Kevin Keller

Shimmer

City Hall, 2021

9/10

Listen to Shimmer

An extremely adventurous 13th album from Kevin Keller, the composer crowd sourced Shimmer in 28 days, and had fans provide ideas that he meshed with his studio improvisations which focus much on the piano, but also embraces an orchestra and synth, among others noisemakers.

“Orchards” starts the listen with a quivering electronic feel as a moody backdrop is met with playful pop ideas entering the sophisticated gestures, and “Inverness” follows with a calmer approach that’s quite meditative in its cautious, dreamy appeal.

The middle tracks are among the best and include the agile keys of the hypnotic “Bridges”, while “Ithaca” recruits a cinematic quality that burns gently amid a soothing, ambient landscape of incredible detail.

“Riverbend” arrives near the end, and offers a light buzzing that flirts with prog-rock ideas alongside the frisky synth, and “Delta” exits the listen with a hazy, sublime and stirring display of atmospheric and glowing song craft that ends much too early.

A very appropriately titled album, the bright textures and dance floor friendly moments are met with classical nods and plenty of guitar melodies, as Keller turns in a very unique and alluring listen that will make anyone a fan pretty quickly.

Travels well with: Michael Whalen- Future Shock; Lusine- The Waiting Room

Ranzel X. Kendrick

Foreglow

Self-Released, 2021

8/10

Listen to Foreglow

A singer-songwriter who doesn’t easily fit any classification, Ranzel X. Kendrick’s self-described ‘freestyle folk’ touches on folk, pop, country and blues, and these 5 tunes, despite being recorded all over the country, flow together seamlessly in his timeless vision.

“Cross My Heart” starts the listen with a very romantic spirit as Kendrick’s smooth pipes are met with soft acoustic guitar, creative percussion and a very mature version of a folky love song, and “River Of Love” continues the theme with a deeper delivery vocally, as the Americana tinted tune glides with much beauty.

In the middle, “Virtuous Woman” is a particularly stylish track that brings playful drumming and dreamy flute to the cultured EP highlight, while “Lonely Tonight” resides closer to balladry and recruits warm female vocals for the poetic climate. “Slow Dancing In The Rain” finishes the listen with graceful piano and no shortage of emotion, as the lush and pretty landscape puts a firm exclamation point on the sensual record.

Now living partly in Costa Rica, Kendrick certainly takes influence from his current home, as this 3rd EP in his Legacy Collection continues his varied and easily enjoy song craft that you can’t help but admire.

Travels well with: Fred Argir- Still Alive; Brad Byrd- Where Were You When The World Stopped?

The Grascals

Up All Night

Mountain Home, 2021

9/10

Listen Up All Night

The modern bluegrass sensations The Grascals are back with a dozen well executed tracks, as the sextet continue their mountain friendly rock that even brings some gospel spirit to the many strings that comprise their formula.

“Sleepy Little Night” starts the listen with cozy strings and smooth vocals as timeless bluegrass flows with intimacy, and “Thankful” follows with fluid banjo and gorgeous harmony vocals in the melodic, rural climate.

“Low Down Blues” lands in the middle and indeed brings blues ideas to the sublime string interaction and soaring singing, while “It’s A String Thing” flows with incredible precision as the flawless string manipulation is nothing short of stunning. “This Ol’ Train”, one of the album’s best, then emits much beauty and harmony as the 6 members bring their respective talents in spades.

Approaching the end, “Flowers And Lace” enters ballad territory and comes with a stirring landscape of poetic, rootsy song craft, and “Traveling The Highway Home” exits the listen swift and showcases incredible picking in a playful bluegrass sort of way.

The Grascals, i.e. John Bryan (guitar, vocals), Chris Davis (guitar, vocals), Adam Haynes (fiddle), Danny Roberts (mandolin), Kristin Scott Benson (banjo) and Terry Smith (bass, vocals) again prove just why they’ve been Grammy nominated 3 times, and this installment might just have some of their best work to date, which, of course, is no easy task.

