Manteca

The Twelfth Of Never

M Music, 2020

8/10

Listen to The Twelfth Of Never

A Canadian outfit who started way back in the late ‘70s, Manteca brings 9 players to the table, many of which are multi-instrumentalists, where they mix jazz, orchestral and world sounds as instruments like accordion, congas, flugelhorn and piccolo, among many others, are part of their esteemed formula.

“Meanwhile Tomorrow” starts the listen with soft horns, playful percussion and warm guitar on the cultured jazz opener, and “Illusionist” follows with a sense of mystery as a cinematic quality develops amid tumbling drums, graceful keys and strategic flute.

At the halfway point, “Smoke And Mirrors” builds into a precisely textured display of timeless, atypical jazz ideas, while “Purple Theory” moves cautiously, with no shortage of rhythm in the saxophone friendly climate.

The last 2 tracks are among the best, and include the spacey turned hand clapping fun of the festive “Five Alive”, and “‘Twas Brillig” exits the listen reflective and dynamic as the many instruments interact with sublime chemistry.

All the tracks here are originals, and they certainly are innovative, too, as Manteca make it quite apparent just why they’ve won the coveted Juno award with this highly meticulous and fascinating 12th album.

Travels well with: Mario Romano- The Journey So Far; William Chernoff- Aim To Stay

Jake Allen

Affirmation Day

Jake Allen, 2020

8/10

Listen to Affirmation Day

A multi-instrumentalist and fingerstyle guitar artist, Jake Allen returns with his 4th album, Affirmation Day, where his incredibly intricate formula embraces prog-rock, folk, alt-rock and, most importantly, boundless creativity.

Allen starts the listen with the title track, where meticulous acoustic guitar complements his soft, expressive singing as atmosphere is key while building into a soaring, majestic environment, and “More Than Meets The Eye” follows with an equally unpredictable landscape of pop-friendly melodies and cautious instrumentation.

Closer to the middle, “Living Ghost” moves softer with an intimate quality and a bit of mystery, while “Prague 6” gets busy with dynamic interplay between the many instruments. “Rising Tide”, one of the album’s strongest tracks, then finds plenty of rhythm and melody amid the strings and full percussion present.

The song craft remains consistently strong until the end, where “Things We’ll Never Find” bursts into a loud explosion of infectious pop-rock, and “I’ll See You On The Other Side” exits the listen with soulful singing alongside a powerful, glorious execution of sophisticated yet adventurous songwriting.

Penned during a lengthy stint of isolation in Lithuania after his tours through Europe, Russia, China and Japan, Allen wrote the entire record with just an acoustic guitar and his voice, and he brings in 20 year old violinist Basil Alter to add strings to the bulk of the listen. A highly textured affair, Affirmation Day is a substantial listen both musically and lyrically, and one that both longtime fans and new listeners will find much enjoyment in.

Travels well with: Glenn Jones- Ready For The Good Times; The Mommyheads- New Kings Of Pop

CF Watkins

Babygirl

Whatever’s Clever, 2020

9/10

Listen to Babygirl

A Brooklyn songstress who just recently moved to Nashville, Cf Watkins knows her way around a tune that’s equally Americana and pop-friendly, as she pens a sophomore album that’s both vulnerable and powerful and certainly not without radiant storytelling that draws us in immediately.

Watkins starts the album with the percussively strong and hazy “The Tell”, where her inimitable vocals glide across the playful and warm setting, and “Changeable” follows with much atmosphere as intimacy anchors the vibrant tone that’s Americana tinted.

Near the middle, “Holly” offers a quicker pace of pretty song craft that soars with soothing backing vocals and a chorus you won’t forget anytime soon, while “Come Around” brings a stylish delivery of expressive singing, subtle but effective brass and a charming dreaminess. “Westfield”, the album standout, then recruits country influences amid timeless beauty and well timed fiddle that makes a big impression.

As we get to the end, “New Hampshire” showcases Watkins’ versatile pipes amid breezy melodies and strong songwriting, and “White Nights” exits the listen gently with creative folk nods and much beauty.

Watkins possesses a soulful, moving and often comforting talent, and Babygirl is a superb 2nd album that, if there’s any justice, will make her a very recognizable name in the area of singer-songwriters that bridge country and pop together.

