SaltmanKnowles

Native Speaker

Odradek, 2022

8/10

Listen to Native Speaker

The bassist Mark Saltman and pianist William Knowles have been friends for a long time, and on this 8th album together they celebrate the inclusion of the African American spirit with a very diverse listen that collects a few well done covers, too.

“Dororo” starts the listen with agile bass plucking, as Robert Muncy’s sax and Michael Fitzhurgh’s trumpet enter the bright jazz climate, and “Nate’s Advice” follows with Leonard Brown’s stirring violin adding much versatility alongside the soulful brass and acrobatic drumming.

In the middle, “Native Speaker” welcomes Grant Langford’s booming sax amid the frisky keys in the album’s best track, while “Everybody Wants To Rule The World” puts a unique, jazz flavored spin on the Tears For Fears classic that showcases Lori Williams’ gorgeous vocals.

Near to the end, “Sweet Dreams” moves quickly, and places Yvette Spears and Williams on vocals for the lively interpretation of the Eurythmics tune, and “The Gentle Art Of Compassion” exits the listen with the sublime bass playing, meticulous keys and glowing brass helping make for an adventurous and rich finish.

An extremely fluid 9 tracks that’s certainly contemporary jazz but also touches on soul and blues, too, Saltman, Knowles and company display their shared language, i.e. jazz, with strong attention to detail and memorableness.

Travels well with: The Jazz Professors- Blues And Cubes; Andy Adamson Quintet- A Coincidence Of Cats

String Orchestra Of Brooklyn

enfolding

New Focus, 2022

8/10

Listen to enfolding

Scott Wollschleger’s “Outside Only Sound” starts the listen with the sounds of outside at Fort Greene Park in Brooklyn, where the hustle and bustle of urban life is captured amid the quivering strings and ambient percussion sounds that flow from 6 players. Bells and bowls complement the delivery, where traces of sirens, people talking, children laughing and dogs barking illustrate how NYC was able to stay artistic and creative during Covid’s darkest days.

“With eyes the color of time”, by Anne Leilehua Lanzilotti, follows, and across 8 movements it emits a stirring demeanor that’s bare but impactful, where bouts of tense strings and barely audible moments of percussion make for a very unique execution.

A listen that’s rich in sonic gestures and artistic in its profound nature, the String Orchestra Of Brooklyn illuminate Lanzilotti and Wollschleger’s vision with incredible precision and depth.

Travels well with: Kimia Hesabi- Nemāno Gaona; Steven Ricks- Assemblage Chamber

Deb Rasmussen

Unspoken

Self-Released, 2022

8/10

Listen to Unspoken

The exceptional vocalist Deb Rasmussen found herself reinvented during the pandemic with respect to songwriting, and that’s when these originals and standards were fleshed out with the pianist Jon Day, as the pair explore the components of love that are often left unsaid.

The mature keys and warm bass of “Front Porch” opens the listen, where Rasmussen’s smooth, radiant voice guides the sophisticated jazz climate, and “You Smile” follows with a playful demeanor of romantic and uplifting song craft that’s quite charming.

Halfway through, “Swept Away” finds a very intimate place to reside as Rasmussen’s expressive pipes are complemented by the agile keys, while “I Hear A Rhapsody” lands in frisky territory with its cozy vocal scatting and subtle but effective drums.

Further down the line, “In Your Own Sweet Way” showcases the strategic bass plucking amid Rasmussen’s glowing pipes, and “My Best To You” exits the listen with much beauty present in the graceful keys paired with the soothing singing that urges the listener to find the love that’s best for them.

Day and Rasmussen are joined by Jeremy Coates (bass) and Robin Tufts (drums), and together they make for an emotion listen that also dedicates itself to the women who have struggled to keep their lives and families together during the pandemic.

Travels well with: Kate Wyatt- Artifact; Jocelyn Gould- Golden Hour

Plinio Fernandes

Saudade

Self-Released, 2022

8/10

Listen to Saudade

The debut album from the the Brazilian classical guitarist Plinio Fernandes, the 18 tracks here offer a love letter to his native country, and include popular songs of Brazil and the classical tradition of Villa-Lobos.

“Assanhado” starts the listen off with rhythmic and highly detailed guitar playing that hardly seems like it’s emanating from just one guitar, and “The Girl From Ipanema” follows with an agile melody that emits much beauty and grace.

Further into the listen, “Ponta De Areia” flows with a very sublime, intimate spirit, where a reflective nature unfolds with fascinating progressions, while “O Mundo É Um Moinho” brings gorgeous singing into the heartfelt album highlight.

