Lowland Hum

At Home

Tonetree, 2021

9/10

Listen to At Home

If you’ve been following up to this point, you’ll know that Lauren and Daniel Goans, i.e. Lowland Hum, are among the finest in the area of modern, minimalist folk sounds, and with quarantine, natural disaster and pregnancy giving them plenty of fodder for new material, At Home brings us some of their best work yet.

“Where Are You?” starts the listen with stirring nylon string guitar as expressive, poetic singing flows alongside bare keys in the very inviting opener, and “2082” follows with a soft, folksy climate that brings a warm Americana spirit where both members sing with grace.

Towards the middle, the eloquent strumming of “Not My Kind Of World” resonates with a timeless, fuller display of beauty, while “Strange Love” gets a bit more firm as a slight jangle enters the playful landscape. “Take Me In”, the best of the best, then showcases the pair’s strong vocal skills amid well timed keys and hypnotic guitar work.

“Mystery Hymn” lands near the end and is quite bare and with much emotion as Lauren’s flawless pipes take focus, and “New Day” exits the listen key focused, where the pair harmonize in a way that few others will ever replicate, and it finishes the very comforting listen on a high note.

A quiet affair like all of their work, this installment of Lowland Hum’s sublime and hushed song craft is full of two-part harmonies, often vulnerable and always insightful moments, and is the first with the Goans as parents, which is undoubtedly influencing their well thought out vision and art.

Travels well with: Andrea Von Kampen- Old Country; Penny & Sparrow- Finch;

Flounder

I’m The Flounder

Cure-All, 2021

8/10

Listen to I’m The Flounder

The debut recording from the instrumental outfit Flounder, the quartet of David Dvorin, Randy McKean, Tim Bulkley and Clifford Childers are both intimate and adventurous with I’m The Flounder, as they somehow cram both retro and futuristic ideas into the very diverse 10 tracks.

The band wisely place the title track in the lead off position, where bright brass and Dvorin’s spirited guitar lines embrace both blues and jazz ideas, and “Crooked Mile” follows with a busy display of soulful horns alongside agile drumming from Bulkley that weaves in and out of the many grooves.

“Trick Knee” lands in the middle and swings firmly amid Childers’ frisky harmonica skills, while “Persistence Blues” finds an emotive place to reside with its reflective guitar tone. “El Cangrejo (The Crab)” then recruits Jonah Dvorin on percussion as the busy climate emits soulful brass and fluid drumming that’s textured flawlessly.

Close to the end, “Sucker Punch” spends 7+ minutes impressing us with both full moments and bare ebbs in the post-bop setting, and “People Moving, People Standing Still” exits the listen with the album highlight that approaches rock territory, and captures the energy of large masses of people moving around.

A very impressive first effort, those with a penchant for instrumental music in the area of jazz, blues and chamber sounds will find much to enjoy here, and the occasional moments of modular synth, euphonium and bass clarinet only add more appeal to the unpredictable formula.

Travels well with: Dennis Mitcheltree- Nevermind The Circus; Victor Gould- In Our Time

Al Basile

B’s Testimony

Sweetspot, 2021

9/10

Listen to B’s Testimony

The blues powerhouse Al Basile is back with another batch of well thought out and timeless tunes, and he’s got an all star cast of New England musicians with him, including Bruce Bears, Brad Hallen, Mark Teixeira, Doug James, Jeff ‘Doc’ Chanonhouse, and Kid Andersen.

“Lucky Man” starts the listen with melodic, flowing blues as Basile’s smooth and soulful pipes shine alongside Teixeira’s fluid drumming and James’ playful sax, and “Don’t Kid Yourself Baby” follows with a calmer pace of spirited guitar work and Chanonhouse’s well timed trumpet in the gritty yet tuneful blues climate.