Travels well with: Chuck Wagon Gang- Radio Days; The Alex Leach Band- I’m The Happiest When I’m Moving

Leo Sowerby

The Paul Whiteman Commissions & Other Early Works

Cedille, 2021

8/10

Listen to The Paul Whiteman Commission & Other Early Works

The world premiere recordings of Leo Sowerby’s 1920’s symphonic jazz works, the compositions here are commissioned by the esteemed bandleader Paul Whiteman, and recruit Chicago’s Andrew Baker and the Andy Baker Orchestra, as well as the Avalon String Quartet for the classical, chamber and orchestra influenced jazz adventure.

“Synconata” starts the listen with a flowing, symphonic execution that moves fluidly between busy, full moments of sweeping strings as well as calm ebbs of soulful brass and the well timed, often firm percussion from Baker and company, and “Serenade For String Quartet” follows with the Avalon String Quartet meshing their violins, viola and cello in fascinating, timeless ways that, although penned in 1917, sounds very relevant today.

The middle tracks offer us the tense yet very melodic texturing of “String Quartet in D minor”, where Blaise Magniere and Marie Wang’s violin work is nothing short of stunning, while “Tramping Tune for Piano and Strings” glides with a smooth and agile delivery where the keys and strings interact with incredible grace thanks to Winston Choi (piano) and Alexander Hanna’s (double bass) contributions.

“Symphony for Jazz Orchestra (“Monotony”)” exits the listen, and in 4 movement alternates between bare and mysterious to bouncy and energetic, with the woodwinds being particularly luminous, as Baker and his orchestra finish the listen with a sublime and glowing spirit.

A body of work that truly has stood the test of time, even though these selections are right around 100 years old, they all resonate well in 2021, and likely will for centuries to come. With over 550 works to his credit, the Cedille label is certainly documenting Sowerby’s legacy well, and let’s hope there’s more to come.

Travels well with: Will Liverman- Dreams Of A New Day; Dover Quartet- The Curtis Session

Jeremy Garrett

Wanderer’s Compass

Organic, 2021

8/10

Listen to Wanderer’s Compass

A member of the Grammy winning outfit Infamous Stringdusters, on his own, Jeremy Garrett continues his creative vision with expert looping and very eclectic song craft, where no genre appears off limits and he’s got some impressive help across the 10 tracks.

“Footprints” starts the listen with a very playful meshing of beats, strings and world music ideas that you could, and probably should, dance to, as Jason Hann holds down percussion on the 30 year old tune, and “Won’t You Remember My Name” follows with Scott Barnett’s clever programming and Garrett’s fiddle acrobatics highlighting the very unique version of bluegrass.

“Wishing Well” lands in the middle and displays Garrett’s diverse pipes, where intricate guitar work illuminates the soulful rock’n’roll, while “Good Times” tosses Prisca’s soothing vocals into the warm, percussively strong climate. “I’m Not The Enemy”, the album’s best, then showcases Jon Stickley’s incredible guitar prowess alongside Garrett’s swift fiddle work, as the pair work together with incredible skill and interplay.

Bookending the album are “She’s My Friend” and “Nevermind”, where the former is vocally strong and musically rich with mandolin, and “Nevermind” exits the listen with programming returning amid pop, country and hip-hop all wrapped up in some rootsy flavor.

An endeavor taken on while Infamous Stringdusters were gearing up for another stint on the road, Garrett’s lifelong interest in bluegrass is still very much present, but all the other sounds he’s come to love are also represented in quite possibly the most adventurous record of its kind in recent history.

Travels well with: Anya Hinkle- Eden And Her Borderlands; Aaron Burdett- Dream Rich, Dirt Poor

Douglas J. Cuomo

Seven Limbs

Sunnyside, 2021

9/10

Listen to Seven Limbs

The composer Douglas J. Cuomo sure found himself some talent for these 7 compositions that welcome Nels Cline and his unparalleled guitar playing as well as the Grammy nominated Aizuri Quartet. An album very much inspired by Buddhism, which Cuomo practices, the stillness, turmoil, euphoria and even drama found within certainly mirrors the tenets of the religion, and are executed with Cuomo’s profound vision.

“Prostration” starts the listen with Cline’s shimmering guitar playing that radiates both warmth and mystery, and it’s not long until the emotive strings enter the bare but impactful climate, and “Offering” follows with a swifter display of charming string interaction as they dance around either other amid Cline’s flawless guitar manipulation that even flirts with post-rock ideas.