Deeper yet, “Gracias A La Vida” offers a rich and uplifting display of meticulous finger acrobatics, and “Menino” finishes the listen with stirring strings to complement the proficient guitar playing.

Fernandes takes help from Maria Rita, Sheku Kanneh-Mason, and Braimah Kanneh-Mason, and it makes for an absorbing, cultured and mesmerizing first effort from an unparalleled talent.

Travels well with: Sheku & Isata Kanneh-Mason- Muse; David William Ross- Fading Sounds

Lonesome River Band

Heyday

Mountain Home, 2022

8/10

Listen to Heyday

The long running outfit Lonesome River Band return with a new batch of their esteemed and time honored song craft that welcomes new member Adam Miller (mandolin, lead, harmony vocals) alongside Sammy Shelor (banjo, harmony vocals), Mike Hartgrove (fiddle), Kameron Keller (upright bass, harmony vocals), and Jesse Smathers (guitar, lead and harmony vocals).

“Mary Ann Is A Pistol” starts the listen with soothing vocal harmonies and playful banjo, as timeless bluegrass flows, and “Cumberland River Shore” follows with dynamic and swift string interaction where strong vocals take the lead on the melodic and sublime song craft.

Deeper into the listen, the intimate mandolin of the emotive “Emerald Holler” is quite stirring, while “Come On Down From The Mountain Top” emits a rural energy that will get your body moving to the string acrobatics and radiant vocal harmonies.

Close to the end, “Love Songs” is one of the quickest tunes, where the meticulous bass and fascinating fiddle work doesn’t disappoint, and “That’s Life” exits the listen with heartfelt singing and mature musicianship that’s universally relatable, lyrically, and musically just as embraceable.

In their 40 years as a band, Lonesome River Band has seen members come and go, but what stays constant is their powerful and memorable bluegrass that puts them in a league entirely their own.

Travels well with: Unspoken Tradition- Imaginary Lines; Jaelee Roberts- Something You Didn’t Count On

Ever More Nest

Out Here Now

Parish, 2022

8/10

Listen to Out Here Now

A New Orleans outfit spearheaded by the vocalist and guitarist Kelcy Wilburn, Ever More Nest covers both busy and sparse textures here, where the debut touches on country, folk, rock and Americana in very genuine, thought provoking ways.

“Out Loud” starts the listen with Wilburn’s soulful, expressive singing alongside Lucy Cordts’ whistling and Neilson Hubbard’s warm drumming, and “Coming Along” follows with a louder approach that’s got some alt-country spirit thanks to the powerful singing and Will Kimbrough’s fluid guitar playing.

“Wishing Well” arrives in the middle, and is fueled by agile acoustic guitar and Wilburn’s poetic voice in the intimate landscape, while “What’s Gone Is Gone” is a bit thicker and displays flowing banjo from Kimbrough amid Hubbard’s thumping drums and Fats Kaplin’s stirring strings.

The pace is trimmed significantly for the bare and eloquent “This Cloud”, where Kaplin’s moody pedal steel is used strategically, and “All I Want” exits the listen with Dean Marold’s skilled bass alongside a dreamy haze of beauty.

A very personal and spiritual affair, Wilburn, who used to release music as Kelcy Mae, illustrates that this moniker certainly houses her lush rockers and vulnerable moments of forthrightness with much care.

Travels well with: Laura Benitez And The Heartache- With All Its Thorns; Stacy Antonel- Always The Outsider

Fireside Collective

Across The Divide

Mountain Home, 2022

8/10

Listen to Across The Divide

The Fireside Collective headed to a cabin in the Smoky Mountains during the pandemic to flesh out this very diverse body of work, where they expand from their bluegrass template to embrace many influences that only enhance the appeal of their craft.

“When You Fall” opens the listen with the melodic string work aligning with the soaring vocals that radiate much warmth, and “Let It Ride” follows with bright storytelling alongside the playful mandolin and carefully plucked bass that helps emit blues nods.

“Not Today” lands in the middle and trims the pace back with intimate singing and graceful piano fueling the country spirited landscape, while “House Into A Home” showcases powerful bluegrass amid the soaring vocal harmonies.

Further still, “Your Song Goes On” doesn’t lack any grooves as the meticulous strings and distinct singing make an indelible impression, and “Rainbow In The Dark” exits the listen with a poetic and emotive quality that illustrates superb chemistry between the quintet.

