Scott Marshall

The Solitude Suite

Self-Released, 2024

8/10

Listen to The Solitude Suite

The composer and saxophonist Scott Marshall brings along Kevin Turcotte, Mike Downes and Terry Clarke for this 6th album of original work, where 9 songs revolve around beauty, hope and reflection.

Marshall’s booming sax opens the cautious mood of “What Would Eddie Do”, as Downes’ playful bass adds much to the unpredictable, samba climate, and “Optimism” follows with Clarke’s playful drums that suit the rich brass playing of swingin’ fun.

“Points Of View” and “The Monk Trane” land in the middle, where the former radiates much intimacy thanks to the emotive sax, while the latter uses Turcotte’s animated trumpet amid the frisky rhythm section that will get your body moving.

Nearing the end, the clever bass plucking and crisp drums of “Solid Dude Debate” helps illuminate the radiant brass bouts and funky demeanor, and “That’s Better” exits with much focus on Marshall’s meticulous sax prowess for the soulful finish.

A body of work for fans of any era, the strong attention to harmonics and interweaving lines of trumpet, sax and bass easily holds our attention from beginning to end.

Travels well with: Disaster Pony- Disaster Pony; Last Ark Out- Lift

Wonder 45

Make It Happen/Cry

Big AC, 2024

8/10

Listen to Make It Happen/Cry

A London outfit with an affinity for modern soul sounds, Wonder 45 bring us 2 songs with plenty of old school flavor.

“Make It Happen” gets the listen off to an energetic start, where Chris Nickolls’ lively drums and Ross Ewart’s animated guitar complement Paul Jordanous, Matthew Mcnaughton and Tom White’s bright brass and Gav Conder’s expressive pipes for the funk filled climate.

On the flipside, “Cry” lands in balladry, and showcases Jessica Greenfield’s intimate singing amid Steve Pringle’s agile keys, Holley Gray’s well timed glockenspiel and Mark Claydon’s dreamy percussion which emits beauty and emotion.

Both of these songs are from their debut album, Wonderland, and will certainly appeal to fans of contemporary soul, funk and R&B.

Travels well with: Nick Corbin- Sweetest Escape/Too Much Time; Nick Corbin & The Hang Ups- Feelin’ Kinda Lucky/Time Alone

Nick Corbin

Sweetest Escape/Too Much Time

Big A.C, 2020

8/10

Listen to Sweetest Escape/Too Much Time

The principle songwriter for the much adored New Street Adventure until 2018, Nick Corbin has enjoyed a prolific solo career since, and here he offers us a pair of soulful tunes.

Side A offers us the glowing keys and crisp drums of “Sweetest Escape”, where Corbin’s cozy voice suits the soulful, thoughtful songwriting.

Side B then presents “Too Much Time”, where muscular drumming and soaring horns mesh with Corbin’s smooth singing that illuminates the breezy melodies.

A quick listen that touches on R&B, disco and plenty of soulful song craft, if you’re unfamiliar, this is a great way to test the waters of Corbin’s inimitable talents

Travels well with: Nick Corbin & The Hang Ups- Feelin’ Kinda Lucky/Time Alone; Nick Corbin- Long Long Gone/Never Did Look Like Love

Nick Corbin

Long Long Gone/Never Did Look Like Love

Big A.C, 2020

8/10

Listen to Long Long Gone/Never Did Look Like Love

The principle songwriter for the much adored New Street Adventure until 2018, Nick Corbin has enjoyed a prolific solo career since, and here he offers us a pair of soulful tunes.

The meticulous and glowing soul ideas of “Long Long Gone” starts the listen with excellent bass playing and frisky drums, as Corbin’s distinct voice draws us in to the rich climate.

“Never Did Look Like Love” follows and is piano focused, where cozy brass and plenty of flowing backing vocals complement the swirling melodies.

A quick listen that touches on R&B, disco and plenty of soulful song craft, if you’re unfamiliar, this is a great way to test the waters of Corbin’s inimitable talents.