Halfway through, “Confession & Purification” offers stirring intimacy, where the strings tell a story of reflection and are both bowed and plucked, while “Rejoicing” takes a large step into firmer waters where the strings are used nearly percussively amid the bright and playful dynamics.

“Beseeching” lands near the end and allows Cline to showcase his electronic skills in a very tense, cinematic landscape of daring song craft, and “Dedication” exits the listen with much beauty in the calm, dreamy and even soothing finish to a very meticulous record.

A body of work penned specifically for Cline and the quartet, though at its core it may be a jazz improvisation affair, the orchestral, chamber and classical moments certainly won’t go unnoticed, and the strong collaboration between all the players and Cuomo makes for some of his best work to date.

Travels well with: Tom Nazziola- Distant Places; Duo della Luna- Mangetsu

Cinema Cinema

CCXMDII

Nefarious, 2021

9/10

Listen to CCXMDII

The New York duo of Cinema Cinema, i.e. Ev Gold and Paul Claro, are in the company of Matt Darriau, who brings his winds, loops and vocal prowess to this 6th full length that again is full of experimental and art-influenced sounds that few could replicate.

“A Life Of Its Own” starts the listen with 18 minutes of calm flute, sparse drums and bare guitar as the languid opener enters dreamy, even meditative territory, and “Cloud 2” follows with a much more brief display of spacey, prog-friendly sounds that echo and quiver playfully.

In the middle, “Continued” enters darker waters, as strategic clarinet and shorts bursts of jagged guitar make a strong impression, while “Bratislava” spend 9 minutes meshing riffs with grooves in the stylish jazz climate.

“Trigger” lands near the end, and recruits a subtle bounce that bops amid playful rhythm and some charming squeal, and “Cloud 4” finishes the listen with a sublime intimacy, where gentle musicianship and a nearly spiritual landscape unfolds with incredible precision.

CCXMDII was born out of the same sessions as their last album, CCXMD, and Darriau brings his skill and experience from his band The Klezmatics into this punk-jazz, post-rock and abstract adventure that further cements Cinema Cinema as one of the most exciting bands that exists today.

Travels well with: New Standards Men- I Was A Starship; String Noise- Alien Stories

Max Richter

Exiles

Deutsche Grammophon, 2021

8/10

Listen to Exiles

The inimitable composer Max Richter takes on a significant project here, where he reimagines compositions from his past that were originally penned for a Virginia Woolf-inspired ballet, Fendi fashion runways, Hollywood blockbusters, Golden Globe winning documentaries and even an earlier record that was adored by David Bowie. For the occasion, Richter’s got Kristjan Järvi and the Baltic Sea Philharmonic on hand for the superbly executed listen.

“Flowers For Herself” starts the listen with dancing piano and warm strings populating the shimmering melodies and intricate rhythm that immediately draws us in, and “On The Nature Of Daylight” follows with a sublime and stirring climate that recruits many strings that are layered with a soothing, orchestral quality.

In the middle, “The Haunted Ocean” recruits a darker, cinematic approach, where both mystery and fascination reside, While “Infra 5” continues the creativity, as the bass, violas and cellos interact with much skill, restraint and timelessness.

Finishing out the listen are “Sunlight” and the title track, where the former is a calm, hopeful track with a meticulous violin solo, and the latter exits with both bare moments and fuller bouts of powerful, ebullient song craft as Richter shows us an incredible vision of chamber and orchestral ideas.

A listen that’s entirely unpredictable and is constantly changing in its trajectory, with 60+ strings present on some tracks, this is a fine example of minimalism at its finest. Though the songs are often rooted in topics like the migrant crisis, terrorist attacks and war, the music is often intimate, expansive and heartfelt, and serves as a fine introduction for those new to Richter and necessary for the longtime fan.

Travels well with: Apollo Chamber Players- With Malice Towards None; John-Henry Crawford- Dialogo

Benjamín Schnake Ensemble

The Joy Of Playing

Self-Released, 2021

9/10

Listen to The Joy Of Playing

The Chile native Benjamín Schnake knows his way around several instruments, as well as composing and arranging a tune, and here he’s aligned with some of New York’s best musicians for a cultured and very original batch of jazz tunes.

