The Peter Leitch New Life Orchestra

New Life

Jazz House, 2020

8/10

Listen to New Life

After a bout with stage 4 lung cancer in 2012, the New York City veteran guitarist, composer and leader Peter Leitch was left unable to play guitar. Not content with stepping away from creating music, he moved into the position of composer, arranger and director, and here hey debuts with his 15 piece orchestra on the double disc effort, New Life.

“Mood For Max” starts the listen with bright sax from Steve Wilson as Joe Strasser’s frisky percussion guides the lively jazz opener that’s for the oncologist who saved Leitch’s life, and “Portrait Of Sylvia” follows with Chad Coe contributing acoustic guitar and Dennis James taking up bass on the dreamy, highly melodic setting dedicated to Leitch’s wife.

Elsewhere on disc 1, “Penumbra” benefits from Jed Levy’s sax prowess on the cautious, soothing landscape, while “Fulton Street Suite” finishes out the first half of the record with soulful brass amid a reflective spirit that tours us through the colorful culture of Manhattan.

Disc 2 leads with the aptly titled “Exhilaration”, where a swift pace of dynamic interplay between horns and percussion leaves an impression, and “Clifford Jordan” arrives shortly after with no shortage of rhythm in its timeless jazz nature that pays homage to one of Leitch’s favorite sax players.

The highlights of the back half enter later, including the warm piano of Peter Zak on the sublime ballad “Spring Is Here”, and the closer “The Long Walk Home”, which amazes us with 11 minutes of key acrobatics, shuffling percussion, inviting brass and charming flute in its 12 bar blues formula.

Leitch took 2 years to create the 17 tracks here, as he had to tweak the compositions to fit the band size. And while his new life in music is a far cry from his days of improvisation, it’s certainly just as creative, as he tackles a whole set of new challenges that he’s more than capable of conquering.

Travels well with: Ada Bird Wolfe & Jamieson Trotter- He & Me; David Sills- Natural Lines

Submarine FM

Crawl

Slab Note, 2020

8/10

Listen Crawl

Though he spent his formative years playing jazz. these days France’s Submarine FM is firmly soaked in the underground world of digital technology and analogue/modular synth. On Crawl, his innovative vision turns repetition, melody and constantly shifting textures into a refined science.

After the ambient opener “Intro”, where experimental ideas enter the nearly sci-fi approach, and “Akinator” follows with a creative exploration into dance friendly, electronic sounds that are as mysterious as they are exciting.

Halfway through, “Yourte” breeds a unique atmosphere that unfolds with a cinematic appeal, while “Crawl” spends 9 minutes enthralling us with tribal like percussion amid a hypnotic pattern of techno friendly landscapes.

Deeper yet, “Happiness Manager” buzzes and shimmers with some minor world music nods into a very agile form of electro-rock, and “Shingles” exits the listen ominously, where frisky synth and a harrowing backdrop make the diverse finish one of the album’s best moments.

At times minimal and other points much busier, as long as you enjoy your music unpredictable, highly adventurous and with a techno, electronic and punk spirt, Submarine FM will make you a fan pretty quick.

Travels well with: Christopher Sky- What It Is, it Isn’t; Laguerre/Noetinger-DnT

Scott Garred

Scott Songs Vol. II

Self-Released, 2020

9/10

Listen to Scott Songs Vol. II

Though Scott Garred might not be a name you’ll immediately recognize, you may have heard of his former bands, Silver Scooter (1995-2001) and Super XX Man (1995-2015). These days, Garred works in the area of music therapy in hospitals and prisons, and on this 3rd solo album he brings his professional life into his vast songwriting talent on the appropriately titled Scott Songs Vol. II.

“Dementia/Blues” starts the listen with warm and intricate acoustic guitar as Garred’s soft, inviting vocals enter the bare, pretty atmosphere that carries on the grand traditional of timeless folk music, and “Now Do You Believe” follows with a darker spirit as gentle glockenspiel enters the mysterious atmosphere where backing vocals from Kelly Atkins add much to the appeal.

