Lee/Thomas/Kampen/Hale

Globe Travel Homeland

Ravello, 2022

8/10

Listen to Globe Travel Homeland

Pianos and percussion come together here, where compositions by living composers are fleshed out with much attention to tonality and melody thanks to Sang-Hie Lee (piano), Martha Thomas (piano), Kevin von Kampen (percussion) and Zack Hale (percussion).

Eun Hye Park’s “Persona For Two Pianos And Two Percussion Players” opens the listen with dense, exciting percussive manipulation alongside firm, atmospheric keys in the cinematic delivery, and “Tango Suite In Three Scenes” follows with the graceful piano flowing with much melody, as the pianists work together with dynamic interaction.

Michael Sidney Timpson’s “Eight Quodllibets” arrives in the middle, and meshes the complicated finger acrobatics that can rumble with mystery, while Lee and Thomas present much forcefulness in the nearly abrasive “Frozen Land”, where soft moments also populate the Chan Hae Lee composition.

The album exits on the 3 movements of Robert Paterson’s “Deep Blue Ocean”, where a very absorbing quality comprises the shifting moods and mesmerizing progressions from the stunning keys.

A very powerful display of exceptional talent, the players here make for a complicated but easily enjoyable affair that allows the artists to play off each others respective skills with much awe.

Travels well with: DRAX- CHAOS + Contemplation; Wesley Ferreira- Into The Green

Tonči Huljić

Mediterranean Pop Mass

Navona, 2022

9/10

Listen to Mediterranean Pop Mass

The colorful composer Tonči Huljić brings along the Mediterranean Choir & Orchestra for these rich compositions that are full of Western melodies and precise textures.

“Kyrie Eleison” starts the listen with meticulous strings that points towards Eastern influences in the cultured, warm climate that welcomes Hana Huljić’s stirring voice, and “Gloria” follows with much emphasis on booming percussion and soaring vocal harmonies amid the thundering, cinematic landscape.

In the middle, “Sanctus/Benedictus” emits a dreamy quality alongside a meditative, orchestral backdrop, while “Agnus Dei” uses flutes, percussion and group vocals to its advantage.

“Dies Irae” and “Ave Maria” exit the listen, where the former showcases frisky strings and strong attention to mood, and the latter finishes with gorgeous singing that’s poetic and emotive, and the music is quite absorbing, diverse and memorable, too.

A body of work that touches on classical ideas but is still very modern, the choir, orchestral and groove oriented gestures present sure do make every track here worth repeated listens.

Travels well with: Carl Vollrath- Old & New Poetry Vol. II; Ilja Hurník- Gratias

Carl Vollrath

Old & New Poetry Vol. II

Navona, 2022

8/10

Listen to Old & New Poetry Vol. II

The esteemed composer Carl Vollrath interprets the text of William Blake and John Gracen Brown here, and he offers originals, too, as Aliana de la Guardia, Jonas Budris, Yoko Hagino and Rane Moore accompany him.

Blake’s “Songs Of Innocence” opens the listen with Guardia’s soaring and expressive mezzo vocals and Hagino’s agile piano in the sometimes rumbling, other times bare climate, and “Eighteen Pieces On Poetry” follows with very pretty singing alongside Moore’s atmospheric clarinet complementing the strategic keys.

Vollrath’s “It’s Over” lands on the back half, and showcases Guardia’s poetic pipes amid the subtle keys, and “Songs Of Experience” exits the listen with Budris’ tenor voice illuminating the sophisticated piano.

An excellent follow up to his 2021 record with the same title, the intimate landscape allows for many vocal ranges to be explored, and Vollrath’s personal connection with the text touches on nature and the human experience with a very eloquent appeal.

Travels well with: Carl Vollrath- Old & New Poetry; Ilja Hurník- Gratias

Drax

CHAOS + Contemplation

Ravello, 2022

9/10

Listen to CHAOS + Contemplation

An iconoclastic saxophone/percussion duo, DRAX, i.e. Leo Saguiguit and Megan Arns, create rebellious and raw sounds that they funnel into today’s social issues, political headaches and widespread hysteria.

