Darian Donovan Thomas

A Room With Many Doors

New Amsterdam, 2025

9/10

Listen to A Room With Many Doors

The 9 songs here were penned over 10 years by Darian Donovan Thomas, and they represent his time in ‘romantic field research’ and use many guests for the unclassifiable listen.

“Safe Space” opens, and has Thomas playing all the instruments in a bright and ambient landscape that swirls with wonder, and “Ugly Better” follows with Ian Chang’s frisky drums that suit Thomas’ playful strings and the layered vocals.

“HereThere” and “Fluorescents” arrive in the middle. The former is quite animated and full of electronic pop ideas, while the latter enlists Kitba’s dreamy harp and Ben Sloan’s rapid fire drumming for the album’s best.

Residing near the end, “Purple Flower” benefits from Petros Klampanis’ bass and Lesley Mok’s drums via the atmospheric love song, and “Microcosm Friend” exits with just Thomas for a busy and meticulous burst of modern pop fun.

A record that embraces hyperpop bouts, looping tactics and even classical nods, Thomas’ work isn’t easy to classify but is easy to enjoy, and it’s as unique as it is memorable.

Travels well with: Adam Tendler- Inheritances; Teddy Abrahams- Preludes

Caimin Gilmore

BlackGate

New Amsterdam, 2025

9/10

Listen to BlackGate

The Irish double bassist and composer Caimin Gilmore brings his trio along for 7 movements or segues that surround live emotion via the artistic and creative climate.

“MVE I” leads with the dreamy concert harp from Lavinia Meijer and playful cello thanks to Kate Ellis that interact with much wonder, and “Segue I” follows with an abrasive bout of strategic racket.

In the middle, “MVE II” makes great use of the harmonic and rich strings that occasionally recruit firm gestures, while “Segue II” is less than a minute of exploration courtesy of Gilmore’s bass plucking.

Close to the end, “MVE III” comes with a distinct ambience that’s cinematic and pretty, and “MVE IV” exits with a more ominous angle that also explores post-rock ideas amid shimmering qualities.

A very curious affair that’s rooted in classical ideas but not in the traditional sense, the trio touch on noise, rhythm and meditative bouts with a highly inviting demeanor.

Travels well with: Juri Seo/Latitude 49- Obsolete Music; Alex Paxton- Delicious

Anders Buaas

Trollringen

Apollon, 2025

9/10

Listen to Trollringen

A prog-rock artist with an affinity for instrumental music, Norway’s Anders Buaas is joined by Tim Condor, Bjørn Riis, Rebecca Nøsterud Isaksen, Rob Shepley and Gethyn Jones, plus others, for these 10 diverse and meticulous tracks.

“Prologue” opens the listen with Miriam Kjølen’s smooth voice alongside Buaas’ flowing guitar and warm keys in a folk influenced setting that’s strong on ambience thanks to Dakota Holden’s pedal steel, and “Opening Credits” follows with Buaas handling guitars, bass, keys, drums and percussion alongside Tazzy’s bright beats in the animated climate.

The title track lands in the middle and recruits Joakim Biondi’s cozy piano and Steinar Børve’s well timed soprano sax for the 8+ minutes of creative prog-rock, while “Sunrise” offers a bright and energetic burst of cinematic ideas that has Buaas playing everything.

Near the end, “The Last Drop” is just guitars and percussion via a rhythmic bout of playful songwriting, and “End Credits” exits with melodic riffs, atmospheric keys and graceful percussion via the lush finish.

Perhaps best known for instrumental music, the songs with vocals are exceptionally well done, and this rock, folk and jazz hybrid continues his progressive vision with incredible precision.

Travels well with: Whispers Of Granite- Liquid Stone; Frank Hammersland- The Ocean Sleeps Alone Tonight

KP Hawthorn

Til The Glitter End

Mule Kick, 2025

9/10

Listen to Til The Glitter End

Perhaps best known as a founding member of the HawtThorns and CALICO the band, this first solo effort from KP Hawthorn recruits her West Coast roots with a Nashville spirit across the 9 songs.

“Fool’s Gold” starts the listen with warm guitar and Chris Benelli’s skilled drumming that suits Hawthorn’s pretty pipes, and “High Road” follows with an infectious energy thanks to Ted Pecchio’s playful bass and Rosie Flores’ animated electric guitar.