Halfway through, “Day Without Contact” recruits precise guitar picking in a nearly lullaby like presence, while “AIOU” offers a soothing 5 minutes of melodic and playful instrumentation. “When Your Idols Are Through” then recruits vivid storytelling in a poetic delivery of calm keys and light guitar flourishes.

Close to the end, “Make You Whole Again” unfolds with sublime beauty where hushed backing vocals make an indelible mark, and “He Was Gone”, one of the quickest tunes. exits the listen with an immediate sing-along quality to a not so uplifting but very real story about mental health.

There certainly aren’t many albums out there that try to understand the inner workings of a mass shooter or a person living with dementia, but Garred’s decade and a half of working in mental health puts him in a unique position to ponder as he creates honest and articulate indie-folk that stands out in a very crowded genre.

Travels well with: Owen- New Leaves; Rocky Votolato- Makers

Brendan James

Leap Taken

Self-Released, 2020

8/10

Listen to Leap Taken

A pianist and singer-songwriter who cut his teeth playing open mics around New York City, these days Brendan James is enjoying an esteemed career where he returns with this first album since 2013 that’s compromised of songs that were birthed during and following a worldwide trip with his family.

“Through Our Hands” starts the listen with James’ soft, expressive vocals as upbeat piano enters the thoughtful pop song about his around the world journey, and “Penny” follows with subtle ambience as crisp percussion fills the busy melodies as the song addresses watching his kids’ grow up.

In the middle, “White Whale” offers a calmer moment of soulful, beat driven sounds that are emotive and adventurous, while “Alone Together” is a polished display of piano pop that’s quite relative to today’s new normal of Covid isolation. “Wake Up”, a late album stand out, then moves with a darker quality as James showcases his vast skill both lyrically and musically.

Near the end, “Falling” emits sublime balladry that’s intimate and powerful, and “Transformation” exits the listen with one of the most dynamic tracks present, where James explores his storytelling and fluid pipes with much creativity.

James planned on releasing this album much earlier this year, but of course the world wasn’t in the best place to be receptive to it then. While it still may not be, his bright, eloquent and timeless craft certainly needs to be enjoyed, and his strategic synth and Craig Meyers’ help on production makes this a career highlight for James, which, if you’ve heard any of his other work, speaks volumes.

Travels well with: Dave Barnes- Stories To Tell; Jon McLaughlin- Promising Promises

Florent Schmitt

La Tragédie de Salomé

Naxos, 2020

8/10

Listen to La Tragédie de Salomé

The Grammy winning conductor JoAnn Falletta is aligned with the Buffalo Philharmonic Orchestra here, as they interpret the work of the overlooked French composer Florent Schmitt while retaining his impressionistic style that offered influences like Debussy and Wagner.

“La Tragédie de Salomé- Symphonic Poem, Op. 50 (1910 Version)” starts the listen with a mysterious entrance amid low sounds before elegant, majestic strings erupt with much sweeping beauty, and Part II follows with Susan Platts’ stunning mezzo-soprano vocals and the Women’s Choir Of Buffalo adding much to the dreamy, fluid instrumentation.

The back half of the listen offers “Oriane et le Prince d’Amour- Suite, Op. 83bis”, which alternates between firm, busy displays of orchestral power versus soft ebbs of delicate beauty, and “Légende, Op. 66 (Version For Violin And Orchestra)” exits the listen with Nikki Chooi’s agile violin steering the textures in and out of glorious, stirring sounds as well as tense bursts of wildness.

This is the 2nd album of Schmitt music that Falletta and company have taken on, as her knack for showcasing criminally underappreciated composers lands on a meticulous execution that retains all the passion, introspectiveness and boldness of the original.

Travels well with: Orli Shaham- Mozart Complete Piano Sonatas; Edward Smaldone- Once And Again

The Duke Robillard Band

Blues Bash!