Asha Srinivasan’s “Tantrums” opens the listen with the manipulated brass and mysterious percussion meeting at a place that somehow sounds tribal and futuristic, and Steven Snowden’s “We Don’t Have Enough Time” follows with repetitive sound bites alongside the bright sax and waves of droning that segues the track into an aberrant version of jazz.

Residing in the middle, “They Tried To Bury Us, They Didn’t Know We Were Seeds”, by Jose G. Martinez, burns slow and low, with a reflective tone that inserts plenty of dialogue about the current societal turmoil, while Carolina Heredia offers us “Soledad, Part I: Lamenting” and “Soledad, Part II: Triumphant” to exit the listen. The former flows with a dreaminess that welcomes soulful sax and stirring vibes, and the latter emits a sparseness that pairs the emotive brass with very charming percussion.

A stylish, uniquely energetic and highly creative affair, you’ve probably never heard sax and percussion paired like this, and you’re going to remember moment of it.

Travels well with: Wesley Ferreira- Into The Green; James Dashow- Soundings In Pure Duration Vol 2

Debussy & Ravel

The New Epoch

Navona, 2022

8/10

Listen to The New Epoch

A trio of musicians from the Boston Artists Ensemble, Lucia Lin (violin), Jonathan Miller (cello) and Diane Walsh (Piano) interpret pieces by Fauré, Debussy, Ravel, and Lili Boulanger here, and it comes with much skill and a very modern approach.

Debussy’s “Sonata For Cello And Piano” opens the listen with warm keys and stirring strings making for a reflective, intimate beginning that later on plucks playfully amid swift finger acrobatics, and it isn’t long until Ravel’s “Sonata For Violin And Cello” has the duo emitting much beauty and grace in the meticulous, sometimes bare, other times firm gestures.

Boulander’s work arrives closer to the end, where “Nocturne” flows with a mesmerizing, hypnotic quality of sublime song craft, while “Cortége” is an upbeat display of dynamic, busier interaction between the trio. Fauré’s “Berceuse” finishes the listen, and it’s a poetic, flowing and reflective exit that is so well executed, it alone is worth the price of admission.

A extremely precise listen, all 3 artists shine bright throughout the compositions, as they retain the spirit of the originals while injecting a contemporary demeanor that places them in the context of our current, stormy times.

Travels well with: Duo Sequenza- Yes… It’s Still A Thing!; The Lowell Chamber Orchestra- Minature Symphonies

Eb & Hal

On My Way Home

Self-Released, 2022

8/10

Listen to On My Way Home

Eb and Hal have musical roots together going back to the ‘70s, when they were in high school and playing in bands. They regrouped 45 years later, after living full lives with families and careers, and this sophomore album found itself being penned during the pandemic, and encompasses the wide scope of feelings the planet sorted through during that time.

The title track starts the listen with warm acoustic guitar, cozy singing and fluid drumming in the breezy Americana, and “Can’t Run Away from Love” follows with much emotion in the poetic, folk-influenced climate.

In the middle, “Lift Up The Veil” brings much intimacy with its soft singing, dreamy guitar and heavy attention to mood, while “Crazy’ is more rugged and recruits a charming, rootsy appeal with the well timed strings.

Closer to the end, “I Do” offers a playful strummer that’s mature, soaring and lyrically substantial (as is the entire effort), and “Hug The Hurt Away” exits with an upbeat and charming display of agile guitars and flowing keys.

The pair have won Album Of The Year in their home state of New Mexico, and have received over a dozen other nominations with their music since reforming 4 years ago. It’s not hard to see why; Eb and Hal have a knack for timeless, memorable, universally relatable songwriting that’s well thought out and very much appreciated.

Travels well with: The Brother Brothers- Cover To Cover; Lowland Hum- At Home

Tito Carrillo

Urbanessence

Origin, 2022

8/10

Listen to Urbanessence

A trumpeter, composer and educator, Tito Carrillo uses both Afro-Caribbean ideas and modern jazz in his rich formula, and this eclectic sophomore solo listen takes inspiration from his years in Chicago, and embraces the diversity of The Windy City.

