Noah Bless

New York Strong- Latin Jazz!

Zoho, 2020

8/10

Listen to New York Strong- Latin Jazz!

A veteran in the New York jazz and Latin music scene for well over two decades now, Noah Bless has brought his trombone skills to countless occasions, and here he showcases his talent front and center across 8 dynamic tunes where Mike Eckroth, Boris Koslov, Pablo Bencid, Luisito Quintero and Alejandro Aviles are on hand and in fine form.

“Chasing Normal” starts the listen with Bless’ trombone prowess steering playful, warm jazz opener, and “Ganga” follows with a lively rhythm and energetic beats that will get your body moving and keep it in motion to the Latin jazz.

In the middle, “49th Street” recruits frisky percussion from Bencid on the Bill Mobley tune that benefits greatly from Eckoth’s piano acrobatics and Aviles’ flute in the agile, bop friendly setting, while “Ligia” resides in a romantic place with soulful brass from Bless amid a dreamy, ballad landscape.

Near the end, “Fire And Rain” is a soft, gentle display of precise interplay between the quartet, and “Sunny Ray” exits the listen with an abundance of melody in the graceful, timeless finish.

Both an academic in the area of music and with a wealth of experience under his belt, too, Bless has appeared on over 50 albums to date, but I’d be willing to bet that this first time as leader might be his best work to date.

Travels well with: Arturo O’Farrill And The Afro Latin Jazz Orchestra- Four Questions; Negroni’s Trio- Acustico

Marvin Etzioni

What’s The Mood Of The Country Now?

Regional, 2020

8/10

Listen to What’s The Mood Of The Country Now?

Although he’s probably best known as a founder of and the bassist for Lone Justice, the multi-talented Marvin Etzioni has had impressive solo career, too, and here he takes a very in depth look at America today with his vast experience and varied influences in peak form.

“Every Breathing Soul” starts the listen with finger snapping and chanting in a brief but impactful opening that sets the mood, and “God Bless The Homeless” follows with crisp percussion and Sy Smith’s soaring vocals complementing the retro-rocker that carries traces of the blues.

As we near the middle, “Here Comes America” benefits from cultured percussion as a spacey, synth heavy atmosphere is built around Smith and Etzioni’s charming singing, while “Cover Your Bamboo” brings Eastwood into the hip-hop friendly climate that’s fuzzy and playful. “Abide In My Love”, an album highlight, then takes help from Anais Nin as plenty of soul enters a poetic landscape.

Close to the exit, “The Last Weapon Left Is The Heart” is a cautious rocker that’s powerful and horn friendly, and “We Belong In America” ends the formal album with Gustavo Santaolalla contributing on the bare folk song that’s both eloquent and relevant. Etzioni offers 3 more tracks, too, all of which are radio edits of earlier tunes, which is a nice gesture to hear the slightly shorter versions.

A record that’s spiritual, empowering, wise and very topical, some of these songs are decades old but still very applicable to America today, as Etzioni and this all star cast make insightful observations with an artistic and ultra creative quality.

Travels well with: Juletta & Ishan- If I Never Hit Land; The Channel- Electronic Luck

Radio Receiver

Radio Receiver

Deer Lodge, 2020

8/10

Listen to Radio Receiver

A project spearheaded by Nate Wallace (of Hearts Of Oak), who had a batch of tunes not quite suited for his full band work, he enlisted James Willmon on bass, Anna Verlet on violin/vocals and Mark Folkrod on drums/vocals to record these tunes live on a reel-to-reel tape machine.

“Billy #10” starts the listen with warm acoustic strumming as Wallace’s inimitable Bob Dylan-esque vocals enter alongside Verlet’s violin as the psyche-influenced backdrop sets the mood well, and this creativity continues to the folk friendly “Bicycle Thief”, where Verlet’s pipes add beauty to the country tinged delivery.