Travels well with: Sarah Morris- All Mine; Mary Lambert- Grief Creature

Aryeh Shalom

Exile And Redemption

Self-Released, 2020

8/10

Listen to Exile And Redemption

A Philadelphia songwriter who addresses some very mature topics across this Neo-Hasidic Rock Opera, Aryeh Shalom offers a very forthright listen where rock, pop, folk and classical ideas are in attendance and used in exceptional ways across Exile And Redemption.

“A Little Peace In Our Time” starts the listen with warm harmonica as smooth vocals guide a folk-influenced opening, and this continues to the soft and sublime “Human Beings”, where elegant piano anchors the emotive spirit.

Halfway through, “All God’s Children” recruits a spiritual quality with strategic backing vocals that soar, while “Jerusalem Lullaby” indeeds takes on a soothing approach as playful percussion complements the agile climate. “Rose Among The Thorns”, the album highlight, then creates a romantic setting with sophisticated piano as Shalom’s versatile pipes shine bright while the landscape builds into an ebullient display.

“Holy Beggar” and “Exile And Redemption” finish the listen, where the former offers more focus on drums in a dreamy atmosphere with exciting guitar solos, and the title track finishes the album with a power ballad that’s as cathartic as it is stirring.

The process of making this album has involved Shalom living through 2 marriages and divorces, 3 kids being born and a mother’s death. Not so surprisingly, he’s had much on his mind, and it unfolds here with a very creative and expressive execution that draws us in immediately with his keen sense of songwriting dynamics.

Travels well with: Eliyahu & The Qadim Ensemble- Eastern Wind; Rachel & Eliyahu- Open The Gates

Ludwig Van Beethoven

Complete Sonatas For Piano & Violin On Historic Instruments

Albany, 2020

9/10

Listen to Complete Sonatas For Piano & Violin On Historic Instruments

Performed by violinist Jerilyn Jorgensen and pianist Cullen Bryant, the pair approached this project with as much authenticity as possible, where original instruments from the Frederick Collection are used to build these sonatas from scratch with much attention to detail.

Disc 1 starts with the keys and strings interacting in playful yet sublime ways on the dazzling “Sonata No. 1 In D Major, Op 12/1”, and this meticulousness carries over to the warm piano and graceful violin of the reflective “Sonata No. 2 In A Major Op, 12/1”.

The middle discs offer us the emotive spirit and dreamy climate of “Sonata No. 5 In F Major, Op. 24”, while “Sonata No. 7 In C Minor, Op 30/2” moves swiftly, playfully and with no shortage of dynamic interplay between the esteemed musicians.

The last disc saves some of the best for last, where “Sonata No. 10 In G Minor, Op. 96” moves both firmly and cautiously, as keys sometimes pound and other times dance, and the violin conveys both gloriousness and introspection in its precise capacity.

Bryant uses 5 pianos across this lengthy affair, all of which have a connection to Beethoven, and Jorgensen plays the Andrea Carolus Leeb violin that dates back to 1797 and was built in Vienna. A more powerful violin than its modern counterpart, the nuances of these instruments, combined with the duo’s unparalleled skill, helps make these reworkings nothing short of spellbinding.

Travels well with: Georgina Isabel Rossi/Silvie Cheng- Mobili: Music For Viola And Piano From Chile; Mendelssohn- Mendelssohn Concertos

The Search

Heart’s Racing

Aenaos, 2020

9/10

Listen to Heart’s Racing

A long running Swedish outfit spearheaded by Razmig Tekeyan, The Search return rather quickly with a large handful of tunes where the spotlight’s on guitar as Tekeyan wrote, recorded and played all instruments here.

“Saturday Night” starts the listen with warm acoustic strumming as soulful vocals steer the calm opening, but things change quickly with the bright ‘80s synth-rock of “Under The Radar”, where post-punk sensibilities enter the soaring atmosphere, and this formula continues with the anthemic and dreamy “When The Stars Align”.

As we enter the middle, songs like “Ghosts” takes a more dramatic turn where expressive singing and gentle melodies make an impression on the tribute to the band Pulp, while “Lost” enters ballad territory where an emotive spirit enters the unplugged environment. “In My Restless Dreams”, an album standout, then builds into a beat driven, hazy, nostalgic rocker that sounds like it would have soundtracked a John Hughes flick perfectly.

Deeper into the 18 track album, “Specimen” is especially luminous with its crisp drumming and synth flourishes, and “Tell Me I’m Not Alone” exits the record with moody strings accompanying the intimate display of timeless, flawless execution.