“Momentum” starts the listen with Ben Lewis’ agile keys and Jay Sawyer’s skilled drumming complementing Carrillo’s very expressive brass, and “Fire & Ice” follows with the mature piano and Victor Gonzalez Jr.’s congas adding much grace to the intimate landscape.

The best track resides in the middle, where the exceptional bass from Clark Sommers on “Crazy, Stupid Fine” is met with proficient drumming and meticulous horn prowess, while “Up The Down Staircase” finds itself in calm territory thanks to the twinkling keys and poetic trumpet playing.

Landing near the end, the emotive “Justice & Mercy (For Bryan Stevenson)” blends the reflective trumpet with meticulous bass plucking and superb drumming, and the aptly titled “Sublime” exits the listen with much beauty present amid the dreamy finish.

An excellent 2nd record from the veteran player, you’ll hear influences from salsa, blues, gospel, funk, soul and Latin music, and Carrillo’s eclectic vision is as timeless as it is creative.

Travels well with: Scenes- Variable Clouds: Live At The Earshot Jazz Festival; Hal Galper- Ivory Forest Redux

Kelley Hunt

Winter Soulstice

88, 2022

9/10

Listen to Winter Soulstice

The singer-songwriter and pianist Kelley Hunt has done much in her lengthy and esteemed career, but, until now, a holiday album hasn’t been one of them, and she’s got some of Kansas City’s best along with her for the originals and standards.

“Go Tell It On The Mountain” opens the listen with a vibrant, gospel feeling, where her soulful voice is met with Brandon Graves’ lively drumming and booming brass, and “Ancient Bell” follows with Hunt’s warm keys and intimate singing in the powerful, expressive climate.

At the halfway point, “Bright Lights” benefits much from Hunt’s firm piano, eloquent pipes and the cello-violin duo The Wires adding much beauty to the album highlight, while “Silent Night” puts a very spiritual spin on the classic with a stirring mood.

At the end, “You You You” rumbles louder with textured, soulful rock and vocal harmonies from Wanda Jae and Allena Ross, and two different versions of “Auld Lang Syne” finish the affair, where one unfolds like a hymn, and other is lively, infectious and will get your body moving to the frisky sax and rollicking rhythm section.

A very diverse listen, we’re treated to both balladry and swift tunes, and the very precise musicianship from Hunt and company makes for a very distinct version of Americana that is so much more than just another holiday record destined for background music.

Travels well with: Janiva Magness- Hard To Kill; Ruthie Foster- Healing Time

Barrel Flash

A Guide To Dancing Alone

Brilliant Green, 2022

9/10

A Guide To Dancing Alone

A Twin Cities trio consisting of Priscilla Thomas, Ross Johnson and Julia Brown, Barrel Flash don’t easily fit into any single category, but certainly welcome folk, country, jazz, blues and many other genres across these textured 13 tracks.

“Waiting On A Train” takes the lead off position, and has Johnson’s soulful harmonica and warm vocal harmonies populating the R&B and rootsy nods, and “Saithill” follows with a playful, Irish appeal that’s just so melodic and rich with charming instrumentation that benefits much from Thomas’ precise bass.

Elsewhere, the intimate spirit of “Riding Away” flows with expressive singing from all members in the gentle climate that embraces cello, while “Shack Out Back” head into country territory with a frisky pulse of violin acrobatics.

Closer to the end, the punchy folk rock of “Between The Lines” highlights agile acoustic guitar, Brown’s vivid storytelling and Mandy Fassett’s proficient violin, and “Starting Over” exits the listen with Johnson’s calm acoustic guitar, Thomas’ eloquent bass, Brown’s stirring voice and Fassett’s sophisticated violin finishing with much grace.

An extremely well thought out listen, Barrel Flash have a wide appeal that’s as likely to get you on the dance floor, just as it is might have you mulling things over, and this excellent debut certainly makes them an outfit to keep an eye on.