Landing in the middle, the cozy balladry of “The Runaway Girl (Ballad of Ginger and Danny)” makes great use of soft guitar and Hawthorn’s intimate pipes, while “Come To Me” is a lush and heartfelt album highlight that benefits from pretty singing and a pensive rhythm section.

Arriving near the end, “The Lone Ranger” allows for Johnny Hawthorn's meticulous guitar to shine, and Benelli’s percussion is quite memorable, too, and “Going To California” exits with Sav Madigan’s sophisticated violin complementing the stirring duet.

A well thought out and very mature effort. Hawthorn and her company mash Americana, dream pop and golden-era California nods into a timeless body of work.

Travels well with: Ashleigh Flynn & The Riveters- Good Morning, Sunshine; Paula Fong- Chestnut Mare

The Gated Community

Goodbye Work

Self-Released, 2025

9/10

Listen to Goodbye Work

A folk/country outfit from Minnesota, The Gated Community celebrate their 2 decades of making music together with these collaborative and timeless tracks.

The flowing and warm melodies of “Hand In The Air” opens with Rosie Harris’ heartfelt and expressive voice guiding the sincerity, and “Goodbye Work” follows with Cody Johnson’s frisky voice alongside Harris’ swift banjo and no lack of vocal harmonies.

Deeper into the listen, “What I Hate” welcomes Nate Knutson’s poetic pipes amid folk friendly acoustic strumming, while “Bunker” is a fuller, intimate moment thanks to Paul Hatlelild’s skilled drums, Sumanth Gopinath’s emotive keys and Knutson’s moody guitar.

Further still, Hatlelid sings on “Petty”, which carries some bluegrass spirit and an infectious energy, and “Losing My Wages” exits with a bare and dreamy demeanor thanks to the strong attention to ambience.

An effort that’s lyrically as substantial as it is musically, the bluegrass, Americana and old-time traces sure are appreciated, as The Gated Community continue to make fans out of anyone who listens.

Travels well with: Morningbird- Echoes In The Meadow; The Jayhawks- XOXO

Varre Vartiainen

Head And Heart

Eclipse, 2025

9/10

Listen Head And Heart

The former Leningrad Cowboys guitarist Varre Vartiainen is joined by the jazz guitar legend Mike Stern, plus others, for these ‘70s fusion tracks that are steeped in jazz rock.

The dense guitars of “Miked Up!” leads with Joonatan Rautio’s lively sax adding much to the busy climate, and “Hardly” follows with playful bass and frisky drums complementing the stylish and rhythmic delivery.

“Waltz For Roni” lands in the middle and emits much beauty via the warm guitars and Severi Pyysalo’s subtle vibraphone, while “Blue Velvet St.”, one of the album’s best, showcases the meticulous interaction between the guitars amid a dynamic rhythm section.

Further along, “Mood Swings” benefits from Mongo Altonen’s cultured percussion, and “Bill From Sao Paulo” exits with the radiant guitars and Visa Oscar’s intricate keys meshing with intrigue and timelessness.

Vartiainen’s resume includes founding the legendary outfit Husband, and Stern’s credits involve playing with Miles Davis, Billy Cobham, and Blood, Sweat & Tears. Together, they create exciting and innovative jazz fusion with plenty of emphasis on rock.

Travels well with: Steve Smith And Vital Information- Time Flies; Karl Latham- Living Standards II

Lina_ & Jules Maxwell

Terra Mãe

Atlantic Curve/Schubert, 2025

9/10

Listen to Terra Mãe

A collaboration between Jules Maxwell, LINA_ and Portuguese composer, poet and singer Amélia Muge, the 9 tracks here surround the poetic connections between Ireland and Portugal, and they touch on love and longing.

“Arde sem se ver (Follow The Dove)” opens and uses Lina_’s expressive voice alongside strong attention to mood that’s melodic and lush, and “Não Deixei de Ser Quem Sou (The Person I Always Was)” follows with ambience and electronics that emit mystery, culture and emotion.

In the middle, “Entre o Ser e o Estar (Wishful Thinking)” welcomes soft piano and intimate singing that unfolds via a poetic quality, while “Milagres (Miracles)” shimmers with plenty of pop sensibilities that are dreamy and dance floor ready.