Near to the middle, “I’m Bad That Way” recruits a festive approach where a bouncy rhythm and Andersen’s meticulous guitar makes an indelible impression, while “Up Close And Personal Best” moves swiftly amid bright brass, mesmerizing guitar and a sharp rhythm section. “I Oughta Be Your Monkey”, a late album highlight, then brings power and technical precision to an immediately memorable landscape.

Approaching the end, “Through Thick And Thin” showcases Bears’ finger acrobatics with the keys as Basile’s flawless vocals impress us further, and “He Said, She Said” exits the listen with a thumping and dynamic execution that benefits from Hallen’s top notch bass playing.

This is Basile’s first time working with Andersen on an album, and let’s hope it isn’t his last, cause the guitar wizard complements Basile’s song craft superbly, whether it’s full throttle blues or reserved balladry. Toss in the other exceptional musicians and you’ve got one of Basile’s best records to date, which is no easy feat considering the strength of his back catalog.

Travels well with: Mike Zito- Resurrection; Sean Chambers- That’s What I’m Talking About

Air Cool Jenny

First Flight

Self-Released, 2021

8/10

Listen to First Flight

The relatively new duo of Helen Rose and Kramer Sanguinetti, as Air Cool Jenny the pair bring their multi-instrumental talent to 4 tunes here, where inspiration from Appalachian folk, blues, country, jazz and funk aren’t hard to spot, and some esteemed help make for an excellent starting point.

“Pelican” gets the listen off to a vocally harmonic and musically warm start with quick acoustic guitar complementing the pair’s lovely singing that builds into a crisp roots rocker with spirited electric guitar and thumping drums from Kirkland Middleton.

The middle tracks bring us the soft and poetic “When I Rise”, where Rose’s sublime singing guides the stirring intimacy, while “Pissin’ On The Moon” picks up the pace with a shuffling delivery of honky tonk that benefits from a rollicking guitar solo.

“The River’s Gone” exits the quick listen, and recruits R&B and jazz ideas into the reflective climate where the duo hit some high notes amid the graceful keys and subtle but effective brass.

Partners both musically and romantically, let’s hope there’s more songs on the horizon from Air Cool Jenny, cause along with Bryan Were on bass and Brenden Moore handling organ, Rose and Sanguinetti make diverse, charming and timeless sounds that we can always use more of, especially when this kind of chemistry is present.

Travels well with: Ben Reddell Band- ¡LA Baby!; Hilary Scott- Kaleidoscope

Apollo Chamber Players

With Malice Toward None

Azica, 2021

9/10

Listen to With Malice Toward None

The Apollo Chamber Players, i.e. Matthew J. Detrick, Anabel Ramirez Detrick, Whitney Bullock and Matthew Dudzik, return with their 5th studio album, and it features globally inspired songs by J. Kimo Williams, Pamela Z, Christopher Theofanidis and Mark Wingate, Komitas and Eve Beglarian.

The title track starts the listen with Tracy Silverman’s electric violin soaring alongside the unplugged strings, where Wilson manipulates the instrument in a way that makes it resemble a guitar, and “The Unraveling” follows with Pamela Z’s voice and electronics adding much character to the charming strings and playful atmosphere that makes great use of looping, layering and Z’s very creative mind.

“What Is The Word?” occupies the middle spot, and brings poetry to the 6 movements of very skilled string work that can quiver with mysteriousness, glow in a dreamy sort of way, and also emits bright moments of beauty, while “Themes Of Armenian Folksongs” moves at a quicker pace and hosts Joan DerHovsepian on guest viola as 10 Armenian folk songs are arranged for strings in melancholic, soulful and sublime gestures.

“We Will Sing One Song” exits the listen, and spends 17+ minutes mesmerizing us with Arsen Petrosyan’s duduk, Pejman Hadadi’s percussion, DerHovsepian’s viola and Eve Beglarian’s digital work on the ambient and artistic landscape that uses space and intimacy with incredible precision.

