By Night

The esteemed composer Douglas Boyce returns with a 2nd album of chamber sounds, where his always unique vision embraces poetry, painting and philosophy as he draws from primitive techniques that are modernized for the many players present.

“Quintet l’homme armé” starts the listen with a vibrant, adventurous spirit where Benjamin Fingland’s unpredictable clarinet and Miranda Cuckson's precise violin interact playfully with Ning Yu’s warm piano in a live setting, and “Stretto Perpetuo, Quire 4 No. 1 from A Book of Etudes” follows with Schuyler Slack’s moody cello and Ieva Jokubaviciute’s keys birthing both calm moments of beauty and tense bursts of mystery.

The halfway point offers us “Piano Quartet No. 2”, where piano from Jokubaviciute blurs with Harumi Rhodes’ quivering violin and Priscilla Lee’s cello. “Sails Knife-bright in a Seasonal Wind”, the longest tune at 14+ minutes, lands near the end, and alternates between low, cinematic rumbling as well as Daniel Lippel’s spirited guitar and Jeffrey Irving’s well timed percussion.

“The Hunt by Night, Quire 9 No. 3 from A Book Of Etudes” bookends the record with bright and animated keys from Yu, Caleb van der Swaagh’s deft cello and Fingland’s clarinet acrobatics in a memorable, exciting finish.

A very diverse effort that’s capable of being intense, nearly manic, and also intimate, often abstract, Boyce meticulously blends the instruments together in a way that nearly redefines the idea of chamber music, while keeping the listener enthralled for the entire journey.

Travels well with: DUO Stephanie & Saar- Cavatine; Sid Richardson- Borne By A Wind

Kabir Sehgal, Marie Incontrera & The Leveraged Jazz Orchestra

Angela’s Ring: An Opera Revue Of The European Debt Crisis

Tiger Turn, 2021

8/10

Listen to Angela’s Ring: An Opera Revue Of The European Debt Crisis

A jazz opera from the always creative mind’s of bassist Kabir Sehgal and pianist Marie Incontrera, Angela’s Ring addresses the European debt crisis across 41 tracks and 2 hours of many voices and robust swing sounds with The Leveraged Jazz Orchestra on hand.

Sprinkled throughout the listen are many “Newsflash” tracks, where quick news stories pertaining to the theme of the album help support the storyline. There’s no actual music on these tracks, though they certainly are important to the impact of the record.

On the musical side of the spectrum, tracks on the first half like “Don’t Blame Me” benefit from crisp drumming and lively brass as many voices converge for a rock’n’roll spirited climate, while the vocally elaborate “Europe Is A Success Story” displays soaring harmonies in a festive setting. Elsewhere, “Don’t Bring Your Troubles Here” pairs moody instrumentation with glorious and playful singing, and “Take It From A Goddess” delivers much beauty in the eloquent storytelling where subtle piano and precise drumming make an impression.

The back half of the album offers “What Have I Done?”, which flows with a theatric quality of tension and restraint, and “It Rains All Over Europa” makes great use of a harp in the dreamy, absorbing atmosphere. Closer to the end, the intimate “Is It Too Late To Save Europa?” builds into a sublime jazz meets opera fusion, and the upbeat and melodic “Finale: Let Us Lie” exits on one of the most memorable moments of the lengthy effort.

One not need to know anything about Europe’s financial problems to enjoy this project, although it might make the wordplay easier to follow. But if your interests reside anywhere near opera and jazz, there’s much in the way of instruments, texturing and top notch songwriting to be excited about from the exceptional talent present.

Travels well with: Arturo O’Farrill- Four Questions; Pablo Ziegler Chamber Quartet- Radiotango

TuneTown

Entering Utopia

Three Pines, 2021

9/10

Listen to Entering Utopia

A Canadian trio composed of Kelly Jefferson (tenor and soprano saxophone), Artie Roth (acoustic bass) and Ernesto Cervini (drums, percussion and bass clarinet), as TuneTown the skilled improvisers bring originals and standards to this very precise and playful sophomore album.