Arriving near the end, “Falcão na corda bamba (Hawk On A High Wire)”, one of the album’s best, is full of bright textures and powerful singing, and “When are they coming?” exits with gentle keys and stirring vocals that tug on the heartstrings.

An artistic, original and worldly effort, the grooves and synthetic versus organic presence ensures an enlightening and spiritual experience like few others.

Travels well with: Lina- Fado Camões; Jules Maxwell- Songs From The Cultural Backwater

Terry Kitchen

We All Dream

Urban Campfire, 2025

9/10

Listen to We All Dream

The Boston singer-songwriter Terry Kitchen returns with his first album of new material since 2020, and it brings in plenty of guests that help him flesh out an intimate and sonic formula.

The cozy mood of “Rain Rain Rain” opens with Rebecca Lynch and Bob Vivona’s harmony vocals complementing Kitchen’s flowing guitar, and “Loretta’s Icebox” follows with Seth Connelly’s glowing dobro and Louise Coombe’s pipes on the harmonics amid much warmth.

Entering the middle, “Crane’s Ledge” benefits from Eric Kilburn’s swift mandolin and Don Barry’s playful upright bass that suits Kitchen’s vivid storytelling, while “Twice As Old As Jesus” spotlights Kitchen’s pretty guitar and heartfelt singing in the bare climate.

Much deeper, “Thunder Without Rain” brings percussion into the grateful bout of lush and timeless folk qualities, and “Do You Hear What I Hear” exits and illuminates the Christmas carol that’s quite relevant with its prayer for peace message that emits an infectious melody.

The many contributors adds much diversity to the record, and Kitchen’s universally embraceable version of folk sounds better than ever.

Travels well with: Terry Kitchen- First Album (Remastered); Terry Kitchen- Lost Songs

Whispers Of Granite

Liquid Stone

Apollon, 2025

8/10

Listen to Liquid Stone

The Norwegian vocalist and composer Trude Eidtang and German keyboardist and composer Andreas Hack, i.e. Whispers Of Granite, are joined by a few guests for these fusion filled 8 tracks.

Hack’s warm keys and Eidtang’s gorgeous voice start with “Spirals”, as much grace surrounds the stirring climate, and “Hiding In Plain Sight” follows with Wolfgang Ostermann’s thumping drums complementing the more firm approach of prog-rock nods.

“Fleet City” and “Ocean Maker” land in the middle. The former buzzes with a quick pace of dynamic rock that isn’t short on melody, while the latter enlists Marek Arnold’s well timed sax for the soulful and cinematic songwriting.

Close to the end, “Age Of Seven”, the album’s best, allows for Eidtang’s diverse voice to guide the stylish and pop-tinted delivery, and “Silver Green” exits with a meticulous guitar solo from Paul Sadler that suits the mature keys, ambient backdrop and rich singing.

A distinct effort that’s strong on atmosphere, Whispers Of Granite embrace a haunting, emotional and eclectic vision that makes for an impressive debut.

Travels well with: Electric High- Colorful White Lies; Frank Hammersland- The Ocean Sleeps Alone Tonight

Jackson Scribner

Depression Kids

State Fair, 2025

9/10

Listen to Depression Kids

The Texas songwriter Jackson Scribner returns with a sophomore album, where the youngster plays like an old soul and he’s got some excellent help for the 9 genuine tunes.

The soft and heartfelt “Mr. Moon” starts with a soulful quality that uses gentle guitar, and, later on, a rich climate, and the title track follows with Kim Herriage’s warm pedal steel which suits Scribner’s intimate singing.

In the middle, “The Forest” builds into a crunchier, rock filled climate thanks to Jeff Ryan’s skilled drumming and Jerome Brock’s firm guitar, while “Train Song” finds a dreamy place to reside thanks to the lush delivery and cautious melodies.

Closer to the end, “One Thing” carries some retro-ideas via folk nods that unfold with a cozy approach, and “Month After Month” exits with Tony Hormillosa’s skilled bass and Brock’s well timed keys that complement that colorful and pensive finish.

Although he’s just in his mid 20’s, Scribner performs like a seasoned vet, and though the themes are often rooted in isolation and alienation, the fuller rock bouts and very thoughtful selections are instantly memorable.