Stony Plain, 2020

8/10

Listen to Blues Bash

Duke Robillard has had impressive 5 decade career that has included playing jazz, jump, swing, ballads, and, of course, the blues, which is exactly where this installment of his timeless song craft lands, as an all-star cast and plenty of guests are in attendance.

“Do You Mean It” starts the album on a very high note, where Chris Cote’s soulful vocals align with jumpy keys and frisky percussion as Robillard’s guitar prowess impresses, and “No Time” follows with bluesy harmonica from Mark Hummel as Robert Welch’s piano acrobatics highlight the swampy blues fun.

Halfway through, “Rock Alley” will get your body moving with its dense grooves and playful rhythm, while Michelle WIllson contributes her soaring, sturdy pipes to the highly melodic “You Played On My Piano”. “You Don’t Know What You’re Doin”, one of the album’s best, then brings Cote back to the swift display of intricate blues in an immediately memorable climate.

The last 2 songs keep the songwriting strong, including the powerful “Give Me All The Love You Got”, and the 10 minute closer, “Just Chillin’”, where the saxophone presence is appreciated amid Bruce Bears’ meticulous organ as jazz ideas enter the slow burning finish.

Robillard has stated that this record is ‘nothing fancy, just the good old blues’, which might be true, but when you bring in two horn sections, two guest vocalists, and plenty of spirited solos, it makes Blues Bash! the quintessential blues party album.

Travels well with: Ronnie Earl & The Broadcasters- Rise Up; Kid Ramos & Bob Corritore- Phoenix Blues Sessions

Beingmoved

Smiles And Bigger Hearts

Burning Bungalow, 2020

9/10

Listen to Smiles And Bigger Hearts

Originally a solo project for Andrea Nocco’s guitar songs, these days Beingmoved are an Italian rock quartet, where his brother Edoardo contributes guitar and backing vocals, while Samuele Puppo handles bass and backing vocals and Simone Brunzu takes up drums. Though this first album was started pre-Covid, it was finished up during lockdown as Andrea tracked the vocals last on a fantastic debut that’s equal parts punk, alt-rock, indie and even Britpop.

“My House” starts the listen on a very high note as guitar driven indie-rock meets ‘90s alt-rock with plenty of gritty melody amid a sing-along quality, and “Young” follows with a rugged, angular approach that’s both raw and polished and just begs to be played along with an old Dinosaur Jr. record.

There’s 9 tunes here, and each one is gem, including the harmonic vocals of the pop influenced “I Could”, as well as the instantly contagious “Over!”, where the dynamic rhythm section highlights the soaring melodies perfectly.

Near the end, “Drops, Stars, Givin’ Up” offers a chunkier aspect to the band’s meticulous song craft with some warm ambience, and “Here’s All” finishes off the album with firm nods to the early days of college rock but that sounds just as good today as it did in the early ‘90s.

An album that gets better with each listen, Beingmoved have positioned themselves rather quickly to the very top of the list of current bands playing alt-rock with this incredible effort.

Travels well with: Pyjamarama- Simple Living; Mount Sharp- That Shadow

Izzy And The Black Trees

Trust No One

Antenna Krzyku, 2020

8/10

Listen to Trust No One

Fronted by Izabela Izzy Rekowska and with Mariusz Dojs on guitar as well as Lukasz Mazurowski and Mateusz Pawlukiewicz handling bass and drums respectively, this first album from Izzy And The Black Trees illustrates their intimate nature with both furious landscapes in addition to shimmering restraint across 8 well crafted tunes.

The title track starts the listen with thumping drums as a darker setting of energetic rock’n’roll enters alongside firm, raw female vocals that guide the post-punk ideas, and “Picasso’s Octopuss” follows with a melodic undertone as lively alt-rock flows both with abrasiveness and tunefulness.