These Houston, Texas artists have already seen global praise for their previous albums, and with each composer bringing their own personal interpretations of folk music to this effort, the Apollo Chamber Players are certainly going to see more much deserved admiration for With Malice Toward None.

Travels well with: John-Henry Crawford- Dialogo; Verona Quartet- Diffusion

Unpinnable Butterflies

Radio Ocean

sonaBLAST!, 2021

8/10

Listen to Radio Ocean

The recording moniker of Gabriel Judet-Weinshal, as Unpinnable Butterflies the songwriter and film composer is surrounded by several esteemed musicians on this curious album, where countless genres are explored in his very distinct vision.

“You” opens the listen and makes an immediate impression with its warm bass line and precise drumming from Shawn Pelton, as playful horns accent the cultured, upbeat lead off track, and “Everybody” follows with guitar and piano guiding the retro-pop climate that might just remind you of the ‘60s.

Deeper into the listen, “Burden Down” brings a frisky love song that benefits from Grace Kelly’s eloquent pipes as spirited guitar work flows meticulously, while “Sell Me The Morning” recruits Jessica Childress into darker subject matter that emits a soulful quality. “Good Kings”, one of the album’s best, then cultivates plenty of grooves thanks to Scott Healy’s Hammond organ, Danny Clinch’s harmonica and Kevin Dukes’ guitar work.

The title track surfaces near the end, and soars with a fusion approach where a sax solo, bouncy bass work and odd meters make for a fascinating listen, and “Roses” finishes the listen in balladry, where a sublime and mysterious backdrop make for an ideal exit to a very well thought out 13 tracks.

A record that offers something for everyone, Radio Ocean delivers a substantial body of work that surrounds the collapse of the modern world, and the massive amount of diversity makes it difficult to categorize, but easy to enjoy.

Travels well with: Birds Of Chicago- Love In Wartime; Afton Wolfe- Kings For Sale

Brother Earl & The Cousins

Down With My Ship

Self-Released, 2021

8/10

Listen to Down With My Ship

The Los Angeles outfit Brother Earl & The Cousins make their debut here, where Earl is joined by Devon Geyer, Tim Hutton, Burleigh Drummond, T.D. Lind, Jonathan Sheldon and Ben Peeler across 5 Laurel Canyon friendly tunes that stem from their unique version of Americana.

“Woman (Lover, Lover)” gets the listen off to a very warm start with Cousins’ smooth pipes alongside Peeler’s pedal steel and Drummond’s strong drumming that complements the rural melodies, and “Prodigal Son” follows with a calmer pace of moody mandolin from Peeler and with Hutton’s well timed bass contributing to the rugged yet tuneful climate.

“Fishin’” occupies the middle spot, and brings a ballad about, well, fishing, that flows with power and emotion, while “Down With My Ship” bounces playfully amid Lind’s strategic keys and an alt-country spirit that will get you searching for your dancing shoes. “Gonna Live Another Day” finishes the listen with a humorous and quirky folk song that displays Geyer’s banjo prowess, and closes out the affair with a playful and memorable demeanor.

Brother Earl wrote all the tunes here, and each one is packed with hooks, grit, and, of course, plenty of nods to their California home, effectively making a perfect introduction to an outfit that all fans of folk, country, bluegrass and roots music should be familiar with.

Travels well with: Joe Troop- Borrowed Time; Wild Earp And The Free For Alls- Dyin’ For Easy Livin’

Ian Jones

Evergreens

Thin Silver, 2021

8/10

Listen to Evergreens

A Washington state native who takes a very poetic approach to his songwriting, Ian Jones made the move to Southern California to further pursue adventures in music, and it led to these reflective and very relatable 6 songs.

The title track starts the listen with warm acoustic guitar and singing from Jones, as Aaron Embry’s well timed piano and Jesse Siebenberg’s fluid slide guitar help make for a timeless folk appeal, and “Born-Again Sinner” follows with a more atmospheric approach that welcomes pedal steel, firm drumming and strategic keyboards as Jones brings a mysterious brand of roots rock.