Travels well with: The Lowest Pair- Horse Camp; Jojo Green- The Summer Tree

The Senders

All Killer No Filler (1977-2001)

Left For Dead, 2022

9/10

Listen to All Killer No Filler (1977-2001)

The NYC Rock’n’Roll legends The Senders finally see a proper collection of a big chuck of their discography, where studio and live tracks that are either long out of print or never been heard reside across 2 discs for the punk rock inclined.

“Devil Shooting Dice” starts the listen with Marc Bourset’s crisp drums, Barry Ryan’s angular guitar and Phil Marcade’s gritty, snarling vocals in the scrappy punk climate, and “The Living End” follows with Steve Shevlin’s bass acrobatics and Jorge Ritter’s retro guitar riffs making for a thick, swirling delivery.

Elsewhere, the bouncy, raw “You Really Piss Me Off” benefits from the dense rhythm section of Danny Ly (bass) and Ned Brewster (drums) for the wild and thumping demeanor, while “I’m Gonna Be A Wheel Someday” is ultra fast, rugged and noisey thanks to Marcade’s throaty voice and Wild Bill Thompson’s guitar prowess.

Rounding out the first half of the listen, “Don’t Mind Me” balances a bit of soul and blues in the harmonica friendly environment, and “Tollin’ Bell” takes this lead further and places Chris Crush on bass for the thundering, powerful landscape.

Disc 2 is a mix of the Seven Song Super Single and rarities, and opens with the rockabilly spirit of the dance floor ready “6th Street”, and it isn’t long until “Don’t Make Me Mad” recruits a more polished but equally reckless appeal, and the rhythmic energy of “I Feel So Bad” is quite easy on the ears, too.

The unreleased portion features Johnny Thunders on guitar, and are all live recordings. The atmosphere is wild, nearly out of control, and emits anthemic rockers like “Just Don’t”, and the harmonic dissonance of “I Can Only Give You Everything”, plus several other animated gems.

The release comes with excellent liner notes, eye catching artwork, and, of course, timeless, under appreciated rock’n’roll that traces the bands humble roots in punk rock, through more mature, textured avenues that sure have aged well.

Travels well with: Nastyfacts- Drive My Car; Disturbed Furniture- Continuous Pleasures

Jesse Norell

Aorta Borealis

Self-Released, 2022

9/10

Listen to Aorta Borealis

A longtime Minneapolis musician who spent much time in the early 2000’s playing in bands, the singer-songwriter and guitarist Jesse Norell makes a return to music here with an album about his daughter’s journey through two open heart surgeries.

“What To Tell You” opens the listen with a soothing ambience, where nearly New Age ideas are present amid the dreamy guitar and gentle singing that welcomes Chris Mason’s cozy keys, and “Together” follows with more focus on drumming thanks to Steve Goold’s agile playing alongside soaring vocals and a thicker appeal that touches on alt-rock.

In the middle Norell’s interpretation of Sunny Day Real Estate’s “How It Feels To Be Something On” is quite interesting, and retains all the emotion of the original but with crunchy moments to complement the sublime beauty, while “Recovery” steps towards electro-pop territory with its swift moments of scrappy musicianship and precise adventurousness.

Approaching the end, “Ode To Luigi” alternates between loud and soft textures of melodic indie-pop, and “Welcome To Sydney” exits with Clint Phillips on bass and Goold’s well timed drums that suit Norell’s smooth singing and Keri Norell’s soulful backing vocals.

An extremely accomplished listen that also embraces cello (Ed Harper) and viola/violin (Katherine Sullivan), Norell is well versed in indie-rock, alt-rock and modern-pop ideas, and they’re all fleshed out with wordplay that couldn’t be closer to his heart.

Travels well with: Chris Castino- Brazil; Preston Gunderson- Fall

Wolfgang Lackerschmid & Chet Baker

Welcome Back

Dot Time, 2022

8/10

Listen to Welcome Back

The 3rd documented collaboration between the vibraphone wizard Wolfgang Lackerschmid and the trumpet extraordinaire Chet Baker, these 9 tracks recorded in 1987 brings both calm and lively moments, and there’s some excellent musicians along for the ride, too.

