West Of Texas

Heartache, Hangovers & Honky Tonks

Pleasant Valley, 2021

9/10

Listen to Heartache, Hangovers & Honky Tonks

An outfit spearheaded by the guitarist, singer and songwriter Jerry Zinn, West Of Texas embraces all the hallmarks of traditional country, honky tonk and outlaw sounds we admire, and subject matter like love, heartbreak, being down on your luck and working your dead end job are all explored as a small army of Southern California musicians lend a hand.

“My Whiskey Life” starts the listen with swift twang as Zinn’s smooth vocals suite the classic country landscape perfectly, while Jeremy Long’s piano acrobatics add much to the memorable opener, and “Foolin’” follows with Gary Brandson’s warm pedal steel and Erik Herrera’s guitar complementing the Nashville-esque delivery.

Closer to the middle, “Watcha Drinkin’” is a breezy, timeless drinking song that you could dance to or just drown your sorrows in, and, similarly, “Dead End Job Blues” recruits Rich McCulley on bass for the swift and punchy country rocker. There just isn’t a bad tune present, and “Cheatin’, Drinkin’, Hurtin’ Song”, one of the best, places a soulful quality into the playful setting that’s got some rhythm to the formula.

Deeper still, “You’re Still The One I Dream Of” finds itself in ballad territory, where Zinn’s vocals show much diversity amid Dale Daniel’s restrained drumming and Rob Long’s proficient bass, and “Sound Of My Heart” glows with Phil Glenn’s fiddle prowess and Mike Wolf’s guitar as both ruggedness and beauty surround the Bakersfield nods.

An album that had to jump many hurdles to come into fruition, health problems with Zinn and Covid both tried to stifle the release, but, thankfully, what began as a 3 song EP in 2010 is now 16 tracks of ‘60s and ‘70s influenced country music that rubs elbows with swing, Tex-Mex and Cajun sounds while shuffling in all the best ways.

Travels well with: Darlin’ Brando- Also, Too…; Ben Bostick- Among The Faceless Crowd

Arturo O'Farrill and The Afro Latin Jazz Orchestra

Whatever it is, the way you tell your story online can make all the difference.

Virtual Birdland

Zoho, 2021

8/10

Listen to Virtual Birdland

The Afro Latin Jazz Alliance have kept quite busy during these difficult times for the arts by doing weekly streams to raise money for those deeply impacted by Covid. Virtual Birdland is a product of this effort, where Arturo O’Farrill brings several dozen musicians with him who all contributed their parts from their own homes with no immediate feedback or paycheck, but merely as a labor of love.

“Gulab Jamón” starts the listen percussive strong as horns and plenty of rhythm enter the cultured, busy landscape, and “Pouvoir” follows with Malika Zarra’s vocals entering the very lively and highly melodic display of soaring, gorgeous texturing.

In the middle, “Ana Mashoof” benefits from Ghazi Faisal Al-Mulaifi’s expressive singing and skilled guitar amid the graceful keys and bright brass, while “Samba For Carmen” moves with plenty of dance friendly spirit as Paquito D’Rivera’s alto sax acrobatics shine alongside Everton Isidoro’s precise percussion packed into the Brazilian samba.

The best track lands deep in the album, where “En La Oscuridad” emits a soulful, elegant display of timelessness that builds into a very unpredictable landscape, and “Para Los Rumberos” exits the listen on an energetic and playful adventure that does justice to the Tito Puente tune.

Though the shutdown of the music industry was certainly a dark time for many artists, O’Farrill and company created a place for themselves to exist, and provided a sense of community for anyone willing to get involved. This listen displays a strong sense of synergy among the many players, and, as always, represents a thriving and easily embraceable vision from O’Farrill’s unique mind.

Travels well with: Alfredo Rodriguez- The Little Dream; Negroni’s Trio- Acustico

Steve Tintweiss And The Purple Why

Whatever it is, the way you tell your story online can make all the difference.