Travels well with: Jackson Scriber- Jackson Scribner; Zack Keim- Battery Lane

Ketch Secor

Story The Crow Told Me

Equal Housing, 2025

9/10

Listen to Story The Crow Told Me

The frontman for Old Crow Medicine Show, this debut album from Ketch Secor offers a coming-of-age story about a dreamer who carved his path to the top, one song at a time, and welcomes some excellent guests.

The playful and rich opener, “Busker’s Spell”, leads with Critter Fuqua’s thumping drums complementing Secor’s distinct pipes and the animated fiddle, and “Talkin’ Doc Blues” follows with a swift display of talking and singing via the mountain-esque flavor.

Further along, the spirited harmonica and frisky melodies of “Old Man River” emits plenty of bluegrass nods, while “Highland Rim” enlists Marty Stuart’s flowing mandolin for the elegant and poetic album highlight.

Deeper yet, the brisk pace of the animated “Holes In The Wall” will get your body moving to the rural rock flavor that invites singing-along in a the way that R.E.M.’s “It's the End of the World as We Know It (And I Feel Fine)” does, and “What Nashville Was” exits with Molly Tuttle contributing harmony vocals to the lush and pretty exit that benefits from Eddy Dunlap’s aching pedal steel.

Secor plays a variety of instruments here (fiddle, banjo, harmonica, bass, organ, spoon), samples Bob Dylan and Johnny Cash, and his inimitable help makes for a very diverse, engaging and creative peek into the mind of one of this generation’s most esteemed songwriters.

Travels well with: Old Crow Medicine Show- Jubilee; The Devil Makes Three- Chains Are Broken

Andrews Massey Duo

from the roots… new branches

Self-Released, 2025

8/10

Listen to from the roots… new branches

A guitar and flute experience from David Massey and Emily Andrews, the 13 tracks here make for a unique and memorable folk effort.

The inviting “Dribbles Of Brandy” opens the listen with Andrews’ penny whistle, flute and piccolo radiating much beauty amid some haunting moments, and “Skye Boat Song” follows with a pretty love song that pairs the warm guitar from Massey and pretty flute alongside much intimacy.

Closer to the middle, “A Red, Red Rose” offers a romantic moment surrounded by a mesmerizing melody from the pair’s cautious skills, while “Bold Grenadier” is a sadder track that aligns the alto flute with light guitar texture and plenty of emotion.

Landing near the end, the Scottish song, “Caller Herrin’”, allows for Andrews’ meticulous wind to captivate alongside the gentle guitar, and “Blow The Wind Southerly” exits with an old English folk song that utilizes Scotch snap rhythm and dance floor energy which moves quickly and authentically.

The album booklet is extremely detailed and suits the well thought out selections and timeless delivery from the duo, who make great use of banjo, guitar, flutes and whistles.

Travels well with: Holly Holden- al andar; Tasha Smith Godinez- A New Day

Rez Abbasi Acoustic Quintet

Sound Remains

Whirlwind, 2025

9/10

Listen to Sound Remains

The guitarist Rez Abbasi is joined by Bill Ware, Stephan Crump, Eric McPherson and Hasan Bakr for these 8 modern jazz tracks.

The rhythmic mood of “Presence” leads with Abbasi’s mesmerizing guitar alongside Ware’s animated vibes, and “You Are” continues that meticulous songwriting with Crump’s stunning bass work illuminating the lush climate.

“Folk’s Song” and “Spin Dream” arrive in the middle. The former makes great use of Abbasi’s colorful guitar amid cautious vibes, while the latter is a busier moment that’s populated by McPherson’s lively drums and Bakr’s strategic percussion.

Landing near the end, the rich and textured “Meet The Moment” offers the best tune, and “Purity” exits with cozy strumming, crisp drums and some rock gestures that suit the timeless jazz appeal.

An often introspective body of work, this 17th record from Abbasi might focus on acoustic guitar, but the quintet’s tremendous chemistry makes every track worth repeated visits.

Travels well with: Noah Haidu- Standards III; Julian Shore Trio- Sub Rosa

Andy Z

My Voice

Self-Released, 2025

8/10

Listen to My Voice

The California children’s entertainer, Andy Z, returns with an 8th album, and it keeps his contagious energy and playful effects in place across the 16 silly tunes.

The playful mood of “Song For My Baby” leads with Benjamin Irwin’s frisky clarinet guiding a bit of an old time flavor, and “Flutter, Flutter Butterfly” follows with Karla Kane’s warm voice for the charming duet that’s got some folk fun to it.