Elsewhere, “Twisted Moon” unfolds with a haunting quality to its rootsy climate, while “Hold On Now” recruits vocal harmonies amid cautious strumming. “How’s The Ice Captain?”, one of the quickest and best tunes present, then resides in indie-folk territory with charming melodies laid out in a very unpredictable landscape.

Closer to the end, “Beach Blanket Babylon” move cautiously with a retro feel and dreamy quality, and “Scars Align” brings multiple vocalists together on a light and atmospheric exit where much attention is paid to detail.

For a record that seems as if it was made on a whim, this effort came together quite nicely, and the primitive recording technique captures the psyche-folk ambience perfectly. It sounds like Wallace has plenty of songs looking for homes laying around, and if anymore show up as Radio Receiver, you’re not going to hear any complaints from me.

Travels well with: Jason Molina- Eight Gates; Hearts of Oak- Moves

Selena Rosanbalm

Selena Rosanbalm

Self-Released, 2020

9/10

Listen to Selena Rosanbalm

After a hiatus from music to sort through a traumatic loss, the Austin songstress Selena Rosanbalm returns with her first solo record, where the artist is more forthright than ever, and even brings in a rougher side to her craft with a more powerful approach, both musically and lyrically.

Rosanbalm starts the listen with the inviting percussion of “Gut Punch”, before warm slide guitar and her expressive pipes enter the rootsy setting, and “Divide” continues the thoughtful atmosphere with a reflective mood that suits the introspective wordplay.

Elsewhere, “Forever And Evermore” gets a bit more firm vocally and musically, though still with plenty of beauty, while “How Would You Paint Me” finds an ebullient place to reside as a bluesy guitar solo complements the emotive, dynamic interplay between Cat Clemons III, Lindsay Greene, and James Gwyn. “We’ll Catch Up”, an album stand out, then really showcases Rosanbalm’s gorgeous singing in the soulful nature of the sublime timelessness.

The final two tracks, “Patriot” and “Can You Really Be Gone”, make an impression, too, as the former offers a fuller, rugged rock spirited tune that’s quite political, and the latter is eloquent, gentle and with much elegance as moving balladry finishes the articulate record.

Formerly at the helm of Rosie and the Ramblers, who were very much involved in honky tonk and Western swing, this cathartic album on her own has Rosanbalm spreading her wings into garage rock and blues territory as she pens a very political and personal effort that’s as memorable as it is captivating.

Travels well with: Stephanie Lambring- Autonomy; Brennen Leigh- Prairie Love Letter

Max Haymer

Whirlwind: Live At Sam First

Emerald City, 2020

8/10

Listen to Whirlwind: Live At Same First

Although it’s been 12 years since Max Haymer has released an album, the pianist and composer has stayed quite busy playing with Arturo Sandoval’s band, as well as accompanying Jane Monheit and spearheading his own trio, too. Here with David Robaire on bass and Dan Schnelle behind the drum kit, the trio offer 6 originals and 3 standards on the aptly titled Whirlwind: Live At Sam First.

“So In Love” starts the album indeed on a romantic note as playful percussion complements Haymer’s key acrobatics that weave in and out of warm melodies, and “Whirlwind” follows with a calmer pace of precise and restrained musicianship that’s both timeless and stirring.

Close to the middle, “Speak Low” radiates cautious beauty that gets quite frisky further into its 9 minutes, while “Welcoming” benefits much from the sparse but effective percussion on the reflective album highlight.

Near the end, the longest track, “Passed Time”, displays Haymer’s unparalleled skill in both bare moments as well as swells of busier jazz sounds, and “Love For Sale” exits the listen with plenty of help from bass as the scene turns ultra swift in a dizzying execution of calculated precision.

A record that is executed so seamlessly you’ll actually forget it’s live until you hear the audience clapping, Haymer and company deliver the perfect album for those who miss live music (this was recorded before the pandemic), where passion, some tension and a whole lot power enter the modern and traditional jazz sensibilities.

Travels well with: The Peter Leitch New Life Orchestra- New Life; Kenny Washington- What’s The Hurry

Strung Like A Horse

Whoa!