Markstown

Inky Dot, 2021

8/10

Listen to Markstown

Here we’re treated to 2 live performances by bassist Steve Tintweiss, where the ensemble of James DuBoise, Mark Whitecage, Trevor Koehler, Judy Stuart, Amy Sheffler and Laurence Cook accompany him on the very creative, improvisational environment.

Of the first set, which is from the St. Mark’s Church-in-the-Bowery, songs like “Ramona, I Love You” are tinted with melancholy amid the memorable melodies, while the glowing trumpet from DuBoise makes an indelible mark on “N.E.S.W up/down”. The bowed bass of “Contrapuntal”, the best track, certainly stands out on this quick 20 minute set that displays incredible spontaneity as the songs flow in one continuous medley.

The second set, recorded at The Town Hall New York City, allows the band to spread their wings a bit more. With several of the songs surpassing 8 minutes, we’re treated to a trumpet solo in “Just Be Mine”, and the 10+ minutes of “Monogamy Is Out” displays strong vocal prowess from Tintweiss and Sheffler. This portion also explores some of their cosmic tendencies, where “Space Rocks” brings plenty of lively drumming, frisky bass work and well timed brass into the unpredictable yet calculated fury.

Though The Purple Why would remain together for several years after this recording, you aren’t going to find any other releases out there. Amazingly, these recordings took place all the way back in 1968, and it clearly shows that Tintweiss was ahead of his time. Still active to this day, the bassist is considered a pioneer in the area of avant-garde sounds, and this early documentation certainly supports the sentiment.

Travels well with: Judy Stuart- The Apostolic Session; The Art Ensemble Of Chicago- Tutankhamun

Kilian Kemmer Trio

Und Zarathustra Tanzte

GLM, 2021

8/10

Listen to Und Zarathustra Tanzte

The always impressive pianist Kilian Kemmer is aligned with Masaki Kai’s bass and Matthias Gmelin’s drumming on this very philosophical listen where nods to Nietzsche and Ellington won’t go unnoticed, nor will their skilled and strategic song craft.

“Ewige Wiederkunft” starts the listen with hypnotic keys as frisky drumming complements the adventurous spirit of the jazz influenced opener, and “Hirte” follows with a more bare approach as much beauty weaves in and out of the warm piano and cautious plucked bass lines amid much emotion.

Near the middle, “Oh Himmel” flows with pretty melodies alongside strong attention to detail among the trio, while “Blues For Nietzsche” delivers much exploration as a poetic quality meets a playful venture. “Angelico- Bavaria” then trims the pace back to ballad territory initially, where gracefulness enters a minimal approach of sublime dynamics.

Closer to the end, “Das Fragment An Sich” highlights mood and atmosphere, where elegant keys are the focus, before the spoken word fueled “Das Groesste Schwergewicht” exits the listen, effectively adding a literate angle to the very well thought out album.

Kemmer holds a PHD in philosophy, and here he bridges his academic and musical life together in flourishing, exciting ways that inject much creativity into a Nietzsche poem where classical ideas find their way in the midst of a nostalgic jazz climate.

Travels well with: Cecilie Strange- Blikan; Gabriel Latchin- I’ll Be Home For Christmas

Soo Line Loons

Soo Line Loons

Quit Your Day Job, 2021

8/10

Listen to Soo Line Loons

The very diverse Minneapolis outfit Soo Line Loons return with a 3rd album, where frontman Grant Glad steers the band in and out of a very charming brand of Americana that also rubs elbows with folk, rock, punk, jam and many other playful and sophisticated ideas.

“Old Mill” starts the listen with much warmth and atmosphere as fluent strings complement Glad’s expressive singing in the unique Americana climate, and this creativity extends to the swift, rurual playfulness of “Been A Long Winter”, where spirited harmonica from Matthew Fox and banjo from Erik Loftgaarden don’t disappoint,

In the middle, “Die Young” places some jazz nods into a very energetic, groove friendly delivery, while “Funktry” finds a soulful place to reside amid glowing keys and a frisky pulse. “What They Don’t Tell You” is then a more straightforward folksy strummer that benefits from piano and some twangy guitar.