“Welcome Back” starts the listen with Baker’s soulful horn and Lackerschmid’s dreaming vibes making for a very warm lead off, and “Christmas Waltz” follows with meticulous vibraphone playing amid the stirring trumpet.

“Pitzal Daybreak” arrives in the middle, and benefits from Gunter Lenz’s subtle but effective bass alongside much reflection, while “Take It Dry” showcases Nicola Stylo’s playful flute in the upbeat and poetic album highlight.

Deeper still, “Waltz For Berlin” places Stylo on guitar for the intimate and very pretty landscape, and the alternate take of “Welcome Back” exits with a longer version that truly highlights the dynamic chemistry between the pair, and Lenz’s playful bass acrobatics impress, too.

Very tragically, Baker passed away in 1988. Lackerschmid is still alive and actively playing and composing. Together here, they make for a very cozy, timeless and charming listen that preserves their legacy superbly.

Travels well with: Harvie S And Roni Ben-Hur With Sylvia Cuenca- Wondering; Catherine Russell- Send For Me

The Lowest Pair

Horse Camp

Delicata, 2022

8/10

Listen to Horse Camp

The duo of Kendl Winter and Palmer T. Lee, as The Lowest Pair they bring their folk and punk roots to a rootsy, banjo focused listen that welcomes other stringed instruments from guest musicians.

“This House” starts the listen with Winter’s light guitar alongside Lee’s cautious banjo in the very pretty, folk friendly climate, and “Couple Of Jerks” follows with Leif Karlstrom’s well timed violin complementing Winter’s inimitable singing that suits Adam Roszkiewicz’s graceful mandolin.

Halfway through, “Dark Divide” is a swift, dynamic instrumental that welcomes a pair of banjos into the playful, bluegrass influenced delivery, while “Mt Rainer” offers a dreamy duet that showcases Charlie Muench’s strategic bass in the atmospheric album highlight.

Further still, “It Wished It Was A Song” has the pair both playing guitar and singing amid mandolin and banjo in the poetic, melodic demeanor, and “Tongue Mountain” exits with Bart Budwig’s soulful trumpet and expressive voice and meticulous string picking to finish on a very memorable note.

A body of work that could soundtrack any late night around a campfire in the woods, which is actually where many of the songs were born, The Lowest Pair’s string heavy version of Americana won’t take long to reel you in to its authentic and charming vision.

Travels well with: The Felice Brothers- From Dreams To Dust; The Brother Brothers- Cover To Cover

Preston Gunderson

Fall

Self-Released, 2022

8/10

Listen to Fall

A Minneapolis vocalist who has been featured on shows like The Voice and American Idol, Preston Gunderson brings us a break up album, where the ending of 6+ year relationship provides fodder for honest, emotive and forthright song craft.

“Broken Arrow” starts the listen with Greg Schutte’s agile drumming and Luke Enyeart’s warm guitar complementing Gunderson’s cozy singing, and “Sorry” follows with more presence on atmosphere, where Gunderson handles keys and is joined by Genevieve Kalland on backing vocals for the stylish and graceful version of pop.

“Echoes” lands in the middle and is full of Gunderson’s melodic singing and dreamy acoustic guitar, as well as Kevin Gastonguay’s well timed keys amid the hint of Americana, while “I Want To Know You” is an intimate and poetic display of heartwarming song craft.

Arriving near the end, “Fragile” benefits much from Ian Martin Allison’s skilled bass and harmony vocals thanks to Elyse Jones, and “For What It’s Worth” exits with John Schwarzkopf’s harmony vocals and Chris Furst’s proficient electric guitar complementing Gunderson’s vulnerable pipes.

A listen packed with personal, relatable themes and passionate, stirring singing, Gunderson’s introspective formula of pop, folk, roots and rock makes for a mature and timeless 10 tracks.