“Hello, Today” starts the listen percussively strong as saxophone enters the vibrant and soulful jazz landscape, and the title track follows with a more subdued approach with strategic bouts of sax, clarinet and acoustic bass.

Closer to the middle, “Flood, Deluge” quivers with an avant-garde feel as quick drumming and playful brass interact in firm, exciting ways, while “Look Down” leads with a soothing, almost meditative quality that makes quite an impact in just one minute. “Cheryl”, a really exceptional track and Charlie Parker cover, then displays carefully plucked bass as the setting builds into a rhythmic and swift climate of fascinating jazz prowess.

Deeper still, “Memories Remain” offers a soft, agile atmosphere that spends 6 minutes building into a cathartic and powerful album highlight, and “Blue Gardenia” exits the listen bare and warm, where intimacy and meticulousness meet at a very pleasant finish.

Not surprisingly, all 3 members of TuneTown are Juno nominated, and that immense talent is certainly present on this occasionally intense, sometimes sparse and always creative venture into experimental, funk friendly jazz that resonates long after the music has stopped

Travels well with: Mike Freedman- Into The Daybreak; David Restivo- Arancina

Too Much Joy

Mistakes Were Made

People Suck, 2021

10/10

Listen to Mistakes Were Made

It’s been 25 years since Too Much Joy released a record, and it might not have happened at all if Covid didn’t strike. During quarantine the band, who actually never broke up, got the itch to play again, and even resurrected a few songs from the ‘90s that weren’t ever laid down for the 15 tracks of Mistakes Were Made.

“Blinding Light Of Love” starts the album with a buzzing energy that parallels the early days of post-punk with furious drumming, swirling guitars and howling vocals from frontman Tim Quirk, and “Uncle Watson Wants To Think” follows with a much calmer pace, as acoustic guitar and Joan Osborne both add much to the Americana influenced climate.

Closer the middle, “Something To Drink About” gets a bit dreamy with some psyche-leanings and plenty of hazy melody, while “Tranq It Up” is a vibrant rocker that tips it hat to The Stones with a rugged, punk and New Wave filled slant. “Flux Capacitor”, a folksy strummer, and one of the record’s best, then parallels the greatness of bands like The Jayhawks with its warm spirit.

Further along, the gravelly “New Memories” brings a firm guitar crunch that’s somewhere between folk-rock and alt-rock, and “Not Being You” resides closer to ‘80s territory with an infectious synth-line and eccentric quality that’s quite charming. “Just Around The Bend” exits the listen with 10 minutes of anthemic, gritty sing-alongs amid classic rock nods that fades into a hidden 16th track which serves as a thank you to those who funded the album.

You’re likely to be reminded of legends as diverse as The Clash, Randy Newman, They Might Be Giants or The Who here, which could never be a bad thing. Ultimately, though, Too Much Joy have always been on their own path, and while they never saw much commercial success during their most active time, this is the best record I’ve heard all year.

Travels well with: The Kinks- Lola Versus Powerman And The Moneygoround Part One; Mekons- Deserted

Diego Baliardo And The Gypsy Evolution

Este Ritmo

Moondo, 2021

8/10

Listen to Este Ritmo

Perhaps best known as a co-founder of the legendary outfit The Gipsy Kings, Diego Baliardo returns here with a new band, The Gypsy Evolution, for a highly textured and energetic debut that stays true to Baliardo’s Romani roots.

“Me Voy A La Playa” starts the listen with Baliardo’s smooth, expressive singing alongside playful percussion from Pacheco Rodolfo as well as skilled guitar work in the rhythmic opening, and this formula continues to the pop-influenced “No Tengo Dinero”, and the acoustic guitar fueled and romantic “Cara Bonita”.

In the middle, “Bambino” dances with bright melodies that benefit from Marlon and Gibson Baliardo’s frisky guitar work, while “Mi Nino” offers a breezy approach of emotive and intoxicating musicianship. The title track, one of the album’s best, then emits a reggae influence amid Antoine Ona’s careful bass work.