The Search’s first album was released back in 2004, and they’ve consistently released an album every 2 years, except 2020, where they offered 2 albums. If you’re like me, and grew up in the ‘80s and still spin plenty of post-punk and New Wave, you’ll be immediately seeking out their back catalog and anticipating new music, especially since Viktor Thylwe, Johann Bernovall, and Eric Nyberg are now in band.

Travels well with: The Psychedelic Furs- Made Of Rain; Animotion- Raise Your Expectations

Art Of Empathy

End Of 1

Aenaos, 2020

8/10

Listen to End Of 1

A decade after his last record, the Belgian artist Jef Janssen, i.e. Art Of Empathy, returns with a very eclectic listen that surrounds themes of empathy lyrically, while musically guitars, synth and orchestral ideas unfold with an unpredictable and often dark landscape.

“Where Souls Shine Brightest” starts the listen with the sound of birds before a thick ambience enters alongside dark, whispered vocals in an ominous setting, and this mysteriousness continues to the upbeat strumming and layered folk tune, “End Of 1”.

Closer to the middle, “Legion” offers tuneful singing from both genders alongside a majestic climate of lush, cinematic sounds, while “Mind/Matter” is one of the calmest moments, where bare beauty meets a poetic quality of hazy folk ideas. “Everywhere”, a particularly notable track, then pairs a child talking with marching style drumming amid vocal harmonies that alone are worth the price of admission.

Near the end, “Cynicism Left For Dead” recruits acrobatic keys on a soaring, glorious execution, and “Hugging Strangers” exits the listen playfully, with acoustic guitar amid plenty of rhythm.

Certainly indebted to neo-folk and not without gothic tendencies and darkwave moments, this body of work is nothing if not ultra creative, as Art Of Empathy possesses to ability to mesmerize and enthrall like few others would even dare to try.

Travels well with: Clint Mansell- Stoker; Yann Tiersen- Infinity

Pete Thelen

Best For Last

BT, 2020

9/10

Listen to Best For Last

The legendary and veteran bluesman Pete Thelen returns with 6 originals and 6 covers on what will be the 71 year old’s last album. It’s titled Best For Last, and while we don’t want to diminish the quality of his past work, this installment sure seems accurately named as Thelen takes help from Bennie Hughes, Annie Dekom, Lester Chambers, Rena Haus, Linda Moss and Chico Chism.

Thelen starts his swan song with the intricate, bluesy guitars of “You Make It Easy”, as soulful vocals from Hughes enter the cautious landscape, and “Some Kind Of Sign” follows with warm singing from Dekom as playful keys guide the upbeat and bouncy old school blues rocker.

The back half of the listen has Thelen taking over vocal duties for most tunes, including the percussively strong and atmospheric “VooDoo King”, while “Lost & Found” benefits greatly from gentle brass as Thelen’s expressive pipes highlight the calm, reflective mood that flirts with jazz. “Spider Lake Woman”, a stand out tune, then adds ambience and mystery into the darker display of sublime talent.

Close to the end, Chico Chism lends his versatile pipes to “New Pain” as plenty of rhythm exists between the guitars and drums, and “Thought Passing Thru” finishes off the listen introspective and emotive, with stirring strings and an almost cinematic quality that even gets funky.

An exceptional way to bookend a glorious career, every tune here is gold, as Thelen takes a lifetime of experience and packs it into a very thoughtful, eloquent and adventurous farewell.

Travels well with: Jeff Fetterman- Southern Son; Mark May Band- Deep Dark Demon

Douyé

Quatro: Bossa Nova Deluxe

Groove Note, 2019

8/10

Listen to Quatro: Bossa Nova Deluxe

Th esteemed songstress Douyé brings us influences from the ‘50s and ‘60s across 16 tracks here, where nods to Brazilian and African sounds are present as help from Romero Lubambo, Otmaro Ruiz, Edwin Livingston, and Leo Costa, among others, illuminate the agile and exciting record.

“Blue Bossa” starts the album and wastes no time making an impression with the beaming brass, elegant percussion and soft keys that populate the timeless melodies, and “Triste” follows with a gentle guitar complementing Douyé’s radiant pipes in the graceful atmosphere.

Closer to the middle, “Girl From Ipanema” shuffles with a playful groove amid sparkling keys and a dance friendly approach, while “One Note Samba” utilizes vocal scatting alongside Douyé’s versatile singing in a busy display of frisky jazz prowess. “Wave”, one of the album’s best, then cultivates a romantic mood with strategic flute from Justo Almario.