“Hope” and “Amen” finish the listen, where the former glides swiftly with lively roots dynamics and will get your body moving to the sing-alongs while appreciating Charlie Parr’s slide guitar, and the latter adds a dreamy appeal as Kristi Hatterschide’s violin provides much beauty to the emotive and poetic conclusion.

Further proof that Minneapolis is full of thriving Americana outfits, too, put Soo Line Loons on a list with The Jayhawks and Golden Smog as primarily unplugged bands that should be in your rotation as they reach a career highlight on this collaborative and very well thought out affair.

Travels well with: The Jayhawks- XOXO; The Long Ryders- Psychedelic Country Soul

Tunic

Whatever it is, the way you tell your story online can make all the difference.

Exhaling

Artoffact, 2021

10/10

Listen to Exhaling

If you’re like me, when you think of punk bands living in Winnipeg, Propagandhi immediately come to mind. Well, after a single spin of Exhaling, the trio that are Tunic are going to leave a mark similar to their fellow Winnipegians, as David Schellenberg, Rory Ellis and Dan Unger take nods to legends like Quicksand, Converge and even the timeless melody of Merge Records.

The title track leads the album with a bristling mix of noise and melody as dissonance, pounding drums and yelping vocals collide in a very exciting intersection, and this approach continues to the firm and jagged “Invalid”, where bouts of fury hint to the mid ‘90s, as well as the visceral, buzzing and throaty “Will Know”.

There’s 23 tracks here, but most don’t exceed 2 minutes, so it’s a constant rotation of hard hitting sounds. Closer to the middle, the frantic, screechy “Radius” has Gravity Records screamo written all over it, while “Mumbled” wouldn’t be out of place during the Revolution Summer of 1985 with its raw Dischord like mood. “Nothing Nothing” then throbs with chunky bass lines as the yelped vocals flow alongside strategic feedback.

Closer to the end, “Empty Handed” moves at a calmer pace but is still thick and drenched in sonic noise amid barked vocals, and “Frontal Lobe” exits the listen with abrasive post-punk nostalgia that leaves the hardcore inclined wanting more.

A listen that’s abrasive, cathartic, and full of beautiful racket, play Tunic in between Botch and The Judas Factor and embrace the intensity and release, as Exhaling is an amazing record.

Travels well with: Seized Up- Brace Yourself; Jet Black- L'Ere du Vide

Gabriel Evan Orchestra

Global Entry

Self-Released, 2021

8/10

Listen to Global Entry

Gabriel Evan, an alto and tenor saxophonist, is back with a sophomore album that explores many different variations of vintage jazz, and he’s got Joe Goldberg, John Zarsky, Joe Kennedy, Ben Fox and Michael Voelker along for the cultured interpretations of the jazz classics.

“Waltz Of Flowers” starts the listen on a very playful note as a throwback jazz approach unfolds with a pre-war delivery of well timed brass, and “Rumba Azul” follows with a cautious display of Voelker’s strong percussion and Fox’s strategic bass lines as Goldberg’s clarinet mesmerizes.

Some of the middle tracks are the best, including the swift and dynamic “Diane”, where plenty of fun unfolds with their respective talents present in spades, while “Singin’ The Blues” does indeed touch on the blues with plenty of soul embedded in the timeless jazz climate. “Drink To Me Only With Thine Eyes” then bops with an undeniable energy that you can’t help but move your body to.

At the end, “Effervescent Blues” showcases Kennedy’s fluent piano in the slow swinging atmosphere, and “Rumba Tambah” exits the listen with a charming nod towards Caribbean sounds that the ensemble execute precisely.

Evan also plays in The Bailsmen, one of the most noted gypsy jazz outfits in New York City, and he brings that experience to this aptly titled adventure that welcomes influences from the ‘30s, classical music and swing ideas into this very original effort.