The middle tracks offers us the upbeat and mature strumming of “Liars, Criminals, Beggars and Thieves”, where a swift Americana spirit makes an impression with some jangly moments, while “Hallelujah” emits much beauty and emotion, where organ and harmonium are both used amid the rugged yet pretty landscape that parallels the greatness achieved by the Cohen song of the same name.

“Promised Land”, the standout track, then uses acoustic guitar, 12 string acoustic guitar and baritone electric guitar, as well as Dave Palmer on piano for the vivid storytelling that lands closer to country sounds, and the appropriately titled “Last Call” exits the listen with Jones bringing country, folk and Americana sensibilities to the very distinct closer.

A precursor to a forthcoming album, Jones knows his way around a song you won't soon forget, and his eloquent wordplay and strong attention to detail make this EP an ideal start for the first time listener.

Travels well with: Jackson Browne- Downhill From Everywhere; John McCutcheon- Bucket List

Greg Loughman

Re: Connection

Self-Released, 2021

8/10

Listen to RE: Connection

A bass wizard, composer and bandleader, Greg Loughman has a lengthy and impressive catalog of music, and here he offers us 7 songs that surround the idea of disconnection, whether it be related to politics, race, economics or just the country in general, and he’s got several skilled musicians backing him.

“Disunion” starts the listen with Loughman’s precise and warm bass plucking as an atmosphere of mystery and keys from Anastassiya Petrova add even more intrigue, and “Isolation” follows with saxophones from Dan Elbert and Anton Derevyenko that’s complemented by the strategic bass work as the intimate melody is fleshed out flawlessly.

In the middle, ‘Transition” offers a brief moment of bowed strings from Loughman and soft, hypnotic guitar thanks to Max O’Rourke , while “Grow” builds from mesmerizing keys into Nathan Kay’s soulful trumpet and Tyson Jackson’s proficient drumming that help make this one of the album’s best.

“Home” and “Horizons” bookend the listen, where the former finds a dreamy place to reside as the keys and bass interact with much beauty amid the ballad, and the latter recruits Faris Ishaq’s impressive nay skills to accent the unique rhythm of the meticulous closer.

An effort that’s often textured darkly, Loughman and company rely on a sonic backdrop which further illustrates their unique song craft that certainly is jazz, but not in the traditional sense, and it makes for a very engaging listening experience.

Travels well with: Billy Test Trio- Coming Down Roses; Kristin Callahan- Lost In A Dream

Jim Lauderdale

Hope

Yep Roc, 2021

8/10

Listen to Hope

The veteran musician and two-time Grammy Winner Jim Lauderdale returns with his 34th album, and his longtime collaborator Jay Weaver is on board as they pen a listen that offers hope during these very difficult times.

“The Opportunity To Help Somebody Through It” gets the listen off to a very stylish and soulful version of folk-rock, where Lauderdale’s smooth pipes are met with proficient guitar work, charming bass and punchy drumming, and “Sister Horizon” continues the inviting landscape with glowing pedal steel as the setting lands in Americana territory.

Further into the listen, “Mushrooms Are Growing After The Rain” isn’t short on nostalgic melody that sounds right at home in much earlier decades, while “Breathe Real Slow” burns slow amid plenty of emotion in the lush delivery that touches on country sounds. “We Fade In We Fade Out”, one of the album’s best, then brings both rugged and melodic qualities to the rootsy landscape that even flirts with psychedelia.

Deeper still, the energetic and dance friendly “Here’s To Hoping” cultivates a very infectious mood that bounces and shakes with well timed brass, and “Joyful Noise” exits the listen swift, positive and even uplifting as Lauderdale’s songwriting remains consistently strong throughout the entire affair.

Lauderdale is in the company of plenty of Nashville’s finest, including Chris Scruggs (mandolin, guitars), Will Van Horn (pedal steel) and Pat Bubert (drums, percussion), among others, and though the album is often steeped in ‘70s folk sensibilities, you’ll also spot funk, indie-rock, country, pop and rock, as Lauderdale adds yet another diverse body of work to his impressive catalog.