Deeper, towards the end, “Song For My Father” offers spirited guitar and plenty of warmth and grooves, and “Dindi” exits the listen bare and sublime, with just an acoustic guitar from Lubambo accompanying Douyé’s expressive singing.

A effort that covers much territory, big band sounds as well as moments of intimacy are on hand, as Douyé and company add another rich and radiant collection to her exceptional catalog of music.

Travels well with: John DiMartino- Passion Flower: The Music Of Billy Strayhorn; Alberto Pibiri- Jazz Legacy

Annie Dressner

Coffee At The Corner Bar

Self-Released, 2020

9/10

Listen to Coffee At The Corner Bar

A New York native who now calls the UK home, the rising songstress Annie Dressner returns with her 3rd album, where her most realized songs to date reside as she even offers a cover of The Magnetic Fields across a dozen intimate tracks.

“Nyack” starts the listen with warm acoustic guitar as Dressner’s soft, agile vocals steer the indie-folk opener that’s both charming and memorable, and “Dogwood” follows with expressive singing amid the reflective climate that’s piano friendly.

Deeper into the listen, “Midnight Bus”, a co-write with Matthew Caws (of Nada Surf), is a more rugged approach to folk ideas where Dressner’s inimitable vocals shine bright, while “Pretend” benefits from eloquent, poetic storytelling alongside gentle melodies. “The Book Of Love”, the aforementioned cover, is one of the album’s best, where a dreamy quality aligns with pretty interplay between the keys and percussion.

Closer to the end, “Look What You’re Doing To Us” builds into a beautifully layered display of timeless song craft and “Losing You” exits the listen gently, bare and vulnerable, with a song about grief, something Dressner has sorted through with the loss of her mother.

Although Dressner didn’t pick up a guitar until after high school, she’s made herself into a soothing storyteller with a knack for lifting and forthright songwriting that’s easy to enjoy and difficult to forget, and will certainly resonate with those who appreciate Jenny Lewis, Elliott Smith or Emily Barker.

Travels well with: Emily Barker- A Dark Murmuration Of Words; Ana Egge- Is It The Kiss

Vanessa Collier

Heart On The Line

Phenix Fire, 2020

8/10

Listen to Heart On The Line

It’s been a great year for Vanessa Collier, who won her 2nd BMA award for Horn Player of the Year, and she also released this 4th album, where funk, soul, rock, and, of course, blues are all in attendance and executed superbly.

“Superbad” starts the listen with plenty of soul, literally, as she sings about it, as much rhythm enters the upbeat formula on the James Brown cover, and the original “What Makes You Beautiful” follows with bright brass as Collier’s sublime pipes guide the breezy melodies.

Near the middle, “Leave Your Hat On” offers a punchy blues setting of cautious instrumentation, while “Take A Chance On Me” flows percussively strong amid a spirited guitar solo from Lauren Chavez and thundering brass. “Weep And Moan”, one of the album’s best, then creates an emotive mood of acrobatic guitar solos alongside much emphasis on atmosphere.

Close to the end, funk enters the playful “Freshly Squozen”, and the title track exits the listen with no shortage of drumming in the New Orleans flavored climate where horns from Quinn Carson and Doug Woolverton make an impression.

A formally educated artist, Collier is a graduate of the prestigious Berklee College of Music, and she handles alto, tenor and baritone sax, as well as resonator guitar and cowbell across the affair. A highly creative and unpredictable blues-rock listen, Collier certainly proves just why she’s received so much attention since her debut in 2014, and it really seems like she’s just getting started on a lengthy, esteemed career.

Travels well with: Gina Sicilia- Love Me Madly ; Kat Riggins- Cry Out

Johnny Burgin

Live

Delmark, 2019

9/10

Listen to Live

Johnny Burgin had an exceptional 2019, with a pair of releases including this live effort as well as a studio album with Quique Gomez. Recorded at Redwood Cafe in Cotati, California on January 5, 2019, here Burgin and company offer us 12 new originals and a pair of covers done by artists who don’t usually play together, as he brings some of the best from the Bay Area out for the evening.

The set starts with the spirited guitars and rowdy harmonica of “You Got To Make Change” as Burgin’s sturdy and tuneful pipes steer the rhythmic playfulness, and “Can’t Make It Blues” follows with a calmer delivery where the soulful vocals shine amid the reserved musicianship.