Travels well with: David Restivo- Arancina; Will Bonness- Change Of Plans

Adult Books

Grecian Urn

Taxi Gauche, 2021

9/10

Listen to Grecian Urn

The Los Angeles rockers Adult Books return with a sophomore album, where Nick Winfrey, Sina Salessi and Alex Galindo reside on the darker side of pop while injecting plenty of punk, New Wave and even goth tendencies into their hook heavy song craft.

“Innocence” starts the listen with a raw yet dreamy delivery of thumping drums and angular guitar work as light flashes of synth enter the shoegaze influenced setting, and “Receiver” continues the formula with a melodic version of post-punk that often hints towards the ‘80s and across the pond.

Residing near the middle, the scrappy, driving “Holiday” flows with some New Wave nods alongside gritty dynamics, while “Florence” offers a more firm approach that’s a bit thicker in texture as dual gender vocals resonate long after the song ends. “Apologies”, one of the standout tracks, then dances around brighter melodies in a way that will remind you of your favorite songs by The Cure, but on prozac.

Landing close to the end, “Adriatics” resides somewhere amid alt-rock territory with its sonically buzzing formula, and “Sparrows On The Razor Wire” exits the listen initially bare, even pretty, before erupting into an anthemic and blistering display of power and melody.

If bands like The Smiths, New Order or Mission Of Burma have consumed any significant time in your life, well, you’re probably going to be a big fan of Adult Books, too, as their creative prowess runs a similar course, and you won’t hear a single complaint from me about that.

Travels well with: MIY- Work; Cosse- Nothing Belongs To Anything

Jacqui Naylor

The Long Game

Ruby Star, 2021

8/10

Listen to The Long Game

The veteran songwriter and vocalist Jacqui Naylor returns with her 11th album, and she’s got Art Khu, Jon Evans and Josh Jones along with her to flesh out the diverse and richly textured listen where her fans actually decided which songs would appear here.

“Like Someone In Love” starts the listen with Naylor’s flowing, soulful pipes alongside warm piano and a frisky jazz climate, and “Give Me One More Chance” follows with spirited guitar lines in a romantic, poetic setting.

Entering the middle, the strong drumming of “Walkin’ Out The Door” matches well with the frisky bass work as Naylor’s inimitable pipes draw us in, while “Smile” trims the pace back into sublime balladry, where strategic keys add much to the Latin influenced landscape. “Don’t Give Up”, the album highlight, then resides in contemplative territory that possesses just as much beauty as Naylor has us hanging on every note of the Peter Gabriel original.

Close to the end, “It’s The Right Time” flirts with pop-rock in its dynamic execution where Khu, Evans and Jones all take their turn in the spotlight, and “All My Life” exits the listen with intricate guitar work in a breezy, melodic finish.

Known for her ability to make any song her own through her unique approach to song craft, Naylor and company interpret other’s work in ways you won’t hear elsewhere, as well as penning originals that are certainly cover worthy in their own right. Mostly laid down on one take, The Long Game continues Naylor’s eclectic version of jazz that embraces R&B, rock, pop and plenty of cultured moments that have defined her esteemed career.

Travels well with: The Rebecca Kilgore Trio- Vol. 1; Anais Reno- Lovesome Thing: Anaïs Reno Sings Ellington & Strayhorn

Colin Roy Monette

Lucky

Self-Released, 2021

8/10

Listen to Lucky

The singer-songwriter and guitarist Colin Roy Monette is also a music educator and academic, and, perhaps most importantly for our purposes here, he can write a song you won’t forget anytime soon. A collection of tunes that were recorded in several different places, the 13 tracks of Lucky blend together seamlessly in his timeless vision.

Monette leads the thoughtful album with the strong guitar work of “Go To California”, where his comforting vocals are accented by well timed harmonica and pretty female vocals, and “Honest Man’s Misery” follows with intricate and memorable playing from Monette as a unique brand of Americana unfolds with much soulfulness.

Elsewhere, the dreamy “Faces In The Clouds” recruits a folk influenced climate of much poetic beauty, while the swift “Aurora Borealis Blues” indeeds touches on the blues with no shortage of rhythm as Monette proves just how diverse he is. “Feel Free’, a late album highlight, then flirts with country in its shuffling and playful approach.