Travels well with: Nick Corbin & The Hang Ups- Feelin’ Kinda Lucky/Time Alone; Nick Corbin- Piggyback/Deeper In Love

New Street Adventure

Hangin’ On/Hangin’ Up/On Our Front Doorstep

Unmasked, 2012

8/10

Listen to Hangin’ On/Hangin’ Up/On Our Front Doorstep

An English band fronted by Nick Corbin who were active from 2007-2018, these 2 songs from New Street Adventure illustrate their British soul formula perfectly.

The animated and dance floor ready “Hangin’ On/Hangin’ Up” starts the listen with strong attention to deal, where scrappy drums, soulful backing singers and well timed brass complement Corbin’s infectious vocals.

On the flipside, “On Our Front Doorstep” is a bit more subdued, and features Carmella Davis’ gorgeous pipes that flow alongside the warm guitar, cozy horns and agile rhythm section.

New Street Adventure called it a day in early 2018, but Corbin has embarked on a successful solo career that takes the soul/disco/R&B spirit of his full band work and applies it superbly.

Travels well with: Nick Corbin & The Hang Ups- Feelin’ Kinda Lucky/Time Alone; New Street Adventure- One And The Same

Nick Corbin & The Hang Ups

Feelin’ Kinda Lucky/Time Alone

Big AC, 2023

8/10

Listen to Feelin’ Kinda Lucky/Time Alone

The principle songwriter for the much adored New Street Adventure until 2018, Nick Corbin has enjoyed a prolific solo career since, and here he offers us a pair of soulful tunes with The Hang Ups in attendance.

“Feelin’ Kinda Lucky” starts the listen, and presents Corbin’s expressive vocals and rhythm guitar alongside Michael Hussain’s frisky drums and Stephen Springall’s precise bass for the upbeat soul-rock fun.

The back half consists of “Time Alone”, where Harry Greene’s bright tenor sax and Luke Vice-Coles’ lively trumpet suit the gospel fueled backing vocals of the cozy and stylish delivery.

A quick listen that touches on R&B, disco and plenty of soulful song craft, if you’re unfamiliar, this is a great way to test the waters of Corbin’s inimitable talents.

Travels well with: Nick Corbin- Piggyback/Deeper In Love; New Street Adventure- One And The Same EP

Nick Corbin

Piggyback/Deeper In Love

Big-Ac, 2021

8/10

Listen to Piggyback/Deeper In Love

The principle songwriter for the much adored New Street Adventure until 2018, Nick Corbin has enjoyed a prolific solo career since, and here he offers us a pair of soulful tunes.

The lively “PiggyBack” gets the listen off to a melodic and energetic climate that benefits from Florian Bel’s dynamic bass and Ben Grose’s animated drumming.

The b-side contains the rich and breezy “Deeper In Love”, where Corbin’s smooth pipes and flowing rhythm guitar are met with soaring backing vocals, as well as Paul Jordanous’ trumpet and Tom White’s trombone, which adds even more intrigue.

A quick listen that touches on R&B, disco and plenty of soulful song craft, if you’re unfamiliar, this is a great way to test the waters of Corbin’s inimitable talents.

Travels well with: New Street Adventure- One And The Same Acoustic EP;

Jessica Meyer

I Long And Seek After

New Focus, 2024

9/10

Listen to I Long And Seek After

The composer and musician Jessica Meyer returns with a sophomore album, where a focus on vocal music highlights poetry by female and overlooked artists who thematically surround loneliness, desire, love and justice.

“Space, In Chains” gets the listen off to a lovely start, where Laura Kasischek’s poety is illuminated by Melissa Wimbish’s soaring soprano and Meyer’s well timed viola, and “Welcome To The Broken Hearts Club” follows with violin from Johnna Wu and Kobi Malkin that suits Caleb van der Swaagh’s cello and Meyer’s viola, as Chabrelle Williams’ pipes present stunning singing via the 17 year old Weatherspoon.

Halfway through, “Things I forgot to tell you” allows Emily Marvosh’s agile contraalto to radiate amid the manipulated viola and text from a letter from Anais Nin to Henry Miller, while “On fire… no, after you” places Dan Schlosberg’s skileld piano alongside Kayleigh Butcher’s strategic mezzo-soprano and moody viola of the Jennifer Beattie poem.