Led by the singer and mandolinist Jesse Laquinto, the outfit also consists of Joe Cicero (acoustic guitar, vocals), Alex Genova (banjo, vocals), Tommy Maher (dobro, vocals) and Carson White (upright bass, vocals), and together this 4th album showcases all the member’s strengths as the collaborative vision yields flourishing and creative songwriting that we could never tire of.

Travels well with: Lonesome River Band- Heyday; Unspoken Tradition- Imaginary Lines

Damn Tall Buildings

Sleeping Dogs

Self-Released, 2022

8/10

Listen to Sleeping Dogs

The acoustic trio Damn Tall Buildings return with a 3rd album, where their roots, old time, bluegrass and retro swing ways unfold with much intellect, charm and memorableness.

“What A Nice Life” gets the listen off to a harmonic and warm start with flowing banjo, cozy guitar and smooth vocals, and “Dark Window Panes” follows with an old time spirit that’s got an infectious energy to the bouncy climate.

In the middle, “Lemons” isn’t short on groove and melodies, while “Patio” showcases very expressive female pipes amid meticulous violin and skilled bass in the album’s best selection.

Closer to the end, “Quietly Heartbreaking” finds an intimate place to reside, where a poetic quality enters the stirring musicianship, and the title track exits the listen with very pretty singing to complement the glorious string prowess.

Max Capistran (guitar, banjo, vocals), Sasha Dubyk (bass, vocals) and Avery Ballotta (violin, banjo, vocals) make up Damn Tall Buildings, and they’ve got guests on flute, drums, lap steel and many other instruments for another exceptional body of work that showcases their distinct brand of folksy, Americana song craft.

Travels well with: Kitchen Dwellers- Wise River; Them Coulee Boys- Die Happy

John Minnock

Simplicity

Dot Time, 2022

8/10

Listen to Simplicity

An artist armed with a fantastic voice and skilled interpretation skills, John Minnock finds himself in the company of Dave Liebman (sax), Mathis Picard (piano), Mark Lewandowski (bass), Pablo Eluchans (drums), Carlos Mena (bass) and Sean Mason (piano) for these 8 originals and standards.

The title track opens the listen with Liebman’s soulful sax complementing Minnock’s poetic, stirring vocals in the very reflective climate, and “He Was Brazilian” follows with Picard’s warm keys and Lewandowski’s skilled bass aligning with the expressive singing in the breezy, melodic delivery.

The halfway point belongs to “Cape's End”, where the adventurous brass and frisky drumming help make for a playful landscape, while “Bordeaux” moves with a sparse appeal that showcases Minnock’s impressive range.

At the end, “Everything Remind Me Of You” finds an intimate place to reside with its mature keys thanks to Mason and powerful singing from Minnock, and “You Don’t Know What Love Is” exits the listen with meticulous sax and a louder display of timeless musicianship that’s busy but never sloppy.

The originals here are top notch, and the covers of Herbie Hancock, David Shire and others are nothing to spit at, either, as fans of jazz from any era will be impressed with Simplicity.

Travels well with: Wayne Shorter- Jazz At Lincoln Center Orchestra With Wynton Marsalis; Paul Jost Quartet- While We Were Gone

Nelson

Greatest Hits (And Near Misses)

UMe, 2022

7/10

Listen to Greatest Hits (And Near Misses)

Nelson’s heyday existed when I was in my early teens, and I wasn’t paying attention to them. Of course, if you were anywhere near a radio then, you’d hear their couple of hits, and if you had MTV, those videos were in constant rotation.

With that said, I was surprised to see 18 tracks on this Greatest Hits collection. Much of the material are fan favorites, actually, and some of them are different versions from their original forms.

“After The Rain” starts with its lengthy and dramatic intro that leads into the smooth vocals and crisp rhythm section of the band’s biggest hit, and “(Can’t Live Without Your) Love And Affection” follows with more emphasis on acoustic guitar in the anthemic rocker that sure got a lot of praise in 1990.

The rest of the tracks won’t be familiar to the casual listeners, but certainly will resonate with the diehard fans. In the middle, the soulful “More Than Ever” adds a touch of Motown to the loud rocker, while “Too Many Dreams” recruits buzzing guitars amid a firm delivery of a more hard hitting version of Nelson.

Much deeper, the heartfelt “Keep One Heart” resides closer to folk-rock, and “Take Me There”, one of the album’s best, embraces strings into the flowing and lush rock that’s quite emotive alongside a subtle orchestral feel.