Travels well with: Chris Castino- Brazil; Amanda B. Perry- My Time

No Hay Banda

I Had A Dream About This Place

No Hay Discos, 2022

9/10

Listen to I Had A Dream About This Place

An outfit that began in 2016 with Daniel Anez (piano, ondes Martenot, modular synth), Noam Bierstone (percussion) and Genevieve Liboiron (violin) spearheading the project, No Hay Banda has quickly made themselves known in the experimental chamber music scene, and these 4 very exciting pieces spread out across 2 discs of unpredictable musicianship.

Anthony Tan’s “An Overall Augmented Sense Of Well-Being” opens the listen with plenty of atmosphere, where a mysterious droning thanks to the dense electronic textures that can retreat to bare, sci-fi moments, just as they can burst with tension, is present and appreciated.

“Rubber Houses”, by Sabrina Schroeder, follows, and leads with 10 minutes of industrial-esque sounds before finding calm, soothing areas to reside with sparing use of Joshua Hyde’s saxophone, while Andrea Young’s “A Moment Or Two Of Panic” recruits Felix Del Tredici’s bass trombone and Sarah Albu’s soprano vocals to the electronic, chamber and operatic meshing that’s highly unique.

“The Difference Is The Building Between Us” exits the listen, and is populated by ominous strings, cryptic electronic noises and an oddly meditative tonality that is quite absorbing.

A truly unclassifiable listen, there’s much attention to detail and the waves of meticulous noise, stark strings, ambient brass, otherworldly percussion and stunning vocals make for an enthralling effort.

Travels well with: Architek Percussion- 6 Changes; Noam Bierstone- Mountains Move Like Clouds

Loreena McKennitt

Under A Winter’s Moon

Quinlan Road, 2022

9/10

Listen to Under A Winter’s Moon

The Juno Award-winning Canadian artist Loreena McKennitt returns with her 16th album, where the songs are culled from a series of seasonal concerts held in a historic sanctuary in Stratford, Ontario in December 2021, and are spread across this six-panel, two-disc digipak.

The album opens with Tom Jackson reading ‘The Sky Woman Story”, which sets the tone for the record, and “Balulalow” follows with McKennitt’s stunning, gorgeous pipes emitting so much beauty in their flawless delivery.

Further on in Disc 1, “Dicken’s Dublin” showcases elegant piano amid the soothing strings and poetic singing, while “Huron Carol” offers much intimacy thanks to the stirring strings and cautious storytellling.

Disc 2 opens with the dreaminess of the absorbing “Snow”, where McKennitt hits some very high notes, and “God Rest Ye Merry, Gentlemen” recruits Eastern ideas into the flowing and percussively strong highlight that’s full of cultured song craft. “In The Bleak Midwinter” exits the listen, and it’s a brief but memorable instrumental that’s textured with much sophistication and meticulousness.

A wintry collection of songs that can resonate all year, the sound quality here is superb, and McKennitt’s craft is in fine form and not only with singing; she also plays harp, accordion and keyboards. Her inimitable formula of pop, World Music and folk has made her globally known, and this excellent live release only further cements her worldwide appeal.

Travels well with: David Arkenstone- Music Inspired By Middle Earth Vol. II; Davis Causey & Jay Smith- Pickin’ On Christmas

Linda Sussman

Shake It Loose Today

Sing Out Proud, 2022

9/10

Listen to Shake It Loose Today

The New York singer-songwriter Linda Sussman returns with her 4th album in 5 years, where an all star cast of supporting musicians help her flesh out rootsy, bluesy and folk friendly songs that are honest, wise and reflective.

“Chain Of Hope” gets the listen off to a warm, graceful start, where Mike Nugent’s spirited electric guitar complements Sussman’s expressive pipes, and the title track follows with cozy acoustic strumming from Sussman, as a more rugged quality unfolds thanks to Shawn Murray’s thumping drums.

In the middle, “Honey We Gonna Fly” recruits some soulful qualities amid the rhythmic textures that benefit from Kevin Kelly’s bass, while “The Light Moves In” lands in dreamy, folk territory, where a stirring eloquence helps make this the album’s best.

“A Better Scene” and “Dream Big” exit the listen, where the former is a guitar duo that’s intimate but not without grit, and the latter is a cautiously textured finish that’s as meticulous as it is memorable.