Close to the end, “Bonita” has you searching for your dancing shoes as the band’s rhythmic interplay will get your body moving, and “El Loco” exits the listen with a dynamic chemistry between all 5 players as they deliver with precision and playfulness.

An album that’s got plenty of pop flavor while still being indebted to a cultural heritage that embraces Flamenco and Latin ideas, Baliardo and The Gypsy Evolution are certainly off to a fantastic start that hints at the greatness achieved by the Gipsy Kings.

Travels well with: Honey Made- Brand New; Sotomayor- Origenes

Juan J.G. Escudero

Shapes Of Inner Timespaces

Neuma, 2021

8/10

Listen to Shapes Of Inner Timespaces

A composer who is just as skilled with piano as he is with a laptop, the Spanish artist Juan J.G. Escudero brings us a very distinct brand of acousmatic compositions here, where his interest in science aids in this meticulous and very technical effort.

The album leads with “Variations On The Bird And The Snow”, where much ambience unfolds with mystery, albeit in an ominous and cinematic sort of way, and “Estudio del Tiempo Iluminado II” follows with calm moments of exploration as well as firm buzzing that’s even a bit sci-fi.

Further on, “Auszug IiiB” is quite haunting yet fascinating in its unpredictable, unclassifiable nature, and the title track exits the listen in 4 chapters that range from aberrant noises to waves of abstract, percussive exploration.

Escudero derives inspiration from high level mathematics, and his use of spectralism and polyrhythms help provide a textured and enlightening listening experience you’re not going to find anywhere else, and that will be sure to expand your sonic palette.

Travels well with: Gina Biver- Nimbus; Robert Moran- Buddha Goes Back To Bayreuth

Son Of The Velvet Rat

Solitary Company

Fluff & Gravy, 2021

9/10

Listen to Solitary Company

The recording duo of Georg Altziebler and his wife, Heike Binder, this 9th album from Son Of The Velvet Rat puts the pair in some fine company as their Euro-folk sensibilities take influence from Joshua Tree, which is where the Austrians now reside.

“Alicia” starts the album with much grace as Bob Furgo’s emotive violin and Sebastian Rochford’s brushed drums complement Altziebler’s raw, pensive vocal delivery and sublime guitar playing, and “Solitary Company” follows with a darker approach where Matthias Loibner’s hurdy gurdy and Eric McCann’s acoustic bass add much to the reflective tone that’s packed with orchestral strings, too.

At the halfway point, “Beautiful Disarray” is a lively and rhythmic album highlight that recruits Hammond B3 by Anthony Patler and Scott Kisinger’s trumpet and trombone amid smooth melodies, while “11 & 9” is a calmer display of timeless, folk ideas as Binder’s pretty pipes mesh well with Altziebler’s gritty singing. “The Waterlily & The Dragonfly”, one of the most sparse tunes present, is then just Altziebler’s acoustic guitar and poetic vocals emitting much bare beauty.

The last two tracks, “The Ferris Wheel” and “Remember Me”, don’t disappoint either, as the former offers a firm energy of harmonica, handclaps and Danny Frankel’s playful drumming, and the latter exits with Albrech Klinger’s slide guitar and Binder’s theremin bringing further sophistication to the eloquent, absorbing finish.

You might spot similarities to names like Waits, Dylan and Cohen here, and the pair’s use of Irish folk, baroque rock and desert Americana only serve to further separate this from anything else you’ve heard before. Often gravelly, and with no shortage of glowing harmonies and agile melodies, I was a bit ashamed to say that, despite their lengthy catalog, this was my first experience with Son Of The Velvet Rat. If you’re in the same boat, it would be wise to rectify that, quickly.