Transoceanic, 2020

8/10

Listen to Whoa!

Although this is the Chattanooga outfit Strung Like A Horse’s debut album, you certainly wouldn’t know it from their distinguished and exploratory version of Americana that often tips it hat to old school ideas, and occasionally gets firm enough to enter alt-rock.

“Fuck What They Think” starts the listen soft and expressive, where bare instrumentation sets the mood for the emotive, rootsy climate, and “Till The Wheels Fall Off” follows with gentle acoustic guitar, warm percussion and breezy melodies that sit in rhythmic, cozy Americana territory.

Near the middle, “Pelahatchie Nights” unfolds with playful instrumentation and inviting vocals from frontman Clayton Maselle, while “Lookin’ For Love” offers some bluegrass spirit in its frisky pace of banjo acrobatics as strategic backing vocals add much to the romantic wordplay. “I Was Born Here”, one of the album’s best, then simmers calmly, where poetic storytelling adds an almost spiritual quality to the timeless folk song.

Closer to the end, “Smile While We Go” recruits some country nods as the landscape builds into a thick, rugged, rural rocker that could fill stadiums, and “Dreamin’” displays sublime chemistry on the atmospheric and charming late album standout.

A unique outfit in that fans of punk as well as jam bands will find something to be enamored with, listening to Whoa! just begs us to hear Strung Like A Horse live, which, of course, might not be an option for awhile. Thankfully, repeated spins of this first record will easily suffice in the meantime.

Travels well with: Hot Buttered Rum- Lonesome Panoramic; The Mastersons- Good Luck Charm

Mr. Gnome

The Day You Flew Away

El Marko, 2020

10/10

Listen to The Day You Flew Away

Every time the Cleveland duo of Mr. Gnome, i.e. Nicole Baille and Sam Meister, release a record, it’s always some perplexing variation of pop, rock, art and dance that’s sometimes aggressive enough to fall under alt-rock, and other times tailor made for the dance floor. Here the married pair offer us 26 tracks of their inimitable formula after a fairly lengthy break amid some significant life changes.

The title track starts the listen with psychedelic ambience as bright vocals enter the heavily textured landscape, and this creativity extends to the percussively strong and soaring “Insane Love”, as well as the retro-rock flavored “Golden Daze”.

Closer to the middle, “How To Talk In Technicolor” flirts with ‘80 New Wave as current electro-pop ideas enter with much mystery, while “Psychonaut” is a club friendly offering with a dense beat that’s not short on grooves. “Gold Edges”, one of the record’s best, then bursts with anthemic, thumping rock’n’roll in its fuzzy and charged execution.

Deeper yet, “It Really Don’t Matter” flows with a stylish and playful pop dynamic, and “Long Way” exits the listen busy and melodic with a flurry of diverse musicianship.

Since their last album in 2014, Mr. Gnome has seen family members pass away and a child being born, as both their lives have been dismantled and reconstructed with a new reality. Certainly fodder for songwriting material, as someone who has spent considerable time with their entire catalog, I feel very confident saying that The Day You Flew Away is their most adventurous and luminous to date.

Travels well with: Jake Allen- Affirmation Day; The Flaming Lips- The Kings Mouth

Kevin Burt

Stone Crazy

Gulf Coast, 2020

8/10

Listen to Stone Crazy

On this first album for the Gulf Coast Label, the veteran artist Kevin Burt has assembled an all star cast of Mike Zito, Doug Byrkit, Matthew Johnson, Lewis Stephens and Jimmy Carpenter to help flesh out the 10 originals and lone cover.

“I Ain’t Got No Problem With It” starts the album with warm harmonica from Burt as Johnson’s frisky percussion aligns with the bluesy delivery, and “Purdy Lil Thang” follows with a soulful approach as spirited guitar work complements Burt’s expressive singing.