Close to the end, the sublime cello courtesy of van der Swaagh complements Sarah Bailey’s gripping soprano across “The Last Rose”, which is set to a Thomas Moore poem, and the title track exits with the Lorelei Ensemble and Beth Willer’s conducting for Anne Carson’s translation of Sappho fragments as a 21st century answer to Schumann’s esteemed cycle Frauenliebe und Leben.

A body of work with tremendous accessibility and plenty of direct emotion, Meyer’s artistic and contemporary classical vision is both unorthodox and exciting, and certainly touches on the human experience.

Travels well with: Michael Hersch- Poppaea; Tessa Brinckman- Take Wing, Roll Back

Vili V

In Daddy’s Arms Again

Self-Released, 2024

8/10

Listen to In Daddy’s Arms Again

The singer-songwriter Vili V is no stranger to roots rock and soulful ideas, and these 10 songs recruit Jesse O’Brien, Wendell Ferguson, Mark McIntyre and Sean O’Grady.

“Tupelo Rhythm” starts the listen with V’s smooth pipes and O’Brien’s fluid keys making for much melody, and “Garden Of Comfort” follows with frisky drums from O’Grady that align with the expressive singing that emits a crisp delivery.

Halfway through, the rockabilly fun of “Constellation High” will get you searching for the nearest dance floor, while the title track is an intimate moment of stirring acoustic guitar and heartfelt singing.

Approaching the end, “Sunset Bay” creates a dreamy presence that’s warm and romantic, and “Never Be Alone” exits with firm keys amid a sweeping beauty that allows V’s diverse voice to resonate.

An artist whose singing journey started in church as a youngster, V released his debut of original music in 2003, and his fusion approach will certainly appeal to anyone with ears for country, pop, rockabilly, gospel and roots.

Travels well with: BD Gottfried- Onion Doves; FrankySelector- Never Better

Driftwood

December Last Call

Self-Released, 2024

9/10

Listen to December Last Call

The Americana outfit Driftwood celebrate 15 years of existing with this new album, where they returned to their Upstate New York roots to pen songs that are rife with reflection.

The warm and crunchy title track starts the listen with Dan Forsyth’s flowing guitar illuminating the rich climate, and “Every Which Way But Loose” follows with Sam Fishman’s crisp drums adding much allure to the charming, rootsy delivery.

In the middle, “Float Away” welcomes harmonica and allows Sam Fishman’s intricate bass to shine in the bare but impactful landscape, while “Continental Lincoln” resides closer to folk territory, and makes great use of Joe Kollar’s fluid guitar amid a dreaminess.

Close to the end, the glowing intimacy of “Know You’re Mine” showcases Claire Byrne’s gorgeous pipes alongside graceful acoustic guitar, and “Stardust” exits with Bryne’s stirring violin tugging on the heartstrings.

Self-produced and recorded in the basement studio of Kollar's family home, the songs still carry bluegrass influences, but the louder moments of rock sure are appreciated, as Driftwood continue to occupy a unique and engaging place in today’s Americana.

Travels well with: Lindsay Lou- Queen Of Time; The Steel Wheels- Sideways

Silver Convention

Save Me

Omnivore, 2024

9/10

Listen to Save Me

A German outfit who specialized in Euro Disco sounds, the ‘70s were good to Silver Convention, and this 1975 debut album lives again with 5 bonus tracks from the vocalists Linda G. Thompson, Penny McLean and Jackie Carter.

The bouncy bass of the title track starts, where lively keys and plenty of dance floor ready spirit arrives, and it isn’t long until the soulful group vocals of “Tiger Baby” makes for a smooth and playful climate.

Deeper into the original album, “Chains Of Love” does carry an intimate spirit via the mature keys, warm guitar and soothing dreaminess, while “Please Don’t Change The Chords Of This Song” emits soft melodies and gorgeous singing that tugs on the heartstrings.

Of the bonus tracks, “Fly, Robin, Fly (12” Version)” uses strings strategically amid the dense beat, and “I Like It (Special Disco Edit)” bounces and shakes with a retro energy that’s as contagious as it is timeless.

Although the band only existed for 5 years, they sure did get a lot done, and this first of six album(!) with the producers and songwriters Sylvester Levay and Stephan Prager has proven to be a masterpiece of soul and disco sounds.