Travels well with: David Dondero- The Filter Bubble Blues; Jim White- Misfit’s Jubilee

Melissa Carper

Daddy’s Country Gold

Self-Released, 2021

9/10

Listen to Daddy’s Country Gold

The singer-songwriter, upright bassist and nomad Melissa Carper sounds like she was born a century ago, where these country, swing and jazz songs often seem like they would emanate from a speakeasy with her old fashioned and heartfelt songwriting immediately drawing us in.

“Makin’ Memories” starts the listen with light keys, brushed drums, and, most importantly, Carper’s inimitable, vintage vocals on the jazz tinted opener, and “I Almost Forgot About You” follows with a bare approach that’s full of expressive singing, gentle piano and emotive strings that seems like it would fit on the AM dial.

Further down the line, the playful “Would You Like To Get Some Goats?” is a quick display of dance friendly song craft, while “My Old Chevy Van” flows with a timeless country spirit that’s imbued with much beauty. “Arkansas Hills’, an album highlight, then displays glorious pedal steel and fiddle acrobatics in the precise and playful climate.

Close to the end, “Many Moons Ago” is a melodic and warm display of retro nods amid classic country at its best, and “The Stars Are Aligned” exits the listen with soaring strings and an emotive quality where much intimacy is explored in her unique and very distinct vision.

Also a player in Sad Daddy, Buffalo Gals and The Carper Family, Carper is a seasoned vet and delivers like one on this truly timeless and captivating effort where some of Nashville’s finest session players contribute accordion, rhythm guitar, and violin, among many others.

Travels well with: Pokey LaFarge- Rock Bottom Rhapsody; The Devil Makes Three- Chains Are Broken

James Caldwell

Pocket Music

Neuma, 2021

9/10

Listen to Pocket Music

The composer and educator James Caldwell has turned the seemingly simple idea of making music out of things found in your pocket into a refined science. However, he’s not just limiting himself to pocket items; office supplies, yard items and even food can be harvested as music, and he brings in fascinating computer work, too.

“Deep Pocket Music” starts the listen with a mysterious, twinkling approach as busy, percussive like acrobatics unfold with a primal energy that’s unpredictable, and “Out Of Pocket Music” follows with an often soothing, meditative quality that’s also kind of spacey and unique in all the best ways.

The middle tracks, “More Pocket Music” and “Blocks Box”, are equally atypical, where the former manipulates the sound of water, low buzzing and electronic ambience, while the latter gets nearly into sci-fi territory in its electroacoustic and abstract vision.

Towards the end, “Hip Pocket Music” makes great use of space and tension with sparse ‘drumming’, quivering moments of calculated haze and even some haunting bits, and “Corner Pocket Music” exits the listen with an almost tribal feel that transfers into a mechanical climate of much intrigue.

This is Caldwell’s first portrait release, and it comes with a lifelong fascination with electronic music and a keen attention the sounds that we all hear daily, but tend to disregard as background noise. There isn’t much, if anything, out there that runs parallel to Caldwell’s vision, and even if there was, it would never be as creative as Pocket Music.

Travels well with: Robert Moran- Buddha Goes Back To Bayreuth; Kenneth Gaburo- New Music Choral Ensemble

David Maslanka

The River Of Time

Navona, 2019

8/10

Listen to The River Of Time

With conductor Mike Fansler at the helm and the Western Illinois University Wind Ensemble bringing their esteemed talent to the affair, The River Of Time flows with much emotion and diversity where flute from John McMurtery and cello from Moises Molina add much to the project.

“O Earth O Stars” starts the listen with a flute, cello and wind ensemble, as the 6 parts radiate gentle beauty that occasionally builds into a soaring spirit but can also retreat to a moving, sparse quality.

“Symphony No. 10: The River Of Time” finishes the affair with 4 lengthy pieces that flow with a cinematic appeal that gets majestic and ebullient, often taking on giant swells of orchestrated catharsis, but that also has the capacity to move nimbly and bare.

An extremely timeless listen, this is a highly meticulous outing that’s executed sublimely and will have the listener hanging on every thoughtful note.

Travels well with: Apollo Chamber Players- Within Earth; Society Of Composers, Inc- Flux