In the middle, “I’m Busting Out” recruits plenty of grooves in the funky atmosphere, while “Same Old Thing” moves with much rhythm in its playful nature that even offers a stirring guitar solo. “Something Special About You”, one of the album’s best, then makes good use of acoustic guitar and Burt’s agile pipes as Southern Rock nods enter the equation.

Deeper tracks include the jumpy keys and harmonica solos of the funk friendly “Should Have Never Left Me Alone”, and “Better Off Dead”, where Burt puts his heart and soul into this precise version of the Bill Withers tune from 1971 . “Got To Make Change” then exits the listen cautiously and displays Zito’s guitar prowess on the reflective, powerful finish.

For two and a half decades Burt has proved time and time again that the blues are alive and well in his home state of Iowa, and on this superb outing he further cements his place as one of the most versatile and exciting bluesmen that exists today.

Travels well with: Erin Harpe- Meet Me In The Middle; Kat Riggins- Cry Out

Joe Bonamassa

Royal Tea

J&R, 2020

9/10

Listen to Royal Tea

Joe Bonamassa never slows down apparently, and here the bluesman returns with a more rock focused effort that was recorded at the legendary Abbey Road Studios and includes a 24 page booklet to accompany the 10 new, original tunes.

“When One Door Opens” leads with strings in a highly elegant introduction that segues into Bonamassa’s signature guitar work that glides along with vivid storytelling, and the title track follows with six string acrobatics as soulful backing vocals complement the firm blues rocker.

“High Class Girl” lands in the middle and chugs with some classic rock spirit as gritty melody enters, while “A Conversation With Alice” is a dynamic and emotive display of power and grace. “I Didn’t Think She’d Do It”, one of the standout tracks, then gets wild and rugged with Bonamassa’s vocals sounding better than ever.

Deeper still, “Lonely Boy” shuffles with a punchy execution of keys, frisky percussion and plenty of dance friendly grooves in a boogie-woogie sort of way, and “Savannah” exits the listen softer, with a breezy approach of sublime, acoustic beauty.

Not so surprisingly, Royal Tea hit #1 on the Billboard Blues Chart, which is where Bonamassa has landed two dozen other times, as he subtly pays homage to Led Zeppelin, Eric Clapton, Jeff Beck and Cream on this superb Brit-Rock portion of his vast catalog.

Travels well with: Ronnie Earl & The Broadcasters- Rise Up; Albert Castiglia- Wild And Free

Soft People

Absolute Boys

Sandwich Kingdom, 2020

9/10

Listen to Absolute People

A California duo comprised of John Metz and Caleb Nichols, who were both formerly members of Grand Lake, as Soft People the married couple previously penned a very political record, but this time around they’re more concerned about discussing the dynamics of relationships on this atypical pop record.

“New Moon” starts the listen with a beat friendly and fuzzy atmosphere of subdued indie-pop that flirts with shoegaze, and they follow it with the quick pace and bright electro-pop of “Shot Through”, which sounds right at home in the ‘80s with its New Wave, synth-rock tendencies.

At the halfway point, “Louis” sounds like it might play at the circus with its hypnotic rhythm, while “William” touches on post-punk with a dreamy quality that’s full of gritty melody. “I Saw The Moon”, one of the album’s best, then illustrates a diverse vocal range as upbeat and playful instrumentation unfolds with a retro-pop appeal.

“22 Lunes” and “Embering” bookend the listen, where the former recruits spoken word poetry amid hand clapping, and the latter exits with a hazy, surreal execution of ambient backing vocals amid blurry song craft.

If names like Curtis, Bowie, Morrissey and Marr mean anything to you, Soft People will certainly find a nice place to reside in your collection between New Order and Tears For Fears and absolutely deserves to be played often.

Travels well with: Pyjamarama- Simple Living; The Persian Leaps- Electrical Living

Lizzy Young

Coocoo Banana

GFY, 2020

8/10

Listen to Coocoo Banana

A Paris native who spent time in Barcelona before landing in New York City, Lizzy Young is taking full advantage of the myriad of influences in her American home with this unconventional take on pop that’s eccentrically poetic and a bit raw, though that’s part of her charm.