Travels well with: James McMurtry- The Horses And The Hounds; Kelly Hogan- I Like To Keep Myself In Pain

Alicia Walter

I Am Alicia

Sooper, 2021

10/10

Listen to I Am Alicia

Perhaps best known as the front woman for the Chicago rooted art-rockers Oshwa, this debut solo album from Alicia Walter sees the artist expanding her horizons into hip-hop and jazz, though her curious brand of pop is still at the forefront of these radiant songs.

“Prelude” starts the listen with some playful vocal manipulation as Kristina Teuschler’s clarinet adds much to the busy, pop friendly textures that’s also quite soulful, and “House Of Yes” continues the creativity with Joe Exley’s tuba and Kai Sandoval’s trumpet bringing bright brass to the glorious indie-pop climate that sounds like it should soundtrack a street party.

“Just A Little” lands at the halfway point, and recruits some doo-wop nods in the vocally harmonic, nostalgic delivery, while “Standing At Your Doorstep” soars with much power amid violins thanks to Katie Klocke and Myra Hisrichs in the infectious, energetic anthem that you can’t help but smile to. “I Feel You”, another outstanding track, then buzzes with warm synth and a firm beat as electro-pop is explored with much precision.

“A Toast” and “I Am” finish the listen, where the former is a raw, piano rocker that’s lyrically clever and musically even brings the sounds of tap dancing, and the latter exits with an initially soft and intimate demeanor before erupting into sophisticated pop that’s both memorable and timeless.

In addition to the many contributors, Devin Greenwood plays several instruments, as does Walter, and it’s quite apparent that a lot of work went into this record. Their tireless efforts certainly paid off, as I Am Alicia just might be the most exciting album of the year, and it truly showcases the immense amount of talent this woman possesses.

Travels well with: Astrid Swan- D/Other; Adna- Black Water

Al Ross & The Planets

Blue Crystal

AFR/Wienerworld, 2021

9/10

Listen to Blue Crystal

On this sophomore album, Al Ross holds down bass and vocals and brings along David Brammer (sax), Terry Mascall (drums), Alex Mungo (backing vocals), Julian Mungo (acoustic guitar) and Marc Rapson (keys) to an extremely eclectic listen where the long running London outfit tweak pop, soul, blues, gospel and even Samba-ish grooves in their inimitable formula.

“Crossroads” starts the listen with graceful piano alongside soulful singing as the climate builds into a fuller, gospel delivery that’s quite soothing, and “Something Changed My Mind” follows with flowing melodies, where country influences are complemented by skilled Hammond organ.

The title track occupies the middle spot, and leads bare and pretty before making its way into grittier territory with firm guitar and subtle saxophone, while “In The Middle Of The Night” mixes bluesy ideas amid a gospel choir as Rapson’s key work truly shines.

“Checkin’ Out The Vibe”, the best tune present, lands near the end and displays a fusion rocker, where brass, keys, guitars and Ross’ rugged yet tuneful pipes guide the upbeat landscape that tips its hat to classic rock, and ‘Sweet Memories Of You” exits the listen and leads in piano balladry but ends up flirting with prog-rock in the dreamy, textured finish.

Recorded at the seminal Abbey Road Studios and with some esteemed session players helping out, too, some serious hurdles presented themselves to Ross and company during the process, namely Covid. Travel restrictions, members getting sick, and endless safety protocols threatened to derail the band’s efforts, but instead they captured the energy of their live show and documented the chemistry they’ve been refining since their inception in 1983.

Travels well with: Lee Ritenour- Dream Catcher; Ellen Foley- Fighting Words

Bryan Lubeck

Midnight Sun

Vineyard, 2021

8/10

Listen to Midnight Sun

The multi-instrumentalist Bryan Lubeck brings his veteran and diverse songwriting skills to these 11 tracks that welcomes a large handful of exceptional musicians to the fusion formula.