At the halfway point, “King Of Gardens” is a much calmer display of fuzzy guitars and a soulful approach of gritty rock, while “Mr. President” leads with noisey swells before settling into a nearly jangly version of folk rock. “Scream Sea Lions”, the album highlight, then radiates cautious punk energy, where gentle moments of beauty are met with bouts of charged riffs and crashing percussion.

The last 2 tracks are just as exceptional, including the walls of sonic noise versus bare ebbs of melody on “Strangers Allow”, which even recruits a saxophone, and “Kite Dancer” exits the listen with some psyche-rock tendencies amid stoner rock nods that still retains a pretty spirit.

Although they’ve only been together for a couple of years now, as evidenced by this strong first album, Izzy and company are sure onto something exciting here, as their Patti Smith meets Babes In Toyland at a Pixies show take on rock makes for a damn good listen.

Travels well with: Princess Thailand- And We Shine; Cosse- Nothing Belongs To Anything

Simone Kopmajer

Christmas

Lucky Mojo, 2020

9/10

Listen to Christmas

The stunning vocalist Simone Kopmajer returns with 16 holidays songs, 4 of which are European traditionals, and she’s in fine company with an international cast that includes Terry Myers, Aaron Heick, and Allan Harris, among many others.

Kopmajer starts the album with an elegant and very romantic version of “Santa Baby”, where sparkling keys leave an indelible mark, and she follows this up with the shuffling pace of the frisky and fun “Jingle Bells”, as well as “Baby, It’s Cold Outside”, where Viktor Gernot lends his expressive, deep pipes on the playful duet.

In the middle, “Have Yourself A Very Little Christmas” benefits from a soothing, lounge delivery, while “Es Wird Scho Glei Dumpa” recruits accordion, dulcimer and Ina Regen’s contributions on the cultured album highlight. “Feliz Navidad”, another stand out tune, puts a gorgeous and melodic spin on the festive standard.

Closer to the end, “White Christmas” offers a trumpet solo amid the light, agile musicianship, and “Silent Night/ Stille Nacht” finishes the affair with an emotive and stirring exit of radiant beauty.

A flawless Christmas album of songs we’ve all grown up with, and some that will probably be new to our ears, Kopmajer reworks them all with jazz and folk sensibilities that help make this essential listening for the holiday season.

Travels well with: Diana Panton- A Cheerful Little Earful; Coniece Washington- Shades Of Shirley Horn

The Aubrey Wilson Quartet

Honeysuckle Rose

Self-Released, 2020

8/10

Listen to Honeysuckle Rose

This first album from Aubrey Wilson and company has Chris Bruder on piano, Tom Altobelli holding down bass and Sean Bruce Parker behind the drum kit across 10 collaborative tunes where Wilson’s flawless pipes guide us in and out of engaging jazz textures.

“Nature Boy” starts the listen, where Scott Taplay guests on guitar as Wilson’s vocal range is explored alongside crisp percussion and warm piano working together strategically, and “Honeysuckle Rose” follows with a softer approach as charming atmosphere enters the dreamy setting.

Elsewhere, “I Will Wait For You” benefits from Luis Deniz’s alto saxophone on the bouncy jazz fun, while “Stolen Moments” is a vocally expressive album highlight that’s as playful as it is rhythmic and comes with no shortage of grooves. “When Sunny Gets Blue”, another exceptional tune, then finds itself in piano balladry where Wilson’s singing is nothing short of sublime.

Close to the end, “When I Look In Your Eyes” offers a lush and romantic display of timeless musicianship, and “Norwegian Wood” exits the listen with a cautious and poetic spin on The Beatles tune.

The Aubrey Wilson Quartet have been together for a decade now, and it sure seems like it as they arrange these standards with grace, adventurousness and divine chemistry. Certainly an effort worth the wait, let’s hope that it isn’t another 10 years before another installment of their sophisticated brand of jazz comes along

Travels well with: Rebecca Hennessy- All The Little Things You Do; Mario Romano- The Journey So Far

Margie Singleton

Never Mind

Aintquittin, 2020

8/10

Listen to Never Mind

Very few artists will ever have the longevity that Margie Singleton enjoys in her 7 decade career making music. While generally behind the scenes as a songwriter to countless hits, she’s also been a studio musician on hundreds of recordings. Here, at the age of 85, Singleton returns with 5 tunes penned by her and her son, Stephen, where her traditional country music approach sounds just as relevant today as it did in the ‘60s.