Most of us will be surprised to find out that Matthew and Gunnar Nelson have made music consistently since their time in the spotlight in the early ‘90s. Completely independent for many years now, I was pleasantly surprised to see that the pair of radio hits here are actually the least interesting songs present, and the brothers have much depth that’s thankfully explored across most of the listen.

Travels well with: Dizzy Box Nine- Last Call Before The Fall; Damon Mitchell- Like You’re In A Dream

Patrisha Thomson

Wild Is The Wind

Self-Released, 2022

8/10

Listen to Wild Is The Wind

A veteran jazz singer who takes influence from names like Billie Holiday, Anita O’Day, and Sarah Vaughan, Patrisha Thomson brings her inimitable and skilled voice to these 13 timeless jazz tunes.

“In A Mellow Tone” opens the listen with Thomson’s cozy, smooth pipes being complemented by Ken Wild’s charming bass, warm keys from Steve Rawlins and soft drums courtesy of Bernie Dresel, and “Dindi” follows with a lush, dreamy approach that uses percussion strategically amid the expressive singing.

Further down the line, “You Don’t Know What Love Is” finds an intimate place to land, where the mature piano and gorgeous vocals make for a stirring album highlight, while “This Can’t Be Love” bounces and shakes with a timeless jazz energy that will get your body moving thanks to Bob Feldman’s playful bass and Gordon Peeke’s precise drumming.

Approaching the end, “Autumn Leaves” welcomes Brad Dutz’s skilled percussion to the radiant beauty, and “The Happy Birthday Song” exits with Scott Mayo’s well timed flute and soulful brass entering the upbeat and glorious finish.

A collection of sophisticated and charming pieces from the Great American Songbook that are handled with the utmost care under Thomson’s craft, Wild Is The Wind will be sure to strike a chord with those with an ear for the softer side of jazz.

Travels well with: Marilyn Scott- The Landscape; Melbreeze- I Love Paris

Robert Paterson/ The Indianapolis Quartet

String Quartets 1-3

American Modern, 2022

8/10

Listen to String Quartets 1-3

The world premiere recording of Robert Paterson’s first three string quartets, The Indianapolis Quartet really illuminate the rich and technical aspects of the movements, where a modern classical appeal is quite fascinating.

“String Quartet No. 1” opens the listen with quivering strings that move unpredictably and with allure across the 4 chapters of tense, heartfelt and bright musicianship, and “String Quartet No. 2” continues this meticulousness with intimacy and adventurousness, as both light and dark textures are explored with much depth.

The 5 chapters of “String Quartet No. 3” exits the listen, and presents a calculated mysteriousness that flows with a dynamic, cinematic prowess where the bowed and plucked strings never stay in one place too long and emit much wonder and awe.

The Indianapolis Quartet, i.e. Zachary DePue (violin), Joana Genova (violin), Michael Isaac Strauss (viola) and Austin Huntington (cello), handle these pieces with much care and it makes for a necessary listen for those with an ear for string ensembles and contemporary classical sounds.

Travels well with: Douglas J. Cuomo- Seven Limbs; Tom Nazziola- Distant Places

John McCutcheon

Leap!

Appleseed, 2022

8/10

Listen to Leap!

An active songwriter for 50 years now, John McCutcheon spent his forced time from live music due to the pandemic to pen these 18 tunes that take help from Seamus Egan (flute) and Pete Kennedy (guitar), plus many others.

“The Ride” opens with McCutcheon’s warm vocals and crisp musicianship that unfolds with a timeless folk quality, and “The Troubles” continues this formula with Jon Carroll’s keys adding much beauty to the calm, expressive landscape.

Deeper into the listen, “Sorry Land” showcases Robert Jospe’s diverse drumming in the frisky and upbeat demeanor, while “Touched” offers a bare, intimate display of emotive singing alongside Stuart Duncan’s strategic fiddle.

Approaching the end, “Nobody Knows” lands in piano balladry, where the mature keys complement the eloquent wordplay, and “Kora In The Subway” exits the listen with McCutheon’s powerful pipes alongside keys and strings that finish on a very high note.

This is actually McCutcheon’s 3rd album constructed during Covid, and while the themes are often heavy, there’s also plenty of light moments to populate his well thought out and universally enjoyable folk songs.

Travels well with: Tom Paxton, Cathy Fink & Marcy Marxer- All New; Trout Fishing In America- Safe House

David Arkenstone

Music Inspired By Middle Earth Vol. II

Self-Released, 2022

8/10

Listen to Music Inspired By Middle Earth Vol. II

A five time Grammy nominee who has a knack for storytelling and can construct instrumental swells of imagination that, on this listen, explore fantasy and magical ideas.