“Invincible” gets the album off to a warm start, where Lubeck’s sublime acoustic guitar weaves in and out of Jonathan Marks’ skilled drumming in the jazz and pop friendly opener, and “Rocket Fuel” follows with Nick Bisesi’s sax prowess and Kirk Garrison’s brass contributing much to the cultured melodies.

Approaching the middle, “Road To Mackinac” trims the pace back with much beauty that welcomes Ryan Herma’s synth and Matthew Agnew’s cello to a very poetic, Spanish filled climate, while “If You Only Knew” brings a romantic quality amid strings and Lubeck’s meticulous guitar work that’s not short on grooves. The title track is one of the best, and showcases Dave Hiltebrand’s radiant electric guitar and Erik Rumsa’s graceful violin working together with much sophistication.

“Alex Arrives” lands near the end and places Lubeck on piano and Bisesi handles flute, and “Adirondack” exits the listen with a timeless, meditative experience that puts an exclamation point on the very thoughtful listen.

Lubeck rubs elbows with pop, funk, rock, jazz and blues, among others, and his urban blend of sounds illustrate just why he’s been a staple of contemporary pop and jazz instrumental radio for so many years. Midnight Sun effectively expands on those ideas, and it makes for a captivating effort.

Travels well with: Alex Martin- Folk Songs, Jazz Journeys; Kenny Carr- Distance

Alex Lefaivre Quartet

Naufragés

Arté Boréal, 2021

8/10

Listen to Naufragés

The bassist, composer and educator Alex Lefaivre, who is a founding member of the Parc X Trio, takes up company with Erik Hove, Nicolas Ferron and Alain Bourgeois here, as they offer us 5 originals and 3 covers of very diverse song craft.

“Time Of The Barracudas” starts the listen with Hove’s brass acrobatics aligning fluidly with Lefaivre’s complicated bass work in the playful jazz opener, and “Boiler Room” follows with Bourgeois’ fluid drumming anchoring the more rock focused climate that’s not short on melody.

At the midpoint, “Hommage Jazz á ‘Passe Partout’” showcases Ferron’s incredible guitar work amid the rugged but very tuneful landscape, while “Reset” emits a hypnotic display where the soulful sax and charming bass playing are met with agile drumming.

Arriving near the end, “Sin City” offers a very calm, reflective late album highlight, and “Immigrant Song” exits the listen with plenty of rock’n’roll spirit as they turn in a very fun interpretation of the Led Zeppelin classic.

The quartet cultivate a very distinct jazz style here, where cinematic moments and textured bouts of grace and grit meet at a highly interesting intersection. The quartet’s last album, 2018’s Yul, garnered much acclaim, and this one could and should produce a similar result.

Travels well with: Jonathan Bauer- Sings & Plays; Joel Frahm- The Bright Side

Seth Glier

The Coronation

MPress, 2021

8/10

Listen to The Coronation

A singer-songwriter and multi-instrumentalist, Seth Glier returns with his 6th album of creative, interesting folk-pop that’s both personal and political.

Glier starts the listen with the soothing and smooth “Stages”, where the warm synth and charming vocals unfold with much attention to mood, and “A Gift” follows with a soulful, precisely layered display of pop, rock and even dance inspired song craft.

Further down the line, the stylish “If It Wasn’t For You” isn’t short on grooves and even some funk nods, while “Poison In The Roots” brings in Everett Bradley’s strong pipes as power and emotion meet with much playfulness. “One Of Us’, perhaps the best tune present, then benefits from Raye Zaragoza’s flawless pipes as the dreamy, atmospheric interpretation illuminates the Joan Osborne original.