Further along, Z’s diverse pipes and fluid acoustic guitar make “My Voice” a tune with plenty of surprises, while “Five Green And Speckled Frogs” welcomes Andrew Yagjian’s lively drums and Chris Frangos’ meticulous mandolin for the album’s best.

Deeper yet, Jim Hornibrook’s animated bass playing complements the kids’ voices and Z’s storytelling amid “Ooga Booga”, and “Lullabye” finishes via a soothing, acoustic fueled minute of cozy songwriting.

There’s a lot of fun to be had across this album, where both the traditionals and originals are equally memorable and will keep both kids and adults engaged, entertained and singing-along.

Travels well with: You & Us- Fun Machine Dream Vol. One; Rolie Polie Guacamole- On The Stoop

Quatuor Bozzini

Owen Underhill: Songs And Quartets

Collection QB, 2025

9/10

Listen Owen Underhill: Songs And Quartets

The inimitable quartet Quatuor Bozzini are aligned with Vancouver’s Owen Underhill for these 4 classical and avant-garde influenced pieces that also take help from the poets Henry Vaughn and Sir Walter Raleigh.

The powerful and graceful “The Retreat” opens with Daniel Cabena’s soaring countertenor alongside the stirring strings, and “Northern Line- Angel Station (String Quartet No. 2)” follows with Clemens Merkel’s gripping violin amid Isabelle Bozzini’s well timed cello to enhance the mood.

The back half offers us the brighter qualities of “What Is Our Life?”, where Cabena’s expressive pipes are complemented by the sometimes tense strings, while “String Quartet No. 5- Land and Water” allows for Marina Thibeault’s viola and Alissa Cheung’s meticulous violin to help cultivate an animated versus introspective album highlight.

This is the 2nd time that Underhill has worked with Quatuor Bozzini, and again the results are superb, where the orchestral and chamber influences are fleshed out with incredible detail and timelessness.

Travels well with: Quatuor Bozzini- Jürg Frey: String Quartets; Quatuor Bozzini- Rebecca Bruton + Jason Doell: a root or mirror, blossom, madder, cracks; together

Joane Hétu

Elle a son mot á dire

Ambiances Magnétiques, 2025

9/10

Listen to Elle a son mot á dire

The conductor, vocalist and alto saxophonist Joane Hétu brings her avant-pop background to these experimental tracks that employ the Ensemble SuperMusique.

The distinct title track opens with Sarah Albu’s inviting voice that acts like an instrument amid Julie Houle’s well timed tuba, and “Elle n’est pas un animal” arrives soon after with Luzio Altobelli’s bright accordion that suits the many voices and ‘found object’ type noises.

Landing in the middle, “Avoir le motton” welcomes Émilie Fortin’s animated trumpet and Noam Bierstone lively percussion to a very rich album highlight, while “Lumiére” benefits greatly from Michel F Côté’s electronic manipulation alongside Albu’s expressive pipes.

Further still, “Elle a dit oui” has the voices layered strategically and Hétu’s colorful sax present with much creativity, and “Elle qui est-elle? exits with a very animated demeanor that blends the wind, brass and percussion with distinct singing.

Mostly new but some older pieces are present, as Hétu fleshes out harmonics, rhythm, and strong attention to tonality with an iconoclastic spirit.

Travels well with: No Hay Bando- Il Teatro Rosso; Nick Storring- Mirante

Sean Clarke

A Flower For My Daughter

Navona, 2025

9/10

Listen to A Flower For My Daughter

The composer and flutist Sean Clarke enlists Roger Feria Jr., Talia Fuchs, and Nathan Brederson for these 14 selections that make up his debut album.

The title track opens with 2 segments, where Roger Feria Jr.’s emotive and graceful keys unfold with a stirring quality, and “Franey Trail” follows with Talia Fuchs’s expressive soprano and Feria Jr.’s gentle keys fueling Clarke’s libretto via a mesmerizing spirit.

In the middle, “Three Nocturnes, after Monet” occupies 3 segments with lower registers and strong attention to mood, while “Mountain Hymnal, for flute and resonance” allows for Clarke’s meticulous flute to emit wonder and warmth in its 11 minutes.