“Shadow Of The Past” opens the listen with eerie, wordless vocals, as a very hazy atmosphere unfolds in a ominous, cinematic sort of way, and “The Green Dragon” follows with a much more upbeat approach of bright winds and playful drumming.

Further on, “Servant Of The Secret Fire” is textured cautiously amid the classical and tribal nods, while “The Great River- The Argonath” flows with a sonic appeal that allows the strings to radiate warmth and mystery.

Inching towards the end, “The White Tree Of Gondor” weaves in and out of light and dark layers that emit a diverse vision, and “The Returning” exits the listen with a dreamy, vocal-less display of ambient and mesmerizing song craft.

Volume I of this series was actually released 20 years ago, and this follow up certainly continues the influence of J.R.R. Tolkien’s Lord Of The Rings, and touches on New Age moments in the very distinct, sometimes soothing, other times hypnotic landscapes.

Travels well with: Clint Mansell- Stoker; Colin Stetson- Hereditary

Aaron Stroessner Quartet

Gifts

Self-Released, 2022

8/10

Listen to Gifts

The guitarist and composer Aaron Stroessner brings along Kevin Lloyd (Hammond, Wurlitzer, accordion), Andrew Mell (bass) and Andrew Wray (drums) for these very well executed and timeless 8 jazz originals.

“Be Still” opens the listen and is anything but, as radiant guitar and soft drumming make for a bare but rich tone that later on welcomes well timed organ, and “Wonder” follows with the strategic rhythm section complementing Stroessner’s meticulous guitar playing.

In the middle, “Lost” showcases dynamic textures that are quite complicated but easily enjoyable, while “Quarter Blues” shuffles with a frisky pace that benefits from charming organ, drumming acrobatics and much energy.

“V.A.D.”, the best track present, arrives near the end emits a busy and melodic execution of progressive modern jazz, and “Wild West” exits the listen and moves cautiously and precisely amid the intimacy that allows each players’ strengths to shine.

Stroessner has an impressive resume that includes being a professor of music at several schools, and along with his esteemed band he presents a very flexible and fluid listen that fans of contemporary jazz will be enamored with.

Travels well with: Dmitri Matheny- Cascadia; Albare & Co.- Freedom

Lunar Bloom

Lunar Bloom

Self-Released, 2019

8/10

Listen to Lunar Bloom

The trio of Lunar Bloom, i.e. Kelly McNamee (vocals), Jocelyn Regina (vocals, guitar, piano, Rhodes) and Brittany Robinson (guitar, vocals), made an impression on me with 2022’s Running Deep, and this earlier EP is equally cozy and inviting.

“Low Hanging Moon” opens the listen with twinkling guitar and soft, pretty vocal harmonies in the bare, poetic climate that uses piano subtly, and “Eyes” follows with mesmerizing keys complementing the very eloquent singing from the three.

The halfway spot belongs to “Monster”, where the gorgeous singing is met with more firm piano, while “Cold, Cold” enters dreamy territory with soothing wordless vocals alongside the sparse, sublime storytelling. “Sweater” exits the listen with folk friendly acoustic strumming amid the flowing harmonies that allows all the artists to explore their range.

For those looking to test the waters of the charming and intimate formula of this Toronto outfit, this quick listen will certainly appeal to those with an ear for modern-folk and the gentler side of indie-rock.

Travels well with: Caroline Wiles- Grateful; Anya Hinkle- Eden And Her Borderlands

The Barlow

New Year, Old Me

Self-Released, 2022

8/10

Listen to New Year, Old Me

A Denver band with an affinity for memorable riffs, dual harmonies and plenty of slide guitar and pedal steel, Shea Boynton (vocals, guitar, banjo), Troy Scoope (bass), Ben Richter (drums) and Brad Johnson (guitar, vocals), i.e. The Barlow, make their own brand of mountain-high Colorado country.

“Mile Marker Blues” gets the listen off to a twang friendly start with the warm guitar and smooth yet gritty singing making for a timeless country climate, and “Josephine” follows with a thicker presence of rugged Americana that’s quite melodic.

The title track sits at the half way spot, and moves swiftly with thumping drums and a scrappy appeal that takes nods to punk, while “Tarred” remains calm, intimate and with stirring pedal steel thanks to Ben Waligoske.

“Without Emotion” and “Shut It Down” exit the listen, where the former is a bit more firm with southern rock ideas front and center, and the latter displays lush melodies and an infectious, rootsy flavor that you can’t help but enjoy.