“Marisol” starts the listen with Schnake’s intricate nylon guitar being complemented by Dave Pietro’s alto sax and Tim Struven’s soprano sax, as the warm jazz opener moves fluidly with soulfulness, and “The Joy Of Playing” follows with John Blevins contributing trumpet and Eric Quinn holding down trombone to help cultivate the light and playful melodies.

“Fragment”, one of the album’s best, then moves cautiously, where Schnake’s hypnotic acoustic guitar and Santiago Leibson’s graceful keys are anchored by Paul Shaw’s proficient drumming, while “She’s Gone” highlights Jennifer Wharton’s bass trombone in the dreamy, emotive climate.

“Goodbye Pork Pie Hat” arrives near the end and recruits plenty or brass as the ensemble work together with precision to create a busy, textured climate, and “Lakitas” exits the listen with Schnake playing mandolin alongside Ammon Swinbank’s flute prowess as they take influence from an Andean musical tradition

A very accomplished blend of South American sounds weave in and out of jazz dynamics, Schnake and company are constantly changing the time signatures on the aptly titled The Joy Of Playing, and it makes for one of the most impressive jazz related albums of the year.

Travels well with: Bryan Lubeck- Midnight Sun; Greg Loughman- Re: Connection

Steve Million

Jazz Words

Self-Released, 2021

8/10

Listen to Jazz Words

The Chicago pianist and songwriter Steve Million aligns himself with the vocalist Sarah Marie Young, and together they bring us an album of post-bop originals that are both old and new.

“Heavens To Monkitroid” starts the listen with Million’s bouncy keys as Young’s animated and flowing pipes are complemented by Jim Gailloreto’s soulful sax playing in the bluesy climate, and “Mis’ry Waltz” continues the jazz influenced setting with a reflective, soulful tone that’s anchored by Juan Pastor’s precise drumming and even hints at country ideas.

“Hymnal” lands at the halfway point and brings piano balladry with poetic singing alongside warm piano, while “Nika’s Changes” benefits much from John Sims’ meticulous bass work amid the busy and rhythmic album highlight that’s penned in 5/4 time.

“Loss” and “The Way Home” exit the listen, where the former offers a lush and melodic delivery with a soothing sax solo, and the latter moves cautiously, emotionally and with sublime beauty as Young’s versatile voice makes us wish there were more than 8 tracks present.

This is Million’s 7th album as leader, and his first time releasing a record of all originals. An appropriately titled effort, the poetic and graceful songwriting unfolds with a rich tone and superb singing, and certainly won't disappoint those with a penchant for jazz sounds, both past and present.

Travels well with: The Chris Saunders Band- Dancing With The Widow St. James; John Daversa- All Without Words: Variations Inspired By Loren

Adrian + Meredith

Bad For Business

Self-Released, 2021

9/10

Listen to Bad For Business

Partners in music and life, Adrian, who handles guitar and sings, and Meredith, who holds down fiddle, foot percussion and also sings, recorded these 11 tracks in their living room with some friends, and they sure do put an insightful and fun spin on folk music in the process.

“Even” starts the listen with much grit as Ken Francis Wenzel’s well timed saxophone complements Adrian’s inimitable vocals and the bouncy drumming from Aaron Shafer-Haiss, and the title track follows with a gypsy rock sort of exploration that thumps and flows with Meredith’s fiddle acrobatics making a big impression.

Deeper into the listen, “Hungover Eyes” offers an upbeat and brass friendly display of carnival-esque sort of adventurousness, while “Too Far” brings mystery and elegance to the affair with acoustic guitar and moody strings as Adrian delivers vivid storytelling. “Kids These Days”, the album’s best, then recruits Fats Kaplin’s accordion and Robert M Gay’s soulful trumpet to the orchestral and chamber filled creativity.

“Chalk” lands near the end and brings warm, roots rock flavor to the listen where Meredith’s sublime fiddle accents Adrian’s expressive pipes, and “Valley View” exits with Meredith’s pretty vocals guiding the folk influenced finish that showcases Kaplin’s banjo prowess.

The impetus for Bad For Business lies in the last 4 years of national politics, and there’s definitely some punk spirit to be found across this sophomore album. Whether they’re rubbing elbows with surf rock, blues, country or Americana, every second here is worth much of your attention, and, if given the chance, could very well become one of your favorite records.