Deeper still, “Ballade” enlists Nathan Bredeson’s distinct guitar playing that radiates tremendous beauty, and “Winter Light, Castle Mountain (una corda)” exits with an atypical ambience thanks to the piano’s una corda pedal and 4th pedal depressed presence.

A well thought out effort that explores solo settings, chamber sounds and modern composition, Clarke’s vision is one rooted in harmonics, tonality and color, and it emits a very gripping intimacy.

Travels well with: Stef.in- Icterus II; Quator Bozzini- Jürg Frey: String Quartets

Mike Freeman Zonavibe

Circles In A Yellow Room

VOF, 2025

9/10

Listen to Circles In A Yellow Room

The vibraphone wizard Mike Freeman is joined by Guido Gonzalez, Jim Gailloreto, Ruben Rodriguez, Roberto Quintero and Joel Mateo for these Afro-Cuban and mamba and salsa flavored 10 tracks.

The bright mood of “Valentine” leads with Freeman’s glowing vibes amid Roberto Quintero’s lively congos, and “Funky Chai Cha” follows with Joel Mateo’s playful drums alongside Ruben Rodriquez’s fluid bass lines.

The halfway point belongs to “Back Slap”, where the rich vibes suit Jim Gailloreto’s soulful sax presence, while “Midwinter Day” offers a rhythmic album highlight thanks to Guido Gonzalez’s skilled trumpet and the stylish rhythm section.

“Wellspring” and “The Trek” exit the listen. The former allows or Ruben Rodriguez’s infectious electric bass to complement the cultured percussion, and the latter comes with a contagious energy via the colorful vibes and dynamic interaction between the players.

In addition to vibraphone, Freeman handles marimba, triangle, tamborine, sleigh bells, flapper toys, owl whistle, kalimba and hand claps, too, as jazz and world music meet at a very exciting and swingin’ filled intersection.

Travels well with: Pat Petrillo- Contemporaneous; Billy Lester Trio- High Standards

Steve Tintweiss And The Purple Why

Live In Tompkins Square Park 1967

Inky Dot, 2025

9/10

Listen to Live In Tompkins Square Park 1967

The inimitable bassist Steve Tintweiss is back with a live recording from decades ago, where the sextet plus a guest transport us back to the ‘60s avant-garde jazz scene.

After the brief “Warm-Up Announcement”, “Water” recruits “Jacques Coursil’s animated trumpet and Laurence Cook’s spontaneous drums for the free jazz exploration.

Further into the experience, “Are You Lonely” benefits from a bit of cautiousness via Tintweiss’ strategic bass and Randy Kaye’s strategic drumming, while “Space Rocks” showcases Joel Peskin’s squealing sax and Perry Robinson’s frisky clarinet thanks to the controlled chaos.

Deeper yet, “D-Drone” meshes the dense winds and brass amid the wild drums and reserved bass, and “The Purple Why” exits with James DuBoise sitting in on trumpet for a busy and creative mashing of each player’s inimitable skills.

An effort that isn’t short on melodies or solos, Tintweiss and company were clearly ahead of their time, and this early recording is further proof of that.

Travels well with: Steve Tintweiss Spacelight Band- Live At NYU: 1980; Steve Tintweiss And The Purple Why- Markstown

Ron Thomas/John Swana

Serenity

Galtta, 2019

9/10

Listen to Serenity

This 3rd effort from jazz luminaries Ron Thomas and John Swana has Thomas handling keyboards while Swana holds down EVI duties (Electronic Valve Instrument) across 4 tunes that twist and turn with synth fueled maneuvering that rarely sounds like it originated on earth.

“Message” starts the listen with an ‘80s ambience that gets spacey and cinematic with a charming sense of mystery, where waves of synth and a dreamy setting make these 10 minutes soar by, and “Rainforest” follows with a sci-fi feeling where ambient noises resemble animals and the atmosphere turns darker.

The last 2 tunes keep the creativity high and the unclassifiable landscape even higher. While “Foundation” sounds it could soundtrack a space craft landing on another planet in another dimension with its artistic restraint, “Serenity” closes out the affair indeed with a calm offering of meditative, soothing electronica manipulation that few could replicate.

An amazing collaboration that was actually recorded in 2007, Thomas and Swana were and still are way ahead of their time, as their musical vision far exceeds just about anything else being made.

Travels well with: Herbie Hancock- Thrust; Ryan Kisor- The Sidewinder