“Can’t Take Can’t Touch” starts the listen and makes an instant impression with her gritty approach to pop that’s a bit mysterious yet dreamy, and “Coocoo Banana” follows with a darker approach as ominous vocals invade the lo-fi setting.

In the middle, “God Is Pink” is a percussively strong moment of stylish, hypnotic melody, while “Obvious” picks up the pace with firm keys as post-punk nods enter the droning yet dynamic delivery. “She Farts While She Walks”, one of the fuller tunes, then pairs talking/singing with New Wave nods that sound indebted to the ‘80s in all the best ways.

Long continues her unique formula to the end, where “This Morning When I Woke Up” offers light and airy keyboards against a lazy beat, and “Squid Juice In Hollywood” exits the listen busy, tuneful and with an almost carnival-esque feel to its atypical exploration.

Also an actress and a bass player in other bands, Lizzy Young (not her real name) makes good use of what’s in her immediate environment on this scrappy and unusual effort that will appeal to fans of modern outsider indie-pop.

Travels well with: Hermetic Delight- F.A. Cult; VvvV- The Wreck

Various Artists

Rock And Roll Over

Moosylvania, 2020

10/10

Listen to Rock And Roll Over

A project spearheaded by Norty Cohen (Moosylvania Records) and Steve McWilliams (The Truehearts), the pair wanted to get money to animal shelters while also keeping the creative juices flowing during the pandemic, so they reached out to their East Nashville friends to contribute exclusive songs about our dog companions.

Included on the benefit are The Truehearts, Mike Younger, Bob Lewis, Phill Price, Anana Kaye, Irakli Gabriel, Brett Ryan Stewart, Steve Rempis, Jimmy Catlett, Mark Robinson, David Conrad, Meghan Hayes, Rebecca Weiner Tompkins, Megan Palmer, Jason Quicksall and Jamie Rubin.

The Truehearts start the listen with warm instrumentation alongside pretty female vocals where they very wisely explain how a dog equates to happiness, and “King Of The Pack”, by Mike Younger, follows with spirited guitar work as backing vocals complement the bluesy atmosphere.

Further on, Bob Lewis offers “That’s My Retriever”, where his smooth vocals guide the folk friendly tune, while “Woooooo All Day” aligns Irakli Gabriel with Brett Ryan Stewart on the charming Americana album highlight that is cleverly told from the dog’s point of view. “Pitbulls Rock”, another exceptional tune, then brings Jimmy Catlett’s inimitable pipes to the frisky drumming and instant sing-alongs about our lovable Pittys.

The back half of the record is just as great, and includes the lush, organic landscape of David Conrad’s “My Labrador Retriever”, and “He’s A Poodle pairs Megan Palmer and Jason Quicksall on a playful, retro delivery. Near the end, Jamie Rubin’s crunchy guitar makes “I Am Your Beagle” a late disc standout with its cautious, rockin’ demeanor.

An extremely uplifting listen where each artist pens a song about a different breed, if you’re a pet owner, you’re going to be able to relate to everything here, and maybe even laugh out loud a couple of times. With a very eclectic cast of musicians on board, there’s something for everyone and it’s executed with much positivity and all for a cause we can all get behind.

Travels well with: Meghan Hayes- Seen Enough Leavers; Matt Eckstine- Lil’ Blue

Alfah Femmes

No Need To Die

Self-Released, 2020

9/10

Listen to No Need To Die

A six piece from Poland who have only been together for a couple of years, though Alfah Femmes might tip their hat to Violent Femmes, you’re likely to spot lineage of The B-52’s, Devo or even Talk Talk amid their very unpredictable formula that populates this debut record.

“Don’t Stop” starts the album and makes an immediate impression with its ‘80s New Wave nods that are as eccentric as they are inviting, and this approach continues to the beat driven and buzzing synth of the pretty “No Need To Die”, as smooth female vocals guide the pop-friendly climate.