Travels well with: 49 Winchester- ///; Andrew Scotchie & The River Rats- Everyone Everywhere

Brian Charles Tischleder

This Town

Self-Released, 2021

8/10

Listen to This Town

It’s no secret that Minneapolis had a very tragic summer in 2020, and the local singer-songwriter Brian Charles Tischleder responded to all the unrest with song, as he penned this very well thought out album after watching all the racial injustice unfold in the town that he calls home.

“All Night Hamburger Stand” starts the listen with a doo-wop throwback approach that goes back many decades, where Tonia Hughes contributes playful, soulful vocals alongside saxophone from Walter Chancellor Jr. and spirited organ thanks to Grant Dawson, and “Sixteen Candles” follows with a more rugged delivery, where firm drumming from J.T. Bates and Matt Blake’s skilled bass complement Tischleder’s thick guitar and raw singing.

“Bang The Drum” lands in the middle and enters folk territory amid Augest Ogren’s strategic percussion, while “Falling Down Like Rain” picks up the pace with a breezy, Americana album highlight that’s not short on melody and benefits much from Joe Peterson’s organ. “Marilyn Monroe” then displays Peterson’s piano prowess as jazz nods accent the slow burning landscape.

“Black Cadillac” arrives near the end and showcases Blake’s meticulous bass plucking that accents the gospel-ish climate which takes nods to the ‘50s, and “This Town” exits the listen with much beauty as warm acoustic guitar and Tischleder’s vocal acrobatics emit emotion, even pain, in a nearly cathartic demeanor.

Formerly of the duo James Curry, Tischleder’s got much skill and experience to his credit, and it’s hard not to think of legends like Springsteen and Waits when listening to his work, which I’m sure we can all agree is a very good thing.

Travels well with: Brad Byrd- Where Were You When The World Stopped?; Keith Curtis- Happiness Is Hard

Kendall Street Company

The Year The Earth Stood Still: Inertia

Self-Released, 2021

9/10

Listen The Year The Earth Stood Still: Inertia

The Charlottesville, Virginia outfit Kendall Street Company return with the second half of their double album The Year The Earth Stood Still, and while Ninurta, the first portion, was more of an instrumental-pop and ambient focused affair, Inertia brings us an exploratory space opera.

“Home & Garden” starts the listen with a dense beat as warmth and mystery enter alongside the deep, inviting vocals, and “Livin’ On The Bone” follows with soft melodies that point towards much earlier decades amid soulful song craft.

in the middle, “Say Hey!” gets vocally more firm as bluesy guitars enter the breezy, tuneful climate, while “Kenny J” brings a dreamy, nearly prog-like delivery that’s without vocals and glides along with an unpredictable nature. “Sunbeams”, one of the album’s best, then recruits well timed brass and graceful keys for a playful jazz album highlight.

“Underneath The Summer Sun”, another strong track, then radiates cautiously with a charming, hypnotic instrumental, and “Return Of The Pink Flying Saucer” exits the listen with a driving, cinematic quality of intricate drumming and shimmering guitar work as the landscape unfolds with precision and control.

It’s really hard to tell if Kendall Street Company are a jam band, a prog-rock band or just some form of indie-rock, but that’s a big part of their allure, as they document a very rare and flourishing chemistry across these 9 tracks that just begs to be heard live.

Travels well with: Kendall Street Company- The Year The Earth Stood Still: Ninurta; Sirr- Space

The Mighty One

Torch Of Rock And Roll

Self-Released, 2021

8/10

Listen to Torch Of Rock And Roll

A hard hitting outfit from Vancouver, Canada that’s led by Tim Steinruck, The Mighty One is now home to drummer Gabriel Bob Wagner and bassist Gustavo Valderrama, too, and together the trio illuminate all the hallmarks of hard rock that we will never tire of.

“Coming On” starts the listen with some atmosphere and chanting before bursting into thick riffs and furious drumming as powerful singing enters the heavy, grungy climate, and the title track follows with swirling guitar work, calmer moments of beauty, and bouts of booming hard rock.

Entering the middle, the rhythmic “Disrupter” flows with a contagious energy that displays incredible drumming and plenty of grit, while “Burden” trims the pace back with a reflective tone in the soaring, even dreamy landscape. “Master Of Reality” then brings the intensity back with firm chugging amid light and dark textures that are so large, they could fill arenas.