The title track starts the listen with plenty of timeless classic country on the warm, upbeat setting where Singleton’s rugged yet pretty vocals suit the rhythmic instrumentation perfectly, and “Who’s Going To Love You (Too Late For Sorry)” follows with swift guitars as frisky percussion highlight the busy atmosphere of melodic yet gritty rural sounds.

The last 3 tracks are equally memorable, including the softer, sublime “Wonder What She’s Doing”, while “Missing You” recruits well timed pedal steel in the reflective, pop friendly climate. “Lie To Me”, a hit she wrote in 1962, exits the listen and is the best track present, where bluesy harmonica enters the soulful landscape.

An extremely spry octogenarian, this restart on Singleton’s career displays her lifetime of experience and skill in a brief but engaging and particularly charming effort that hopefully is the first of many more to come.

Travels well with: Jeannine C Riley- The Music City Sessions; Patti Page- This Can’t Be Love

The Sensational Country Blues Wonders!

The World Will Break Your Heart

Self-Released, 2020

8/10

Listen to The World Will Break Your Heart

A singer-songwriter and musician, Gary Van Miert cut his teeth playing in nightclubs around New Jersey, Manhattan, Brooklyn, etc. Known primarily for his live show and sometimes unorthodox venues (i.e. cemeteries, lumberyards and mansions), as The Sensational Country Blues Wonders! he tips his hat to the legendary outfits from the golden age of gospel, while meshing country and blues into the equation.

“Second Fiddle To A Steel Guitar” starts the listen with Miert’s welcoming, inimitable vocals guiding the melodic, honky tonk fun that does bring in fiddle and lap steel, and “I’m Afraid Of Every Goddamn Thing” trims the pace back with a warm Americana spirit.

At the midpoint, “Double Barrel Blues” moves with a playful ragtime approach of bright keys, soulful tuba and bouncy instrumentation, while “Love Murders Your Heart” resides in rootsy territory as some not so upbeat wordplay is met with punk inspired songwriting. “I Won’t Change Anything”, one of the album’s best, then offers meticulous, memorable song craft with strings amid nods to Nashville and Memphis.

Near the end, “My Baby Stabbed Me With A Steak Knife” recruits some blues influences into the vivid storytelling present on the murder ballad, and “Privilege” exits the listen with plenty of emotion as a stirring finish suits the well thought out album nicely.

This is Miert’s first album of originals (a covers album surfaced in 2012), and he had to get creative to make it by sending guitar and vocal demos to Nashville Master Tracks with instructions on what other instruments he wanted added in. Certainly atypical, but with his live show on hiatus now, it works quite well on this loose concept album about situations that may break your heart, but that you’ll have a lot of fun listening to.

Travels well with: Buck Owens And The Buckaroos- A Merry Hee Haw Christmas; Bobby Bare- Great American Saturday Night

Professor And The Madman

Séance

Fullertone, 2020

8/10

Listen to Séance

There sure is no shortage of punk supergroups these days, but few have resumes as impressive as Professor And The Madman. Consisting of Alfie Agnew (Adolescents, D.I.), Sean Elliott (D.I., Mind Over Four), Paul Gray (The Damned, Eddie & The Hot Rods, U.F.O.) and Rat Scabies (The Damned), the legends approach this effort like a classic rock concept album, where the story is about friends who hold a séance for the purpose of saying goodbye to friends who have passed.

“All The Lonely Souls” starts the album with some warm atmosphere and sounds indebted to much earlier decades with a dreaminess to it as Elliott’s vocals draw us in, and “Séance” follows with their punk roots firmly intact on the buzzing, bristling rocker that’s not short on gritty melody, either.