Deeper into the listen brings us the percussively strong “I Got To Find Me A Woman”, where vocals from Rae Gordon add much to the timeless blues climate, while “You Took The Bait” benefits greatly from Nancy Wright’s proficient saxophone that helps find plenty of grooves. “Blues Falling”, one of the best from the evening, then recruits Charlie Musselwhite’s agile harmonica prowess and Kid Anderson’s sublime guitar playing on the dance friendly rocker.

At the end, “When The Bluesman Comes To Town” burns slower with all members displaying their respective talents, and “Jody’s Jazz” finishes out the record with Wright’s sax returning as dynamic chemistry unfolds with precision and adventurousness that you won’t forget anytime soon.

The sound here is fantastic for a live recording, as it’s clear that Burgin and his companions were all in fine form this evening. Not to dismiss the quality of his studio work, but you won’t hear me complain one bit if Burgin only releases live albums moving forward, cause this has to be one of the best live blues albums in recent history.

Travels well with: John Primer & Bob Corritore- The Gypsy Woman Told Me; Bob Margolin- This Guitar And Tonight

Douyé

Daddy Said So

Groove Note, 2017

8/10

Listen to Daddy Said So

The Nigerian born artist Douyé has made quite an impressive career playing R&B, but here the songstress offers us 14 jazz standards, as she lives up to a promise made to her father as he was dying that she would eventually sing jazz as an adult.

“But Beautiful” starts the world with Douyé’s pretty, expressive vocals alongside soft percussion and warm keys in the calming jazz atmosphere, and “Lush Life” follows with initially just agile piano complementing the flawless singing that shows impressive range.

Near the middle, “All The Things You Are” moves quicker with a dance friendly setting of playful musicianship where a saxophone makes an impression, while “I Loves You Porgy” enters ballad territory with a romantic quality that’s as timeless as it is gorgeous. “Sophisticated Lady”, one of the album’s best, then offers a dreamy atmosphere of elegant and mature song craft.

Douyé keeps the quality of her work strong until the end, where “Besame Mucho” brings a bit of culture in the Spanish traditional, and “Nature Boy” exits the listen bare, with a plucked bass accompanying the emotive delivery from Douyé.

Although I don’t think any of us would want Douyé to stop any of the other genres she performs in, let’s hope she also continues with jazz, not only for her father, but because her exceptional voice manages to make great tunes sound even better.

Travels well with: John Daversa Quintet- Cuarentena; Diane Schuur- Running On Faith

Cut Copy

Freeze, Melt

Cutters, 2020

9/10

Listen to Freeze, Melt

The Australian synth-pop wizards Cut Copy are back with a 6th studio album, where inspiration was derived from the band founder Dan Whitford’s 2018 winter in Denmark, which translates to a nature-esque quality to their always exciting electronic formula.

“Cold Water” starts the listen with plenty of warm ambience as hypnotic keys align with a firm beat amid spacey noises and inviting vocals, and this adventurousness continues to the nearly tropical and soulful “Like Breaking Glass”, which sounds very indebted to ‘80s New Wave in the best ways.

At the midpoint, “Stop, Horizon” offers a dreamy backdrop against playful synth as wordless vocals work like an instrument alongside minor funk stabs, while “Running In The Grass” is full of charming percussion and hazy synth that takes nods to the early days of post-punk.

The last 2 tracks are among the best, as “Rain” illustrates soft vocals versus warbly synth in a moody climate that’s not short on atmosphere, and “in Transit” exits with a buzzing display of cautious yet frisky song craft that carries a soaring aspect amid acoustic strings and some of the record’s best melodies.

Cut Copy do a great job here of expanding their horizons with much more detail to textures that develop into landscapes that really draw the listener in. Whether you’re an unwavering fan or a first time listener, you’re going to be impressed.

Travels well with: Ladyhawke- Wild Things; The Faint- Capsule 1999-2016

Various Artists

Thank You, Mister Rogers- Music & Memories

BFD, 2019

9/10

Listen to Thank You, Mister Rogers- Music & Memories

While we’re all familiar with the legacy of Fred Rogers and his boundless compassion and positivity, I think many of us have forgotten that he was an incredible songwriter, too, often singing his own work on his legendary TV show. Here, 13 tunes sung by Rogers are reworked by different artists who retain the timeless spirit of the originals, while also putting their unique spin on Rogers’ vision.