Further still, “Hills Of Sage” touches on the breezy elements of the ‘60s with much graceful acoustic strumming alongside meticulous electric guitar, and “Lucky” exits the listen with eloquence and his mesmerizing guitar playing amid an organic formula that is well suited for the log cabin it was recorded in.

Monette occasionally takes help from drums thanks to Greg Schutte and bass from Curt Hovland, but otherwise this is entirely his effort, and his influences from pop, rock, funk, soul, R&B, jazz and gospel, among others, easily holds our attention while stimulating our interest for more.

Travels well with: Neil Jacobson- Silver Park; Cody Lee- Woodpecker Crisis

The Rebecca Kilgore Trio

Vol. 1

Heavywood, 2021

9/10

Listen to Vol. 1

The jazz vocalist Rebecca Kilgore holds an impressive catalog of music that spans 50 recordings, and here she’s in the company of Randy Porter (piano), Tom Wakeling (bass) and, occasionally, her husband, Dick Titterington (cornet), who lend a hand on these diverse and fairly obscure standards.

Kilgore starts the listen with the bare and pretty “Dear Bix”, where elegant keys and expressive singing set the pace for the album, and “Day in- Day Out” follows with playful bass plucking as Kilgore’s frisky pipes guide the charming setting.

In the middle, “Talking To Myself About You” is an emotive, romantic moment of sublime beauty, much like the timeless jazz qualities of “Old Soft Shoe”. “Like The Brightest Star” then recruits Titterington’s cornet as the bass and keys work together with much fluidity.

Deeper still, “The Gentleman Is A Dope” showcases Porter’s strong piano prowess that suits Kilgore’s versatile storytelling, and “There’s A Small Hotel” exits the listen with Kilgore’s glowing pipes alongside firm keys and well timed bass.

Kilgore again proves just why she’s one of the most esteemed jazz vocalists in recent history, and her interpretations of the Great American Songbook are in a league all their own on yet another top notch record from the Portland, Oregon resident.

Travels well with: Anais Reno- Lovesome Thing: Anaïs Reno Sings Ellington & Strayhorn; Lauren White And The Quinn Johnson Trio- Ever Since The World Ended

Quiet Marauder

The Gift

Bubblewrap, 2021

9/10

Listen to The Gift

Quiet Marauder align themselves with several Canadian musicians here, including Jake Nicoll, Darren Browne and Ariel Sharratt, as the backing vocalist Kadesha Drija steps to the front of the stage on this cultured and rich acoustic-folk effort.

“Pilot: The Fire” gets the album off to a warm start as dual gender vocals harmonize alongside gentle acoustic guitar, and this cautious formula continues to the folk influenced “Will I Remember To Remember?, where expressive singing is both poetic and playful.

In the middle, “His Love Interest” displays intricate acoustic guitar as deep male vocals complement the dreamy climate, while “The Future Is Bright, The Future Is Orange” showcases swift piano alongside some pop ideas in a retro delivery. “The Domestic Accomplices”, one of the best tracks present, then emits a charming indie-folk quality that’s as creative as it is timeless.

Residing near the end, “Let’s Run Into The Flame Together” is a sweet and eloquent display of subtle horns amid a psyche-pop playfulness that’s quite soothing, and “Epic Plot Twist: Extinguished” exits the listen with much beauty as hushed singing from Drija’s flawless pipes have us hanging on every note.

This is Quiet Marauder’s 4th album, and they’re one of the few outfits today that completely reinvents themselves with each effort. A concept album about a teenager who lost her entire family to a house fire, you never know what you’ll get from the minds of Simon M. Read and Jonathan Day, but it’s always captivating, unique and worth many, many listens.

Travels well with: Tele Novella- Merlynn Belle; Moon And Bike- One

Jobbaloon

The Invitation

Self-Released, 2021

8/10

Listen to The Invitation

A Detroit duo who hover around the areas of psyche-pop and experimental rock, Jobbaloon tip their hat to the unconventional sounds of the ‘60s, as well as present day electronica on the 8 tracks of The Invitation.