Closer to the middle, “Child’s Eyes” offers throbbing basslines from Gray amid some post-punk ideas in the busy, bouncy delivery, while “Time Machine” recruits piano on an eccentric version of power-pop fun with Agnew’s pipes at the helm. The cleverly titled “Two Tickets To Afterlife”, one of the album’s best, then displays the vast talent of the rhythm section on the firm rock template where Scabies’ drumming is superb.

Deeper still, “Greeting From The Other Side” is an initially calmer moment of retro-rock that builds into a tense execution, and the brief “New World” exits the listen with just warm acoustic guitar amid hazy vocals that touch on prog-rock.

An extremely eclectic listen that embodies psyche-rock, classic rock, power-pop and, of course, punk, fans of names like Bowie, Wilson, Costello and even Waters will certainly be impressed with Professor And The Madman’s most varied record to date.

Travels well with: Sloan- Commonwealth; The Damned- Machine Gun Etiquette

George Benson

Weekend In London

Provogue, 2020

8/10

Listen to Weekend In London

Recorded in 2019 at Ronnie Scott’s Jazz Club, the legendary George Benson offers us his first live album in 30 years, and he’s picked an intimate performance where he draws from his vast catalog of agile jazz tunes.

“Give Me The Night” starts the listen with Benson’s playful vocals and rhythmic guitars on the groove friendly setting, and “Turn Your Love Around” follows with well timed keys as much soul enters the retro-rocker.

Deeper into the night, “I Hear You Knocking” flows with timeless blues where backing vocals add much to the melodic landscape, while “Feel Like Makin’ Love” finds a romantic place to reside, where strategic brass and vocal scatting makes an impression. “Don’t Let Me Be Lonely”, an album standout, then burns slower with some R&B flavor entering the rich atmosphere of lounge jazz ideas.

Closer to the end, “Love Ballad” moves swiftly with strings present amid soaring vocals, and “Cruise Control” exits the listen with exciting and precise funk that’s executed in a way that no one else could replicate.

Though only 250 lucky people were actually at this show, thankfully we can all experience it here with incredible sound quality. If you’re already a Benson fan, there’s no questioning that this is essential, and for the first time listener, it’s actually a good starting point that showcases Benson’s guitar grooves and versatile singing perfectly.

Travels well with: Grant Green- Funk In France; John Scofield- Swallow Tales

The Parson Red Heads

Lifetime Of Comedy

Fluff & Gravy, 2020

9/10

Listen to Lifetime Of Comedy

The Portland, Oregon quintet The Parson Red Heads return with their 5th studio album, where some line up changes in recent years yield one of their most collaborative records as their unique brand of Americana sounds better than ever.

“Heaven Knows I’m Trying” starts the album with warm piano as Raymond Richards’ pedal steel and hazy vocals from Evan Way enter the brief, atmospheric opener, and “All I Wanted” follows with crisp percussion and breezy guitar lines as fluid folk-rock unfolds with much beauty.

Near the middle, “Coming Along” finds a dreamy place to reside as expressive singing aligns with a busy display of thriving indie-rock, while “I Never Would Have Changed” soars with a retro-Americana spirit that’s vocally harmonic thanks to the newest member, Jake Smith. “I Found A Reason”, a late album highlight, then layers the climate with musicianship that’s both adventurous and sublime as the rhythm section of Brette Marie Way and Robbie Augspurger illustrate much chemistry.

The record is bookended by “Dreaming Of Another Place” and “Falling Fading”, where the former leads with ambience before settling into some variation of cosmic rock, and the latter finishes the listen with a cautious formula of tuneful, elegant folk ideas.

An extremely meticulous effort that mulls over the ups and downs of being a career musician, as well as the balancing of family and friends, The Parson Red Heads further cement their status as one of Portland’s finest outfits on this career highlight, although it seems the best is still yet to come from the vast talent present here.