The Cowsills start the album with the jangly and highly melodic retro-pop of “Won’t You Be My Neighbor” and Jaci Velasquez follows with the lively rhythm and dance friendly brass of “ You Can Never Go Down The Drain”, where plenty of Latin flavor is present.

It isn’t long, though, until we’re in ballad territory with Rita Wilson’s soaring and pretty “Sometimes People Are Good”, while “Perfectly Beautiful Day” is full of glorious strumming and a sunny disposition by Micky Dolenz of The Monkees.

In the middle, Tom Bergeron brings whistling to the jazzy “Some Things I Don’t Understand”, and Sandi Patty offers the album highlight with the vocally expressive and dreamy “Please Don’t Think It’s Funny”. Near the end, Lee Greenwood’s “When The Day Turns Into Night” is a warm, soft, country rocker with some charming brass, and the only tune not penned by Rogers, “Thank You For Being You”, exits the listen with a soulful delivery from The Ensemble.

An ideal listen for the entire family, each song here takes on its own personality and illustrates strong musicianship while paying homage to the wonderful, radiant human being that Fred Rogers was. It’s hard to think of a better way of preserving his memory than this collection of his life’s work, and in these difficult times it truly is a gift we could all benefit greatly from.

Travels well with: The Cowsills- Global; Lee Greenwood- Good Old Country

Christian Scott Atunde Adjuah

AXIOM

Stretch, 2020

8/10

Listen to Axiom

Recorded on March 10, 2020, right before the world shutdown and seeing live music became non-existent, the 3 time Grammy nominee Christian Scott aTunde Adjuah and his band played this lively and accomplished set, unaware that it would be their last for a long time.

“X. Adjuah (I Own The Night)” starts the set with hypnotic keys as lightning quick percussion and bright, hazy brass enter the controlled chaos setting, and “The Last Chieftain (For Big Chiefs Donald Harrison Sr. & Jr.)” takes a similar approach with furious drumming and jazz friendly ideas amid the busyness.

Further along, “Huntress (For Cara)” recruits flute from Elena Pinderhughes amid the dreamy, synth friendly landscape, while “Incarnation (Chief Adjuah- Idi Of The Xodokan)” is textured beautifully, with no shortage of rhythm and grooves. “West Of The West”, the album highlight, then starts with a story about Adjuah’s experience with racial profiling at his residence, before segueing with acrobatic keys before Alex Han’s saxophone takes center stage alongside plenty of playful electronica.

The final two tunes are bonus tracks, and includes alternate versions of “Guinnevere” and “The Last Chieftain (For Big Chiefs Donald Harrison Sr. & Jr.)”, where the former emits plenty of soul in the innovative fusion and the latter displays sublime interplay between the charming instrumentation.

This is Adjuah’s 3rd live album, and, like everything in his vast catalog, it’s a fascinating meshing of genres including jazz, hip-hop, rock and with plenty of African nods that will be sure to satiate his significant fan base, while probably adding plenty of new ears his direction, too.

Travels well with: Marcus Strickland Twi-Llife- People Of The Sun; Kendrick Scott Oracle- A Wall Becomes A Bridge

Igor Kogan

In A Big City

Self-Released, 2020

8/10

Listen to In A Big City

A jazz artist, bassist and composer, the Russian born Igor Kogan has an impressive resume playing around the globe, and here he surrounds himself with Jeremy Lappitt, Joshua Aguiar, Marco Acipella and Matthew Baker on this debut jazz quintet effort.

Kogan starts the listen with 9 minutes of warm keys from Apicella and gentle trumpet from Aguiar, as Lappitt’s agile tenor sax enters the calming jazz climate, and the upbeat “Qwerty aka False Start” follows with a flurry of activity where each player contributes their esteemed talent on the frisky start and stop delivery.

In the middle, “ Emergency Call” displays sublime interplay between the brass and keys as Kogan’s bass and Baker’s drums anchor the elegance, while “Bass Introduction” is a quick blast of bass plucking acrobatics that’s as mesmerizing as it is fascinating.

Near the end, the only tune with vocals, “Vocalise”, features 9 time Grammy nominee Tierney Sutton contributing her soaring wordless singing on the dreamy album highlight, and “Big City” exits the listen unpredictably with changing meters and solos from all the players on the controlled chaos approach.

All the tracks here are originals, as Kogan illustrates much creativity in both serene and busy situations, and with this excellent debut I think it’s safe to say that top notch bandleader can now be added to Kogan’s long list of accomplishments.