After the brief, ominous spoken word “Introduction”, “The Invitation” follows with a synth heavy and beat friendly display that’s shrouded in mystery, and “Bm” continues the diverse landscape with a soulful pop delivery that welcomes keys into a dense climate.

At the halfway point, “Aligned” finds itself in modern indie-pop territory where a club friendly appeal is present, as are nods to Radiohead, while “Am” gets dreamy, vocally strong and extremely memorable. The quick album exits on the playful, upbeat “Days”, where some of the best singing resides alongside fluent drumming and, initially, acoustic guitar,

Joshua Achatz and Justin Squires, i.e. Jobbaloon, may not take themselves too seriously (their press kit says that don’t worship Satan but are friends with him), but their music is seriously creative, where they manipulate pop ideas in metaphysical, cosmic and highly unique gestures that you can’t help but be fond of.

Travels well with: The Pink Dust- Dark Seas; Drifting In Silence- Away

Alex Chilton And Hi Rhythm Section

Boogie Shoes: Live On Beale Street

Omnivore, 2021

8/10

Listen to Boogie Shoes: Live On Beale Street

An unreleased set from 1999 that was recorded at the New Daisy Theater in Memphis, the legendary Alex Chilton is in the company of the Hi Rhythm Section, which is composed of players who performed with legends like Ike & Tina Turner and Al Green, to name a few.

The title track starts the set with plenty of bright horns as Chilton’s inimitable pipes add much to the soulful, gritty rock’n’roll template, and “Precious, Precious” follows with a retro appeal that’s groove friendly and destined for the dance floor.

Further along, “Kansas City” glides with an upbeat and playful mix of brass and keys, while “Lucille” plants some gospel nods as Chilton pulls off vocal acrobatics amid a lively sax solo that does justice to the Little Richard tune. “Where Did Our Love Go”, one of the best from the evening, then puts a unique spin on The Supremes classic that’s probably never been covered quite like this.

Closer to the end, “Hello Josephine” displays remnants of Chilton’s power-pop past alongside jazz and soul nods, and “Trying To Live My Life Without You” exits the listen with beaming brass, radiant keys and Chilton’s always fluid guitar and vocals illuminating the Otis Clay song.

Included in the packaging are liner notes from David Less, a friend of Alex Chilton, and some eye catching artwork, as the late, great Chilton is documented having a lot of fun on stage while making his only appearance with the Hi Rhythm Section. We should all consider ourselves lucky to get to hear this rare performance, or anything that Chilton did for that matter, as his sudden death came at a time when he was still playing and writing music we would all appreciate.

Travels well with: Joe Jackson- The Duke; Matthew Sweet- Catspaw

Various Artists

Yesterday’s Tomorrow: Celebrating The Winston-Salem Sound

Omnivore, 2021

9/10

Listen to Yesterday’s Tomorrow: Celebrating The Winston-Salem Sound

Recorded in 2018 at a one time only show at the Ramkat in Winston-Salem, Yesterday’s Tomorrow is actually a collection of songs penned by legends from that scene in the ‘60s and ‘70s, performed by Mitch Easter, Peter Hoisapple, Will Rigby and Chris Stamey, among many others.

The album opens with a Rittenhouse Square tune, who contribute the gritty, retro-rock of “Hot Smoke & Sassafras”, where furious drum fills complement the soaring guitar work, and later on they offer the energetic and melodic “Like Wow”, as well as the ‘70s influenced “King Battle Of The Bands”.

The work of The Love Valets make a few appearances, most notably with the thumping throwback sounds of “Reptilian Disaster”, though the restrained ‘60s climate of “Black Death” won’t to unnoticed either. The Royal Opposition have the biggest presence, and bring horns to the soulful climate of “Got To Get You Into My Life”, while “The Train Stops Here” recruits flutes into the dreamy climate.