Nearing the end, “Somebody Break My Heart” is about as intimate as the title implies, and makes good use of mesmerizing keys and punchy drumming, and the acoustic version of “If It Wasn’t For You” exits the listen with string acrobatics, well timed percussion and Glier’s very enthralling singing

An effort that utilizes electronica, horns and strings fluidly, each of the 13 tracks tells a story that is eloquent, forthright and insightful, and the diversity from track to track makes for a very impressive body of work.

Travels well with: Raye Zaragoza- Woman In Color; Rachael Sage- Character

CousteauX

Stray Gods

Salamander, 2021

8/10

Listen to Stray Gods

The duo of Liam McKahey and Davey Ray Moor, as CousteauX the pair match McKahey’s inimitable vocals with Moor’s multi-instrumental and songwriting skills for this sophomore album since their reboot in 2016.

“Cheap Perfume” gets the listen off to a very stylish, dark version of pop-rock that benefits from soulful singing, and “Karen Don’t Be Sad” follows with a calm, emotive display of mood focused sounds that embraces soft trumpet.

Approaching the middle, “Bloom Overture” flows with a cautious, orchestral quality that emits much beauty in its instrumental climate, while “When The Bloom Has Left The Rose” channels the bands inner Burt Bacharach amid much poetic, throwback ideas. “Praying For Rain” then picks up the pace with frisky keys, punchy drumming and well timed backing vocals that are complemented by an expressive delivery from McKahey.

“Hush Money” lands near the end, and recruits an ominous backdrop as plenty of atmosphere enters a rugged alt-rocker, and “In The Meantime” exits the listen with a superbly textured and timeless version of chamber pop that is so well done, it alone is worth the price of admission.

Originally called Cousteau, the McKahey and Moor achieved massive success in the late ‘90s and early 2000’s with a few very unique and well executed records. Now with a darker presence in their songwriting, the ‘X’ at the end of their names comes with an edgier demeanor that only adds more allure to their craft.

Travels well with: A Girl Called Eddy- Been Around; Lisa Gerrard & Jules Maxwell- Burn

John McCutcheon

Bucket List

Appalseed, 2021

9/10

Listen to Bucket List

A singer-songwriter and multi-instrumentalist who has spent the last 50 years crisscrossing the world playing music from his vast catalog of songs, John McCutcheon spent his quarantine time wisely by penning even more albums, including Bucket List, his 42nd.

The title track starts the listen with Stuart Duncan’s warm fiddle complementing McCutcheon’s wise, soothing vocals that make an immediate impression, and this thoughtful formula continues to the precise keys and expressive singing from McCutheon on the poetic “Be Still”, as well as the bare and soulful “It’s Not”.

The middle tracks offer us Jon Carroll’s strategic percussion on the flowing “The Other”, while “Used To” brings much elegance to the McCutcheon’s vivid storytelling, something he’s been known for since the ‘70s. “Moonshiner” then showcases McCutcheon’s banjo prowess amid the rural spirit that’s both timeless and infectious.

Closer to the end, “The Hinge” uses talking playfully, as McCutcheon’s prose has us hanging on every word, and “Zilphia’s Piano” exits the listen with McCutcheon’s strong pipes illuminating the universally enjoyable folk sensibilities that have hallmarked his career.

It’s no surprise that McCutcheon has picked up 6 Grammy nominations and seen praise from names like Johnny Cash, cause the Wisconsin native can pen a song you won’t soon forget, and this installment has 18 of them.

Travels well with: Steve Goodman- It Sure Looked Good On Paper: The Steve Goodman Demos; Todd Snider- Cash Cabin Sessions, Vol. 3

Wesley Stace

Late Style

Omnivore, 2021

8/10

Listen to Late Style

The artist formerly known as John Wesley Harding, under the name Wesley Stace, which is actually his given name, the best selling author, university educator and veteran musician finds himself in the company of Prairie Price, Nora O’Connor, and Kelly Hogan, among others, on this very diverse and sophisticated effort.