Landing near the end, “Kickin’ Stones” leads with warm piano before building into an anthemic and giant fusion of sturdy, dynamic rock, and “When This Is Over” exits the listen with a swift buzzing version of alt-rock, metal and even subtle post-hardcore.

Steinruck’s musical career is a lengthy and esteemed one that even involves signing a record deal with Paul Stanley way back in 1989. He’s been refining his skills ever since, and, as evidenced by this exceptional album, is doing his best work yet.

Travels well with: Because Villains- Yes; The Guilty Lenses- Somewhat Romance, Somewhat Poetry

Loadbang

Plays Well With Others

New Focus, 2021

9/10

Listen to Plays Well With Others

On their 3rd release for the New Focus label, loadbang. i.e. Jeff Gavett (baritone), Andew Kozar (trumpet), William Lang (trombone) and Adrian Sandi (clarinet) are in the company of a string ensemble as they interpret the works of 5 different composers on this very distinct and compelling listen.

Taylor Brook’s “Tarantism” starts the listen with a setting that goes back to the 16th and 17th century, where Gavett’s narration suits the dissonance, abrupt strings and atypical harmonics, and this creativity continues to the playfully ambient and odd electronics of “Riven”, where the 11 minutes shifts with timbre manipulation in the Heather Stebbins composition.

In the middle, Eve Beglarian’s “You See Where This Is Going” pairs plucky strings with bright clarinet amid soaring baritone vocals, while “mo(nu)ment for C/Palimpsest” turns repetition into a refined art form as quivering instrumentation and unpredictable vocal gestures provide much intrigue.

Approaching the end, “CVS”, by Scott Wollschleger, offers a meditative quality, where he addresses how information is distributed, and allows the strategic minimalism to convey this, and “Such Is Now The Necessity” exits the listen with the most dense track, where sublime layering and charming reverb accent Gavett’s vocal acrobatics.

These New York City innovators have been plugging away since 2008, and Plays Well With Others sees them continuing their atypical version of contemporary ensemble dynamics with unparalleled meticulousness and a vision that few others will ever be able to replicate.

Travels well with: Borderlands Ensemble- The Space In Which To See; Michael Compitello- Unsnared Drum

Various Artists

Sacred Soul Of North Carolina

Bible & Tire, 2021

9/10

Listen to Sacred Soul Of North Carolina

A collection of tunes that were spawned when Tim Duffy (of the Music Maker Foundation) took Bible & Tire head honcho Bruce Watson out to rural Eastern North Carolina to submerge themselves in sacred soul music. The experience left such an impression on Watson, that he actually came back with an album and a forthcoming documentary to accompany it.

Dedicated Men Of Zion start the listen with a pair of tunes that illustrate their very soulful and bluesy song craft as many vocalists, organ and guitars meet with a powerful spirit, and “The Glorifying Vines Sisters” follows with plenty of gospel flavor alongside a firm beat as the females harmonize with much beauty.

Further on, Big James Barrett & The Golden Jubilees bring their dense bass and strategic backing vocals to two groove friendly contributions, while Faith & Harmony offers some of the fullest tunes, where R&B nods flow alongside the bouncy melodies.

Deeper cuts highlight Bishop Albert Harrison & The Gospel Tones, whose call and response tactics make an indelible impression, and Little Willie & The Fantastic Spiritualaires bring grit and energy to the body shakin’ climate. Very tragically, Little Willie passed away recently, and his playful song craft is documented superbly here. Melody Harper exits the listen with a stunning, a cappella version of “Amazing Grace”, where each note is delivered with much emotion and skill that resonates so much poise.

All but 4 of these tracks are previously unreleased, but for most of us, they’re all new to our ears, and will be frequently visited as these rural rooted blues, funk, gospel and soul anthems immediately draw us in to the genuine, timeless and moving nature of each exceptional song.

Travels well with: Dedicated Men Of Zion- Can’t Turn Me Around; Wilburt Lee Reliford- Seems Like A Dream

Joe Tullos

Vessels

Big Sun, 2021

9/10

Listen to Vessels

Making an album during the pandemic was no easy task, but veteran musician Joe Tullos also did it when he was battling cancer, which he would succumb to in November 2020. His final wish was to have this body of work finished, and his friend and producer Michael Paz helps document this swan song from one of the most interesting humans who has ever lived.