Other highlights include Little Diesel’s rugged proto-punk on “Hollywood Swinging”, and Sneaker’s “Condition Red”, which embraces power-pop as well as traces of early punk. The Imperturbable Teutonic Griffin ends the listen drenched in fuzz as crashing percussion and thick guitars illuminate the classic rock dynamics.

The impetus for this project came from Stamey, who penned a memoir that discusses the vibrant Winston scene, and the sound here is incredible, as the players look to the past with plenty of enthusiasm, feedback and raw rock’n’roll. There’s even a 24 page color booklet included with anecdotes, artifacts and rare photographs to help further document this thriving era that still inspires legions of fans to this day.

Travels well with: Alex Chilton And Hi Rhythm Section- Boogie Shoes: Live On Beale Street; Matthew Sweet- Catspaw

Erin Propp & Larry Roy

We Want All The Same Things

Chronograph, 2021

9/10

Listen to We Want All The Same Things

The Canadian duo of Erin Propp and Larry Roy return with a sophomore album together, where Propp’s ‘70s spirited vocals and Roy’s guitar acrobatics lay the foundation for the 12 diverse songs that bring in players like Julian Bradford, Ken Gold, and Derrick Gardner, to name a few.

“Each Hidden Joy” starts the listen with much elegance as soothing vocal scatting leads into poetic singing where Rogerio Boccato’s graceful percussion and piano from Will Bonness add much to the warm setting, and “Hello Morning” follows with Roy’s guitar work highlighting the folk influenced climate of sublime beauty.

The middle tracks offers us the timeless jazz qualities of “Recomecar”, where plenty of rhythm is present, while “The Light” displays Propp’s strong vocal range amid plenty of dynamic instrumentation. “So Far Away”, one of the album’s best, then recruits soulful saxophone as a radiant atmosphere enters the gorgeous cover.

Further still, “The Nearness Of You” benefits from subtle brass and bluesy guitar lines in its dreamy, pretty landscape, and “A La Claire Fontaine” exits the listen with singing in French, where intimacy and adventurousness meet at a very sophisticated juncture.

The pair’s 2012 effort, Courage, My Love, landed them a Best Jazz Album Of The Year award and Juno nomination, and I don’t think anyone will be surprised if this one sees a similar fate. Armed with an expressive, powerful and innovative formula, there just isn’t a second here that isn’t absorbing in its execution.

Travels well with: Sarah Jerrom- Dream Logic; Amanda Tosoff- Earth Voices

The Pink Dust

Dark Seas

Sample Fuzz, 2021

9/10

Listen to Dark Seas

The duo that is The Pink Dust returns with another batch of tunes, where Roy Mitchell-Cardenas (guitar, bass, keyboards, drums) and Cliff Littlefield (vocals, bass, guitar) wrap their curious brand of alt-rock around dreamy, ambient, even otherworldly gestures that rarely stay in one place very long.

“What’s This Love” starts the listen with plenty of atmosphere as synth sets the mood and ethereal vocals enter the beat friendly, cosmic playfulness, and this approach continues to the swift and melodic indie-rock meets electro-pop of “Evermore”, as well as the hypnotic and buzzing “Innersine”.

Further down the line, the upbeat and jangly “Static” flirts with New Wave and dream-pop in charming ways, while “All I’m Thinking”, the album’s best, offers a busy, alt-rock influenced landscape of pop, prog and ‘80s nods that you won’t forget anytime soon.

Closer to the exit, “Daydreams Are Dying” leads bare, mysterious and even ominous as a sci-fi presence enters the creative song craft, and the title track exits the listen with warm acoustic strumming before building into a loud, thundering space rocker in its brief but majestic delivery.

A listen that will appeal to fans of synth-pop, post-rock, and various degrees of exploratory rock sounds, The Pink Dust continue to defy classification, and we’re all better off for it.