Put The Barlow on a list with legends like Drag The River as rugged country music from Colorado that still retains plenty of punk grit, but could soundtrack a trip to the mountains, too.

Travels well with: David Quinn- Country Fresh; Vandoliers- Forever

Megan Bee

Cottonwood

Self-Released, 2022

8/10

Listen to Cottonwood

A very nature-esque listen from the singer-songwriter, guitarist and pianist Megan Bee, the substantial tracks here welcome a handful of players who contribute pedal steel, fiddle, upright bass and banjo, plus many more, to illuminate the vivid storytelling and raw tone.

“Cottonwood Leaves” opens the listen with soft accordion and warm acoustic guitar to complement Bee’s soft, gorgeous singing in the calm atmosphere, and “Used To Be” follows with a very poetic approach, as soulful backing vocals add even more appeal to the timeless folk climate.

Deeper into the 14 tracks, “Never Known” showcases Barefoot McCoy’s sublime piano playing in the bare landscape, while “Rolls Away” recruits Ben Ko’s soothing cello amid the stirring delivery.

Near to the end, the fuller “Fast Johnny” showcases a more firm version of Bee’s rootsy, folksy formula, and “Fall Down” exits the listen with Bee handling piano in a sparse but impactful finish of sublime intimacy.

This is Bee’s 4th studio album, and it’s a remarkable body of work that takes influence from Appalachian folk and the softer side of indie-rock. You may have never heard of Megan Bee before listening to Cottonwood, but you won’t forget the name when you’re done.

Travels well with: Stacy Antonel- Always The Outsider; Silver Lake 66- The Space Between Us

Judy Sings The Blues

Come Over Here

Self-Released, 2022

9/10

Listen to Come Over Here

A artist armed with a commanding voice and percussion skills, too, Judy indeed sings the blues here, and she’s got some exceptional help with her to flesh out these 10 stunning and memorable originals.

“Are Ya” starts the listen with spirited guitar from Joey Fulkerson, playful bass from Chuck Hearne and crisp drums thanks to Keith Brooks that illuminate Judy’s sturdy and expressive pipes in the timeless blues climate, and “Junk And Trunk” follows with a very pretty delivery of warm and funk friendly sounds, where some pretty high notes are hit.

The title track arrives in the middle, and flows with a cozy intimacy that’s a bit romantic, while “I Got The News Today” recruits Brian Cunningham’s soulful sax for the slow burning and reflective tone.

Approaching the end, the bouncy and upbeat “You Got Me Down On My Knees” showcases Dan Long’s piano prowess in the album highlight, and “Equal” exits the listen with a haze of power and melody in the rugged blues rocker that finishes the listen far too early.

In addition to the above, Judy is also in the company of Joey Fulkerson (guitar) on several tracks, and the always impressive Albert Castiglia (guitar) makes an appearance, as does Victor Wainwright (keyboards). For fans of blues from any decade, Judy knows her way around a tune you won’t soon forget, and each one here is crafted splendidly.

Travels well with: Annika Chambers- Kiss My Sass; Brad Absher And The Superials- Tulsa Tea

Pearring Sound

Nothing But Time

Self-Released, 2019

8/10

Listen to Nothing But Time

Jeff Pearring is aligned with improviser extraordinaire Adam Lane and Tim Ford on this studio live recorded adventure where no overdubbing occurred across the 2 sessions it took to create Nothing But Time.

“Plugin Heavy” starts the listen with throbbing bass on the danceable, wild jazz, bebop opener, and “Gather And Go” continues the innovation with creative horns and lively percussion in a somewhat darker setting.

Near the middle, “The March Of The Aggressive Pedestrian” thrives with a firm beat and saxophone acrobatics on a more rock focused execution, while “Sweet Sci-Fi Suite” brings us 3 chapters of blurry, hazy sound manipulation that even recruits some prog-rock and spacey wandering for good measure.

Deeper tracks offer the soulful and moving “Sunday”, and “Effective Translation” glides with a stylish approach that few could replicate. “Plugin Light” exits the album very much in the spirit of the opener, as gentle, agile instrumentation finds a place to reside amid plenty of grooves.

A very artistic display of spontaneous jazz fusion, Pearring’s alto saxophone leads the charge on this highly unique listen. It will be exciting to see what he does next, as he constantly rotates his backing band to keep things unpredictable.

Travels well with: Ornette Coleman- Dancing In Your Head; Anthony Braxton- In The Tradition