Things only get more interesting from here, with the speedy art-pop of “Scratch And Deploy” where quick flashes of brass make an impression, while “Nothing From You” is both warm and experimental, as cautious ideas are met with traces of post-punk. “Mourning Revisited”, a darker moment on the album, then places soulful vocals alongside solemn keys in a reflective and moody setting.

Near the end, “Desperate Disco” certainly is dance friendly in its sparkling, electro-pop fashion that’s still haunting, too, and the Jazxing Remix of “Don’t Stop” exits the listen also club ready, where vocal effects and saxophone add much to the lively finish.

An effort that covers so many genres and textures that are often quirky and also very charming, in less capable hands this record would be a fumbling mess. But when Alfah Femmes do it, it’s nothing short of brilliant.

Travels well with: VvvV- The Wreck; Princess Thailand- And We Shine

Matt Eckstine

Lil’ Blue

Self-Released, 2020

8/10

Listen to Lil’ Blue

Formerly of The Accomplices, Matt Eckstine returns with his sophomore solo album, where his Laurel Canyon nods and influences from his stomping grounds of Georgia and South Carolina are very evident as he adjusts to home recording during quarantine.

“Part Of The Ride” starts the listen with a timeless Americana spirit as soulful harmonica enters the breezy and melodic landscape that even embraces honky tonk, and “Mahi-Mahi And Rice” follows with a rhythmically strummed guitar as playful folk ideas unfold.

In the middle, “This Heaven” flows with a gritty yet tuneful approach of country-pop inspired song craft, while the title track benefits greatly from percussion with plenty of rootsy flavor that sounds it could be played around a campfire. “Old Guitar”, one of the fullest tunes, then offers a lush display of alt-country that fans of Steve Earle will appreciate.

The last 2 songs keep the creative song craft intact, including the soft and dreamy acoustic folk song “Here They Stand”, and “Uku Mama” exits the listen with firm ukulele strumming in the Hawaiian spirited climate.

An artist whose approach brings to mind legends like John Prine and Tom Petty, if there’s any good to come from the pandemic, it’s that it’s allowing people like Matt Eckstine to really explore their songwriting prowess on fine records like this.

Travels well with: Last Year’s Man- Brave The Storm; Justin Farren- Pretty Free

400 Bears

400 Bears

Self-Released, 2020

9/10

Listen to 400 Bears

Although this is the debut album from Paul Wilkinson as 400 Bears, the singer-songwriter and guitarist has 15 years of experience playing with the Mason Porter band, and he brings the bluegrass and folk spirit of that tenure with him on these varied and well thought out 10 tracks.

“Borderline” starts the album with some light ambience as Wilkinson’s warm guitar and inviting vocals enter the folksy, Americana landscape that benefits from Scott Coulter’s organ, and “Memories” follows with a very stylish delivery of agile blues as light percussion complements the spirited guitar work.

At the halfway point, “Cold Situation” is bare display of brushed percussion and acoustic guitar, while “‘80s Mercedes” picks up the pace with plenty of soulfulness as rhythm and grooves enter the infectious climate that will be your body moving. “Small Town”, another excellent track, then offers some country shuffling where guitar and organ acrobatics work together dynamically.

The album exits with “Good Bear” and “Take This Hammer”, where the former recruits some subtle bluegrass influences into the atmospheric instrumental, and the latter puts a dreamy, cautious spin on the traditional that’s complete with Brad Hinton’s lap steel helping to set the mood.

A record that can get twangy and that can also bring a timelessness akin to Bob Dylan, whether it’s unplugged or electric, busy or sparse, Wilkinson and company know their way around a tune you won’t forget anytime soon.