Travels well with: Hiatus- Dancer; Drifting In Silence- Away

Stephen Flatt

Cumberland Bones

Self-Released, 2021

10/10

Listen to Cumberland Bones

A Nashville native who has enjoyed a lengthy and impressive career in music that often involves being just out of the spotlight, Stephen Flatt has been assembling a catalog of original songs along the way, and they come to fruition on these 10 diverse and well thought out tunes.

“Brother” starts the listen with Flatt’s warm, soothing pipes guiding the well thought out Americana and country influenced climate, and “Hold You Tonight” follows with rustic, breezy melodies as Kenny Vaughn’s spirited guitar work and Pete Abbott’s crisp percussion make a big impression amid soulful backing vocals.

Elsewhere, “White County Shine” moves with a swift, bluegrass approach where Charlie Cushman’s banjo acrobatics and Flatt’s diverse singing will get your body moving, while “Satellite” flows with a folk quality amid vivid storytelling that benefits from Steve Hinson’s well timed pedal steel. “El Camino”, a late album highlight, then brings quick fiddle from Deanie Richardson as vocal harmonies and honky tonk ideas unfold with much charm.

Close to the end, the rugged “Talking Like The Devil” offers a thick bar room rocker, and “Gone Away” exits the listen with a cautious, heartfelt finish of piano from Vaston Brooks to punctuate the lush beauty.

Flatt comes from a musical family as the bluegrass legend Lester Flatt is his great uncle, and though this might be his debut solo album, his lengthy background in recording and performing certainly gives him quite an advantage on what will likely be one of the best country albums of 2021.

Travels well with: Dave Alvin- From An Old Guitar: Rare And Unreleased Recordings; Steve Earle & The Dukes- Ghosts Of West Virginia

Code Quartet

Genealogy

Justin Time, 2021

9/10

Listen to Genealogy

A Montreal outfit who have enjoyed a 4 year career so far, CODE quartet use both composing and improvising as Adrian Vedady, Christine Jensen, Lex French and Jim Doxas take influence from Ornette Coleman across these 8 carefully crafted tracks.

“Tipsy” starts the listen with soulful trumpet from French as Jensen’s smooth sax and crisp drumming from Doxas accent the warm mood, and “Watching It All Slip Away” follows with a breezy, dreamy approach that’s not short on brass exploration, either.

At the halfway point, “O Sacred Head, Now Wounded” puts a very thoughtful spin on the traditional where Vedady’s strategic acoustic bass lines flow amid adventurous drumming and bright trumpet, while “Wind Up” enters a busy climate of playful, timeless jazz dynamics that sounds as relevant today as it would have decades ago.

Landing near the end, “Day Moon” delivers a stylish and animated landscape of strong interaction between the quartet, and “Beach Community” exits the listen with all the players taking their turn in the spotlight as the skilled rhythm section doesn’t disappoint.

Even though several of the tunes here surpass the 7 minute mark, nothing out welcomes its stay as CODE Quartet showcase much talent, charming synergy and songwriting chops that warrant repeated listens.

Travels well with: Dan Pitt Quintet- Wrongs; TuneTown- Entering Utopia

Cara Louise

Fragile Heart

Self-Released, 2019

8/10

Listen to Fragile Heart

Having dropped the ‘Band’ part of their name, Cara Louise returns with an EP of nods to the ‘60s as she attaches synth, vocal effects and retro production to her alt-country formula.

The title track starts the listen with gorgeous strumming and Louise’s pretty, inimitable vocals in the classic country meets modern day alt-country opener that you could dance to, and “Turn Tears Into Rain” follows with a calmer setting of strings and folk ideas amid the orchestral haze and strong rhythm.

The back half of the albums brings the synthetic drumming and beat friendly “Only You”, and “Nothing To Prove” exits the listen with brisk percussion amid a dreamy setting of classically influenced sounds, as Louise and company really expand their template.

Fragile Heart is the sound of the songstress spreading her wings, and she takes the leap with as much risk as she does skill, resulting in an adventurous endeavor that I feel pretty confident will be a well received reinvention for anyone who’s been following this far.

Travels well with: Nikki Lane- Highway Queen; Sarah Shook & The Disarmers- Years