“Where The Bands Are” starts the listen with playful keys, quick drumming and subtle brass as Stace’s smooth pipes guide the timeless jazz climate, and “Everything All The Time” follows with soulful backing vocals from O’Connor and Hogan alongside agile keys in the very melodic delivery that touches on Latin ideas.

The quality of songwriting continues to the bouncy, upbeat and charming retro-rock of “Come Back Yesterday”, while “All The Yous” moves cautiously amid the poetic singing and dreamy backing vocals. “Well Done Everyone”, another superb tune, then will likely get you on the dance floor with its infectious energy and well timed back up singers.

“Just Sayin’” arrives near the end, and places Stace’s fluid pipes in the company of strategic bass and warm keys, and “How You All Work Me” exits the listen with spirited organ complementing the meticulously textured finish.

A record that was pieced together remotely due to Covid, Stace teamed up with collaborator David Nagler, and even after 30+ years of releasing music, he’s clearly nowhere near running out of ideas, as evidenced by this exploratory, cultured body of work that’s quite jazz focused.

Travels well with: Ray Davies- Our Country: Americana Act II; Great Peacock- Forever Worse Better

Dimitri K.

I Am Not Yours

Self-Released, 2021

8/10

Listen to I Am Not Yours

The prolific writer, composer and arranger Dimitri K. returns with another batch of jazz, orchestral, pop and rock focused songwriting, and he’s got a handful of musicians to help flesh out the diverse and exciting tracks.

The title track starts the listen with plenty of soul as warm grooves enter the crisp climate that welcomes pretty singing from Lyia Meta, and “Swept Away” follows soon after with cautious brass thanks to Paul Messinar and fluid oboe from Jamie Strefeler in the reflective, rich delivery.

Further along, “Proclivity For Smiling” showcases John Valeri’s intricate guitar work alongside Rob Mullins’ agile keys and strategic percussion, while “Chasing Harmony” resides in much melody, where a dreamy quality surrounds the stylish musicianship. “Monday Morning”, a very noteworthy track, then recruits a firm beat amid David Fogel’s graceful keys and pop influences.

“In A Broader Sense” lands near the end, and brings fascinating piano acrobatics to a backdrop of mystery, and “Moonlight Impression” exits the listen with Konstantin Dimitrov’s moody strings as the landscape flows with a cinematic appeal.

Dimitri K. again creates a listen that transcends time and doesn’t fit into any easy classification, but certainly contains a universal charm that weaves in and out of very precise, inviting textures.

Travels well with: Jazz From Planet Flippo- Dedications; Francesco Amenta- Midtown Walk

Bob Margolin

This Guitar And Tonight

VizzTone, 2019

8/10

Listen to This Guitar And Tonight

Bob Margolin has a lengthy and esteemed career that has only lacked one thing until now- an acoustic album. Inspired by Muddy Waters saying that he prefers acoustic guitar, Margolin’s 1935 parlor guitar and Amy Brat nudging him, Margolin puts another creative chapter into his always impressive catalog of music.

The title track starts the listen with bluesy guitars and Margolin’s howling vocals on the rhythmic and playful opener where Jimmy Vivino adds 2nd guitar, and “Evil Walks In Our World” follows with inventive guitar work as Margolin performs vocal acrobatics that span from talking to exploring his range.

Elsewhere, “Blues Lover” is indeed a gem for those who love blues as Bob Corritore adds warm harmonica to the affair, while “Good Driving Song” delivers spirited guitar work in the reflective instrumental.

Deeper into the fun, “I Can’t Take Those Blues Away” has Margolin doing what he does best, displaying skilled musicianship and vivid storytelling, and “Predator” ends the listen with 8 minutes of soft storytelling as Margolin sums up the political and social climate of today’s unstable climate.

Margolin takes a gamble here with by drifting from his louder blues formula, and his intimate and emotive excursion makes for one of the most impressive soft blues records of the year.

Travels well with: Bob Corritore- Do The Hip Shake Baby; Rick Vito- Soulshaker