Travels well with: Rick Shea- Love & Desperation; Eric Brace & Last Train Home- Daytime Highs & Overnight Lows

Various Artists

Crawling Spider- A Tribute To Mike Montgomery Vol. 1: The LA Sessions

MUM, 2020

9/10

Listen to Crawling Spider- A Tribute To Mike Montgomery Vol. 1 The L.A. Sessions

Curated by Marlon Montgomery, the son of Back Street Crawler songwriter and keyboardist Mike Montgomery, this tribute album brings in 20+ musicians, including John “Rabbit” Brundrick, Terry Stesser, Terry Wilson and Tony Braunagel, who were all members of Back Street Crawler.

“Survivor” starts the listen with Robbie Wyckoff’s soaring vocals on the fluid blues rocker where Billy Watts lends his guitar prowess as Adam MacDougall’s keys make an impression, and “Rock’n’Roll Junkie” benefits from Mark Campbell’s versatile pipes on the frisky atmosphere that makes good use of Terry Wilson’s deft drumming.

Closer to the middle, “Stealing My Way” recruits Teresa James to duet with Wyckoff as MacDougall’s spirited keys steer the cautious yet playful delivery, while the rugged “All The Girls Are Crazy (Flood The Engine)” puts Jimmy Kunes on vocals as Bill Leverty’s guitar helps cultivate a thick, nearly hard rock atmosphere. Some of the best tracks are the rare studio demos, including the cautious and powerful “King Of The Mountain”, where Montgomery himself is on vocal duties, and features Paul Thompson sitting behind the drum kit.

All the deep tracks are also studio demos, the best of the bunch being the classic rock inspired “Sidekick To The Stars”, where Montgomery dispays his keyboard skills as Brian Robertson and Jimmy Bain handle guitar and bass respectively, and “Can’t Be Sad” a demo from Montgomery’s pre-Back Street Crawler band, Bloontz, exits the listen key focused as Andy Chapman’s gritty singing ends the listen on a very high note.

A project that was 5 years in the making, it’s quite evident much work went into these renditions, as the all star cast offer selections from Back Street Crawler’s first album (Montgomery wrote the bulk of the album), as well as Montgomery’s lesser known outfit Rough House and the lone Bloontz finisher. Toss on the solo studio demos, as well as a cover by Omar & The Howlers, and you’ve got the quintessential Mike Montgomery collection.

Travels well with: Pete Thelen- Best For Last; Jeff Fetterman- Southern Son

Artur Menezes

Fading Away

VizzTone, 2020

9/10

Listen to Fading Away

A Brazil native who now calls Los Angeles home, this 5th album from Artur Menezes displays his profound guitar talent as the blues based tunes inject funk, rock’n’roll and even the rhythms of his homeland into these 8 impressive tracks.

Menezes starts the listen with thumping drums on the title track, as his fluid and soaring guitar riffs enter the bluesy rocker, and “Devil’s Own” follows with some ambience that leads into an emotive and slow burning, thick atmosphere that’s both muscular and poetic.

There’s a couple of guests in attendance, including Joe Bonamassa on the crunchy rocker “Come On”, which nearly hits hard rock territory, while “Free At Last” recruits Josh Smith on the funky, soulful album highlight that uses vocals sparingly but effectively.

Another exceptional track, “Fight For Your Love”, gets rugged yet melodic with fuzzy guitar and proficient drumming, and “Green Card Blues” exits the listen with nearly 10 minutes of dizzying guitar solos, incendiary percussion and gritty vocals on the blues explosion that lyrically might be autobiographical as it tells the story of a young man’s journey to the United States from Brazil.

An artist whose intricate chord changes, very specific tones and superb layering is nothing short of amazing, if Menezes isn’t on your radar yet he should be, as few bluesmen today are making music with this kind of impact.

Travels well with: Erin Harpe- Meet Me In The Middle; Heather Newman- Rise From The Flames

Bob Margolin

Star Of Stage And Screens

VizzTone, 2020

8/10

Listen to Star Of Stage And Screens

Bob Margolin has had an exceptional couple of years recently, but like everyone else whose livelihood and creative prowess relies on live music, all things came to a halt in early 2020. Not one to stifle his songwriting, Margolin penned these 6 tunes during lockdown, where themes surround Coronavirus, isolation, grief and coping.