Travels well with: Honey Made- Charge It To The Band Fund; Bayou City Funk- Down To Funk

Nora Brown And Stephanie Coleman

Lady Of The Lake

Jalopy, 2023

9/10

Listen to Lady Of The Lake

The 18 year old banjoist and singer Nora Brown and fiddle extraordinaire Stephanie Coleman come together for these 4 old time folk songs that allows their respective talents to shine.

The title track opens the record with the warm strings and plucked banjo that make for an inviting and thoughtful climate of nostalgic sounds, and “Gone So Long” follows with an upbeat spirit, where the meticulous banjo and lively fiddle interact superbly amid the harmonic singing.

On the back half, “Twin Sisters” is quite intimate, where the pretty instrumentation is both rich and adventurous in their very capable hands, while “Copper Kettle”, the EP’s best, radiates much beauty via the cautious playing and gorgeous voices that are heartfelt and moving.

Even though there are 20 years between Brown and Coleman, their skills suit each other flawlessly for this truly mesmerizing, quick listen.

Travels well with: Chris Milam- Orchid South; Aquarian Blood- Counting Backwards Again

Disaster Pony

Disaster Pony

Lovetown, 2024

8/10

Listen to Disaster Pony

A creative outfit lead by Gordon Hyland, as Disaster Pony he recruits a large cast of skilled players for these 9 jazz and EDM fueled tracks.

“It’s got tentacles” starts the listen with a dreamy mood, where Hyland handles bass synth and Adam Hindle’s proficient drums illuminate the buzzing climate, and “Robot Pain” follows with Andrew Roorda’s playful electric bass and Ian Docherty’s agile guitar that makes for plenty of grooves.

Into the middle, the comical “Dead Neon & The Noon Sun” uses sampled laughs that are sped up and flow amid the EDM friendly keys, while “Fruit Flies In Cola” welcomes Liza McLellan’s elegant cello for the baritone sax focused landscape that’s uniquely intimate.

Arriving close to the end, “You’re Still A Lousy Fink” recruits congas and wah pedals via the stylish and dance floor ready delivery, and “Moons Become Planets” exits with Hyland on both sax and piano, as Acote’s sound design and modular synth finishes the track with EDM nods.

Hyland planned to create a saxophone record that you could dance to, and he easily succeeded in that thanks to the excellent help on hand and their groove manipulation, tape soaked, and electronic ways.

Travels well with: Ernesto Cervini’s Turboprop- Canadian Songbook; Last Ark Out- Lift

Pearl Harbour

Don’t Follow Me, I’m Lost Too

Liberation Hall, 2024

8/10

Listen to Don’t Follow Me, I’m Lost Too

A San Francisco artist who was quite active in the ‘70s, Patricia Gilbert, i.e. Pearl Harbour, penned this album after relocating to London with her boyfriend/Clash manager, who assembled an all-star cast for these rockabilly tunes.

“Alone In The Dark” starts the listen with a bit of atmosphere, before Harbour’s infectious vocals enter the rhythmic and energetic climate, and it isn’t long until “You’re In Trouble Again’” draws us in via Geraint Watkins’ animated keys and Paul Simonon’s bass acrobatics that suit Harbour’s frisky pipes.

Further along, the intimate “Losing To You” welcomes BJ Cole’s aching pedal steel that complements Harbour’s heartfelt singing, while “Rough Kids” is both gritty and melodic, where Gary Barnacle’s soulful sax helps illuminate the rich album highlight.

The original album exits with the thumping and punk friendly “At The Dentist”, and of the bonus tracks, “You Don’t Fool Me Now” is particularly raw and emits a scrappy, garage-rock flavor.

A really diverse record that hosts some amazing musicians (Nigel Dixon, Topper Headon, Steve Goulding and Mick Jones, to name a few), the label didn’t have much faith in the listen, and Harbour would switch labels multiple times until the mid ‘90s.

Available on CD officially for the first time, the 6 bonus tracks and new liner notes add even more intrigue to this overlooked gem in the area of rockabilly.

Travels well with: The Contractions- 1980; Shakin’ Street- Scarlet: The Old Waldorf August 1979

The Contractions

1980

Liberation Hall, 2024

9/10

Listen to 1980

A San Francisco trio who existed from 1979 –1984, The Contractions, i.e. Kathy Peck, Mary Kelley and Debbie Hopkins, played New Wave and punk music that is documented here from two sets at the Mabuhay Gardens in 1980, plus 3 rare studio recordings.