Travels well with: The Hackles- A Dobritch Did As A Dobritch Should; River Whyless- Kindness, A Rebel

Kid Ramos & Bob Corritore

Phoenix Blues Sessions

VizzTone, 2020

9/10

Listen to Phoenix Blues Sessions

In the late ‘90s and early 2000’s, guitarist Kid Ramos and harmonica legend Bob Corritore collaborated on 4 sessions in Phoenix with some heavy hitters in the areas of blues rock on hand. Originally released in 2012 as a benefit CD for the cancer treatment Ramos was undergoing, this version of Phoenix Blues Sessions comes with 4 unreleased tracks that Corritore discovered in the vaults.

“Aw Shucks Baby” stars the album with Ramos and Corritore’s guitar and harmonica interacting with plenty of rhythmic blues, as Nappy Brown’s soulful vocals guide the upbeat opener, and “Come On In” follows with Henry Gray taking up vocal duties as spirited guitar work and playful drumming from Chico Chism make an impression.

In the middle, “Natural Ball”, a previously unissued take, recruits Big Pete Pearson’s pipes as Tom Mahon’s piano prowess complement Corritore’s harmonica acrobatics, while “Mother In Law Blues” burns slower, where Chico Chism’s expressive singing is aligned with cautious, gritty musicianship.

Closer to the end, “Baby Don’t You Tear My Clothes” offers a frisky shuffling, as Nappy Brown’s 2nd vocal contributions amid the stylish rhythm will get your body moving, and “Snakes Crawl At Night” exits the listen with a busy display of raw. bluesy power as Chief Schabuttie Gilliame’s gruff vocals and Ramos’ incredible guitar work really defines the atmosphere.

Thankfully, Ramos fully recovered from his cancer, and let’s hope that him and Corritore continue to play together as their dynamic chemistry produces some of the best modern blues you’ll hear anywhere.

Travels well with: Bob Margolin- Star Of Stage And Screens; Johnny Burgin- No Border Blues

Paul Winter

Light Of The Sun

Living, 2020

8/10

Listen to Light Of The Sun

Paul Winter has done much in his lengthy career that has entailed winning 7 Grammys, but what he hasn’t done, until now that is, is write an album where he is the featured soloist from beginning to end.

“Sun Singer” starts the album with Winter’s sublime soprano sax as Ray Nagem’s organs add much to the graceful opener, and “My Father’s Smile” follows with Jeff Holmes on piano as much beauty resides between the keys and sax.

Deeper into the listen, “Primavera (Spring)” benefits greatly from the sublime guitar work of Oscar Castro-Neves, while “Quiet Now” recruits Denny Zeitlin on piano for the soothing yet adventurous album highlight. “Canto Triste (Sad Song)” then hosts a full band as much beauty enters the dynamic interplay between the many players.

Close to the end, the agile “Winterson” takes help from Paul Halley on piano and organ, and the aptly titled “Inner Peace” exits the listen with Don Grusin’s keyboard supporting Winter’s sax on a meditative and stirring finish.

Now 80 years old, Winter offers new compositions here as well as classics from his vast catalog, as his 60 years of experience is more than evident on this very soulful effort that takes us on a journey with the sun through the morning, afternoon, evening and night of a day, as well as the seasons of the year.

Travels well with: Douglas Olsen- 2 Cents;; Igor Kogan- In A Big City

Last Year's Man

Brave The Storm

Self-Released, 2020

9/10

Listen to Last Year’s Man

The recording moniker of Eugene, Oregon producer and songwriter Tyler Fortier, whose work has been featured on CBS, Netflix and Showtime, with this stunning first album as Last Year’s Man he’s likely to gain even more exposure thanks to his heartfelt and timeless storytelling.

The title track starts the listen with intricate acoustic guitar, as soft vocals enter the dreamy, folk influenced opener where gorgeous vocals from Anna Tivel complement the pretty landscape, and “No Eye On The Sparrow” follows with strategic percussion as a fuller delivery of soothing Americana is present and appreciated.