It’s not surprising that this album hit #1 on the RMR's weekly Top Alternative Folk Album Chart, as Sussman’s hybrid of roots, folks, blues and swing is never short on grooves, melody and forthright lyricism.

Travels well with: Ashley Heath- Something To Believe; Angela Strehli- Ace Of Blues

Matt McBane & Sandbox Percussion

Bathymetry

Cantaloupe, 2022

8/10

Listen Bathymetry

The Grammy nominated Sandbox Percussion and the composer Matt McBane come together for this ambient listen that was inspired by the ocean floor and is the first of four albums penned during McBane’s Ph.D program at Princeton.

“Proximity” opens the listen with a warm, dreamy sci-fi glow that’s both mysterious and calming, and “Further Down” follows with a meditative buzzing, where percussion from what sounds like pots and pans help cultivate a very creative landscape.

Halfway through, “Interlude” is a bare but impactful exercise in minimalism, while “Groundswell” is quite stylish, dance floor ready, and pulsates with a charming EDM quality.

Near to the end, “Refraction” brings a fury of percussive sounds and thumping drums for the dizzying album highlight, and “Coda” exits the listen with a bit of a haunting demeanor amid the unpredictable nature of the instrumentation.

The foundation of the tunes here come from a Moog analog synthesizer and percussion, and the addition of mixing bowls, ping pong balls, glass bottles for percussion and orchestral moments of vibraphone and tam tam, among others, helps make this an extremely unique listen that few could parallel.

Travels well with: Rob Burger- Marching With Feathers; Third Coast Percussion- Perspectives

Davis Causey & Jay Smith

Pickin’ On Christmas

Strolling Bones, 2022

9/10

Listen to Pickin’ On Christmas

A guitar focused holiday album from 2 exceptional players, Davis Causey and Jay Smith recorded this album way back in 1998 and made 100 copies for friends as Christmas presents.

“Little Drummer Boy” opens the listen with warm guitar and Jeff Reilly’s agile drumming, as much beauty enters the emotive climate, and “The Christmas Song” follows with very expressive progression on guitar amid the reflective tone.

“Following A Star”, the lone original, recruits a very cautious mood of meticulous picking amid an orchestral demeanor, while “Angels We Have Heard” picks up the pace with fluid melodies and a very charming presence that makes this the album’s best.

“What Child Is This” and “White Christmas” exit the listen, where the former showcases Reilly’s proficient drumming alongside glowing guitar, and “White Christmas” exits the listen with a sublime and frisky interpretation that just might be the best you’ll hear.

A recording that has aged very well, very unfortunately, Smith passed away soon after they finished this project. His memory is preserved well with this timeless release, as he and Causey both are in fine form, and the sparing but effective use of Randall Bramblett’s saxophone only enhances this instrumental endeavor.

Travels well with: Williamson Branch- Very Merry Christmas; Chris Ruggiero- Christmas With Chris Ruggiero

Arcadian Winds

Windswept

Navona, 2019

8/10

Listen to Windswept

A record where each track is composed from a different vision, Windswept recruits a quintet of musicians- Boston’s Arcadian Winds- to flesh out these sophisticated and playful pieces.

Jan Jarvlepp’s “Woodwind Quintet” leads with plenty of pop influences amid a romantic and textured affair of dynamic interplay between the artists, and “Sonorous Earth”, by Ferdinando Desena, offers incredible playing in a lower tonal registry.

David MadDonald’s “Stumpery” manipulates space and ambience with plenty of reverberation among the instruments, while “Dirge & Second Line”, by Craig Peaslee, brings a chamber ensemble and draws us into New Orleans jazz territory. Kenneth A. Kuhn’s “Variations On A Commoner Theme No. 1” ends the affair with plenty of melody as tempo, tone and key are all varied with awe inspiring results.

An ensemble who have been playing together since 1987, Arcadian Winds deliver top notch performances here, with plenty of precise power and deft fluidity to tell these stories with the utmost grace.

Travels well with: Alla Elana Cohen- Quaestiones Et Responsa; Bill Whitley- Then Elephant Speaks