“Shut The Door (Slam It)” starts the listen with a raw intensity that showcases the crisp drums and bouncy bass amid singing from all 3, and “Breaking Up Is Not Hard To Do” follows with Peck’s throbbing bass and Hopkins’ scrappy drums making for some tense post-punk.

Moving along, the moody “Tribute To Industry” is a bit quirky in all the best ways before turning into a speedy punk anthem, while the charged “Secretary Sacrifice” touches on all the aspect of old school punk that will always be exciting.

“Rules And Regulations” ends the live portion of the listen with an atypical rhythm alongside the harmonic singing, and of the studio tracks, “Early Warning” is particularly luminous, where intricate bass, dreamy guitar and agile drums suit the multi-faceted delivery.

During their heyday, The Contractions shared the stage with Dead Kennedys, The Offs, No Sisters, SVT, Jim Carroll and Flipper, among many others, and their contributions to the Bay Area punk and new wave scene are still inspiring female musicians to this day- which isn’t surprising considering how great they sound all these decades later.

Travels well with: Shakin’ Street- Scarlet: The Old Waldorf August 1979; Lloyds- Attitude Check

Shakin' Street

Scarlet: The Old Waldorf August 1979

Liberation Hall, 2024

8/10

Listen to Scarlet: The Old Waldorf August 1979

An outfit spearheaded by the singer/songwriter Fabienne Shine, Shakin’ Street become an underground favorite in San Francisco (their adopted home) in the ‘70s and ‘80s. This recording was captured when they were opening for the Jim Carroll Band and catches the French band very much thriving.

“Solid As A Rock” gets the set off to an energetic start, where Jean-Lou Kalinowski’s hard hitting drums are met with harmonic vocals, as a bouncy spirit unfolds with a proto-punk feel, and “Soul Dealer” follows with gritty melodies that benefit from Shine’s distinct singing amid the buzzing guitars from Ross “The Boss” Friedman and Eric Levi.

Further into the set, “Blues Is The Same” welcomes harmonica to the spirited climate that builds into thickly layered, bluesy ideas and a bit of furiousness, while “Suzie Wong” carries plenty of tuneful, rock’n’roll spirit via the pretty singing and Mike Winter’s rugged bass playing.

Arriving close to the end, “No Compromise” allows the animated rhythm section to shine, as well as Shine’s diverse pipes, and “Vampire Rock” exits with abrasive drums, swirling guitars and a charged mood that showcases the yelped singing.

Although they never did achieve much mainstream success, Shakin’ Street opened for legends like The Damned, Black Sabbath and Blue Oyster Cult. This recording was laid down just before their sophomore album arrived, and it certainly documents Shakin’ Street’s under appreciated take on rock’n’roll.

Travels well with: Lloyds- Attitude Check; The Blasters- Mandatory: The Best Of The Blasters

Daniel Washington/Petr Zdvihal/Prague Radio Symphony Orchestra/Julius P. Williams

A Legacy Of The African American Classical Spirit

Albany, 2024

9/10

Listen to A Legacy Of The African American Classical Spirit

The composer/conductor Julius P. Williams guides the Prague Radio Symphony Orchestra through these pieces by black composers, where Petr Zdvihal and Daniel Washington are also in attendance.

“Song Cycle for Baritone & Orchestra” starts the listen with a Julius P. Williams piece, which showcases Washington’s soaring baritone complements the rich strings, and William Grant Still’s “Plain Chant for America” follows with much care, as the booming percussion illuminates the textured presence.

Williams’ “Fantasy in G for Violin & Chamber Orchestra” arrives in the middle, and allows Petr Zdvihal’s intimate violin that suits the dreamy and poetic landscape, while Edmund Thornton Jenkins’ “Rhapsodic Overture” flows with a cinematic quality that’s light and airy, but can also build into fuller moments of percussive intrigue.

At the end, “Still With Thee”, by Augustus O. Hill, has Washington’s expressive pipes aligning with the moving musicianship that tugs on the heartstrings.