Halfway through, “Guide You Back To Me” offers much atmosphere in its emotive and stirring indie-folk presence, while “Wild, Wild Heart” is an eloquent display of cautious folk songwriting where Field Report contributes on a Texas friendly track.

Although there isn’t a bad tune here, “The Dark End Of The Road” is especially noteworthy and flows with breezy melodies in a more firm execution of guitar fueled indie-rock, and “The Valley Of Jehoshaphat” exits the listen vocally strong as male and female singing populates the precisely layered finish.

A huge talent who can parallel the greatness achieved by Iron & Wine, Last Year’s Man make superb use of horns, organ and electric guitar on this meticulously crafted debut that only gets better with repeated listens.

Travels well with: Anna Tivel- The Question; Damien Jurado- In The Shape Of A Storm

Buck Owens And The Buckaroos

A Merry Hee Haw Christmas

Omnivore, 2020

8/10

Listen to A Merry Hee Haw Christmas

Originally released in 1970, this pair of Buck Owens albums sees its CD and digital debut here, as 4 bonus tracks appear that were omitted from the original and help round out this healthy batch of his patented Bakersfield Country Sound.

“Christmas Shopping” starts the album with a speedy delivery of Owens’ patented country rock fun, and this continues to the calm, soulful “Christmas Time Is Near”, as well as the dance-friendly, upbeat pace of “The Jolly Christmas Polka”.

There’s 26 tunes here, and each one radiates with Owens’ keen sense of songwriting dynamics, including the playful storytelling of “One Of Everything You Got”, while “It’s Not What You Give” settles into ballad territory with sublime keys supporting Owens’ timeless pipes. “All I Want For Christmas”, a particularly memorable tune, then offers plenty of emotion in its festive spirit.

As we get near the end, “Here Comes Santa Claus Again” glides with an infectious country shuffle, and “Toys For Tots” exits the listen where 2 versions offer brushed percussion amid a catchy jingle-like approach.

Owen enjoyed a lengthy career in the limelight as a co-host of the prime time hit show Hee Haw, and releasing universally embraced music across 4 decades. Some of these albums are currently being reissued by the Omnivore label, and they certainly started out on a very high note with this classic holiday record.

Travels well with: Dwight Yoakam- 21st Century Hits; Bobby Bare- Great American Saturday Night

John Fogerty

50 Year Trip: Live At Red Rocks

BMG, 2019

8/10

Listen to 50 Year Trip: Live At Red Rocks

As a casual Fogerty fan (saw him in the mid ‘80s, but haven’t paid much attention to his more recent work), I was quite curious as to how these classic songs would hold up in a live setting- especially at his age.

“Born On The Bayou” starts the listen with firm grooves as Fogerty’s inimitable vocals guide us through the energetic opener, and this extends to the rhythmic “Lookin’ Out My Back Door”, as well as the unmistakable guitar work of the rockin’ “Up Around The Bend”.

At 19 tracks, this is a lengthy listen, but with songs like the subdued beauty of “Long As I Can See The Light” and the spirited organ fills of “Have You Ever Seen The Rain”, it never out welcomes its stay.

Forgerty is accompanied by his 2 songs on stage, as well as a solid crew of session musicians on this set recorded in June of 2019 when he was 74 years old. Amazingly, though it’s been 50 years since CCR played Woodstock, Fogerty hasn’t lost a step in his art, as this recording sounds fantastic.

While I’m sure some will gripe that this release is a pretty expected set list, for the vast majority of us, these are the tunes we want to hear- even if we’ve heard them 1000 times before.

The bottom line is, there are very few artists more timeless than John Fogerty; I mean, “Centerfield” sounds like as glorious here as it did in 1985.

Absolutely a worthwhile addition to the Fogerty catalog, the double disc version includes several covers from the concert, too.

Travels well with: The Textones- Old Stone Gang; John Hiatt- The Eclipse Sessions