Margolin starts the album with his always top notch bluesy slide guitar aligned with raw, soulful vocals on the bare, nearly heartbreaking title track, and “Love And Thanks” follows with a vocally expressive delivery that’s strategically aligned with minimal but effective guitar.

The back half of the EP brings us the emotive and often somber “For My Teachers”, where Spanish influences enter, while “Let It Go” moves quicker with vivid storytelling as Margolin offers some sage like advice on how to deal with the pandemic. “March 2020 In Stop Time” exits the listen with his anger and frustration at the surface, where he manages to channel the fears, rage and resentment we all share.

Self-produced and self-recorded, this is about as raw and real as it gets, just a guitar and his gritty vocals and, of course, 5 decades of experience playing the blues. Anyone who is fortunate enough to attend the first of Margolin’s shows since Covid struck, whenever that may be, is probably in for a real treat, as the legend clearly has much to say, and has managed to stay prolific despite the cessation of live music.

Travels well with: Dave Riley & Bob Corritore- Travelin’ The Dirt Road; Ronnie Earl & The Broadcasters- Rise Up

Jeni Slotchiver

American Heritage

Zoho, 2020

8/10

Listen to American Heritage

The piano extraordinaire Jeni Slotchiver returns with a tribute to legendary composers in the area of folk music, where she reworks traditional and folk songs with her always exceptional and profoundly stirring key work.

The lengthy album leads with Samuel Cole-Ridge Taylors’ “Deep River, Op. 59, No. 10”, where Slotchiver’s proficient keys exude much beauty and grace in the emotional opening, and Margaret Bonds’ “Troubled Water” follows with swifter moments of key acrobatics as well as calmer ebbs of pretty musicianship.

Of the longer pieces, Harry Thacker Burleigh’s “From The Southland” unfolds with 6 movements that span bare and intimate to playful and adventurous, while Florence B. Price’s “Dances In The Canebreaks” dances with spirited and spellbinding fluidity that few could replicate.

At the end, Frederic Rzewski’s “Down By The Riverside” offers a firm and daring display of versatile skill, and “Swanee River”, by William Grant Still, exits with 2 minutes of radiant and sublime playing that’s memorable and timeless.

A very relevant record with America undergoing a civiil rights movement, Slotchiver pays homage to primarily African-American composers here, as she preserves their heritage with these poetic and often spiritual renditions.

Travels well with: John DiMartino- Passion Flower; Orli Shaham- Mozart Complete Piano Sonatas

The John Byrne Band

A Shiver In The Sky

Self-Released, 2019

8/10

Listen to A Shiver In The Sky

Originally from Dublin but now living in Philadelphia, troubadour John Byrne has made a lot of thoughtful music in the last 10 years, and that continues on A Shiver In The Sky as he addresses addiction, immigration, and relationships with much eloquence.

“Special Place In Hell” starts the listen with a shuffling place of Americana sounds as Byrne’s smooth vocals guide us on an a musically upbeat affair, and “All In All” follows with acoustic guitars and flowing melodies in a calmer setting with much grace.

Elsewhere, “Just Like You” finds the listen entering rockabilly territory with lively horns, while “Time Ain’t Changed A Thing In This Town” strips the atmosphere bare with banjo picking and rural ideas in the album highlight.

Near the end, “Your Love Is All There Is” glides with a country spirit as strings and lap steel add much to the environment, and “Easy To Get Stuck Here” presents a more orchestral influence in its subdued beauty. “As The Crow Flies” ends the listen with a darker quality of poetic, timeless song craft that parallels the greatness achieved by legends like Waits and Cave.

Byrne has an impressive band along with him, where cello, trombone, flugelhorn, accordion and plenty of other sophisticated noisemakers help flesh out these universally relatable and easily admirable songs.

Travels well with: Tom Waits- Closing Time; Matt Pond PA- Still Summer