Williams has had his work interpreted by the New York Philharmonic, Cleveland Orchestra, and Detroit Symphony, and this timeless and rich body of work is another important part of his discography.

Travels well with: Rochelle Sennet- Bach To Black: Suites For Piano, Volume III; Patrick Yim- New Waves

Rochelle Sennet

Bach To Black: Suites For Piano, Volume III

Albany, 2024

9/10

Listen to Bach To Black: Suites For Piano, Volume III

The 3rd installment of this series that showcases the suites of Johann Sebastian Bach and black composers, the inimitable pianist Rochelle Sennet brings us world premiere recordings of compositions by Adolphus Hailstork and James Lee II, plus many others.

Bach’s “French Suite No. 6 in E Major, BWV817” starts the listen with Sennet’s swift and dynamic keys flowing with much agility and precision, and “Five Friends: Suite for Piano”, by Hailstork, brings a dramatic flair to the mesmerizing delivery of lively key progressions.

Further along, “Four Moorish Pictures: An Eastern Suite” emits much intimacy and grace in the Montague Ring piece that’s got a hint of mystery, while Betty Jackson King’s “Four Seasonal Sketches” radiates via a dreamy atmosphere of meticulous piano that’s rich and timeless in nature.

Arriving near the end, the dizzying “French Suite No. 3 in B Minor, BWV814” has Sennet interpreting the Bach piece with wonder and awe, and “Spiritual Suite for Piano” exits the listen, where the Margaret Bonds original radiates tremendous emotion and thoughtfulness.

Dr. Sennet’s resume includes being an esteemed performer, teacher, and scholar who has played all over the U.S. and Russia, and this exceptional series continues to impress with each new chapter.

Travels well with: Steven Holochwost- Dialogues & Meditations; Patrick Yim- New Waves

Steven Holochwost

Dialogues & Meditations

Albany, 2024

8/10

Listen to Dialogues & Meditations

The conductor Andrew Koehle leads us through Steven Holochwost’s compositional language here, and it includes the Kyiv Symphony Orchestra, plus guests for the 4 involved pieces.

“Dialogues for Brass Ensemble” opens the listen with a gentle atmosphere, where the strings and winds emit a soothing elegance of beauty, and “Shenandoah Rhapsody for Solo Violin & String Orchestra” follows with Viktor Glybochanu’s violin contributions that help cultivate tremendous warmth and a stirring agility.

“Symphony in Three Movements” lands in the middle and uses minimal instrumentation and can build into triumphant bouts of booming percussion, while “Theme and Variations on the Romanesca for String Orchestra” layers the rich strings with wonder and awe, as they dance around each other playfully.

At the end, “Meditations for Solo Cello & Orchestra” recruits Ihor Chekaylo’s stunning cello for the dynamic and flowing musicianship that tugs on the heartstrings.

A body of work that focuses on quiet and reflective tones, but can erupt with louder bursts, Koehler’s innovative and careful vision illuminates Holochwost’s timeless craft superbly.

Travels well with: Patrick Yim- New Waves; Wisconsin Chamber Orchestra- Harmony In Black

Swearingen & Kelli

Cold-Hearted Truth

Self-Released, 2019

8/10

Listen to Cold-Hearted Truth

A Nashville duo who certainly sound like they reside in The Country Music Capital of the World, Swearingen & Kelli return with a 3rd album of their harmonic Americana, and this time it comes with an influence of ‘70s singer-songwriters.

“Don’t Judge This Broken Heart” gets the album off to a country fueled start with pretty vocal harmonies- a common occurrence throughout- and deeper tracks like the aching pedal steel of “Cold-Hearted Truth”, and honky tonk fun of “Hot Southern Nights” follow a similar, memorable path.

Further on, warm balladry invades “Take A Chance On Me”, while the playful spirit of “Cryin’ Shame makes this one of the album’s best. “West Virginia” ends the listen with a slow burning, emotive display of rural beauty, as the pair illustrate their strength on lush affairs, too.

A record that’s full of nostalgic sounds as well as modern melodies, Swearingen & Kelli once again prove that their inimitable chemistry puts them at the top of today’s folk, country, Americana, and roots scene.

Travels well with: The Civil Wars- Barton Hollow;Lady Antebellum- Own The Night