Travels well with: Nicholas Brust- Frozen In Time; Matt DeMerritt- Fool’s Journey

Bastien Keb

The Killing Of Eugene Peeps

Gearbox, 2020

8/10

Listen to The Killing Of Eugene Peeps

On this 3rd album from the always impressive Bastien Keb, the artist offers a variety of textures, including eerie ballads, curious instrumentals, brief bouts of jazz, and atypical folk gestures that often sounds like a score to a film you’re compelled to want to see.

“Main Title” starts the listen with an indeed cinematic opening as bright yet cautious brass leads into mysterious talking with plenty of ambience, and “Lucky (Oldest Grave)” follows with falsetto vocals in a bare, pretty atmosphere that’s not without mystery.

Elsewhere, “Can’t Sleep” brings in haunting storytelling that seems like it might soundtrack a nightmare, while “Street Clams” recruits plenty of playful funk into the raw climate. “Paprika”, an album standout, then showcases Cappo on the spacey hip-hop anthem with fluent rapping.

As we get to the end, “The Trains Don’t Keep Me Up Now” uses strategic percussion lightly as a dreamy backdrop complements the gentle speaking and warm keys, and “The World Creaks” exits the listen with emotive strings as elegance and adventurousness meet at a very atypical finish.

A multi-instrumentalist who plays guitar, trumpet, bass, drum, flute, and piano, among others, the London resident played all the music here live, and recorded, mixed, engineered and produced the affair, too. Keb has already impressed with his first two albums, and it will be exciting to see what his highly creative vision comes up with next.

Travels well with: Benny Sings- City Pop; Delicate Steve- Till I Burn Up

Mike Skill

67 Riot 7”

Self-Released, 2020

9/10

Listen to ‘67 Riot

Even if Mike Skill’s name doesn’t ring a bell, we’re all familiar with his work in The Romantics, where he penned the massive hit “What I Like About You”, and co-wrote the equally notable. “Talking In Your Sleep”. On this 7” single, the Detroit native brings his vast experience to a pair of sturdy rockers, where Wayne Kramer, of MC5 fame, is even in attendance.

Side A brings us the thick guitars of the energetic “‘67 Riot”, as the legendary Kramer lends his talent on a guitar solo while the rhythm section of Skill and Russell Ayres anchor the thumping garage rocker. A tune inspired by actual events in Detroit in 1967 that left 43 dead and that Skill lived through, the themes of racial tension in the song mirror the strife present in the United States today.

The B-side impresses, too, with the fluid and rhythmic “My Bad Pretty”, where a bristling proto-punk energy enters the soulful rocker with Kevin Rankin behind the drum kit and Rick Bain contributing additional guitar.

Skill still records and performs with The Romantics, but let’s hope that he’ll find time for solo work as well, as the only flaw I could see anyone citing here is that it’s just too damn short for Skill’s songwriting prowess.

A very limited 7”, if you can find one, scoop it up; not only is it top notch rock’n’roll, but it’s destined to be a collector’s item, too.

Travels well with: Jesse Malin- Love It To Life; New York Dolls- Dancing Backward In High Heels

Kate Davis

Trophy

Solitaire, 2019

8/10

Listen to Trophy

Previously very involved with jazz music, these days the youngster Kate Davis is head first into indie-rock, and her debut album, Trophy, brings a wealth of talent to the thoughtful, playful affair.

“Daisy” starts the listen with a smooth and stylish delivery from Davis as she blends indie-rock and modern-pop, and “Open Heart” follows with a calmer approach where a rugged version of indie-folk ideas unfold with a poetic touch.

Near the middle, “Animals” approaches alt-rock with lush textures and a jangly backdrop, while “Cloud” finds a moody, intimate place to reside amid summery moments of bright indie-pop. “Did You Love Somebody”, one of the album’s best, then showcases Davis’ strong vocal work on an elegant version of her songwriting prowess.

Near the end, “rbbts” is about as close as she’ll get to balladry with bare beauty that’s a bit darker in scope, and the title track ends the listen with a gentle opening that builds into an anthemic, full setting that could fill stadiums.

Though she’s just in her 20’s, Davis delivers like a seasoned vet here, as her talent appears to be boundless. Certainly the start of a lustrious career, this is a woman we should all be paying attention to.

Travels well with: Jesca Hoop- The House That Jack Built; Liz Phair- Whip-Smart