“And Anna So Blew” starts the listen with a breezy and even mysterious backdrop of varied sounds that span rock, pop and even prog, and “Amazing Me” follows with warm keys and Tullos’ comforting pipes working together amid much calm melody.

Approaching the middle, “I Seen It Coming Down” recruits fiddle and some Cajun nods to the rootsy climate, while “Lilly” brings a soulful quality to the poetic delivery. “Only Love”, one of the album’s best, then displays Tullos’ soaring vocals alongside a punchy and rhythmic display of fuller, folk friendly sounds.

“Flash Of Darkness” arrives near the end, and mixes graceful piano with a unique brand of Americana, and “Next Town” exits the listen in piano balladry, where eloquent music and brilliant lyricism point towards a sage like presence.

The cover photo is the actual sphere that Tullos had his ashes put into, and that were placed in the ocean off of North Carolina and swept into the Gulf of Mexico. Tullos chose to record music rather than go through the rigmarole of treatment, and along with his bandmates in his previous band, Big Sun, he leaves us with full rockers, sublime intimacy and, of course, his inimitable and profound storytelling that illustrates a life very well lived and one that will never be forgotten.

Travels well with: Rick Holmstrom- See The Light; Claire Kelly- The Scenic Route

Roland Tempelaar

New York Chapter

Self-Released, 2021

8/10

Listen to New York Chapter

The esteemed pianist and composer Roland Tempelaar brings Myles Sloniker and his bass, as well as Pete Van Nostrand’s drums, to these very well executed mix of originals and standards.

“Beatrice” starts the listen with 5 minutes of elegant keys as restrained drumming and softly plucked bass add much warmth to the timeless jazz opener, and “Slow Hot Wind” follows with a more firm approach that brings much beauty and calm melody as the strategic bass playing is nothing short of fascinating.

“Tenderly” lands at the halfway point and provides a platform for Tempelaar’s sublime keys to shine, while “Invitation” welcomes shuffling drumming to the frisky, dance floor friendly album highlight. “Like Someone In Love”, another exceptional track, then has the trio working together dynamically in the playful, upbeat and indeed romantic climate.

“To Chicago” and “Misty” exit the listen, where the former bops charmingly amid a bass solo you won’t soon forget, and “Misty” finishes the listen in a dreamy state, where Tempelaar, Sloniker and Van Nostrand put their inimitable stamp on the classic.

A scientist by day and a jazz club performer by night, Tempelaar shows much diversity and skill on this debut album, and, along with Sloniker and Van Nostrand, turns in a first rate debut that’s hopefully a precursor to much more song craft on the horizon.

Travels well with: Victor Gould- In Our Time; Lukasz Pawlik- Long-Distance Connections

Tom Rodwell

Wood & Waste

Fireplace, 2021

9/10

Listen to Wood & Waste

A guitar player who’s making a crossover career as a blues artist, New Zealand’s Tom Rodwell takes up company with Chris O’Connor (drums, percussion) and Jeff Henderson (marching bass drum), as well as some guests on this very diverse and cautious 9 track album.

“Don’t Be A Fugitive All Your Life” starts the listen with firm drumming as Rodwell’s soulful, expressive vocals suit the rhythm and blues that even touches on gospel nods, and “Keep On Knockin’” follows with a retro rock’n’roll spirit amid a tinge of psychedelia as a warm haze covers the inviting climate.

“Carry On” lands in the middle, and benefits from Coco Davis’ harmony vocals in the slow burning display of poetic beauty, while “Touch Me Like A Teddybear” is a fuller display of soaring blues ideas where intricate guitar work and thumping drums make a large impression. “Small Town” then recruits a firm beat as charming bass lines populate the funky flavor where Phil Dryson contributes phased strat.

The last two tracks, “Make Believe” and “Dead End Road”, don’t disappoint either, where the former offers breezy melodies that has Rodwell channeling his inner Brian Wilson, and the latter exits with an ambient and mysterious display of carefully textured creativity.

Though Henderson and O’Connor are most known for their work in the area of jazz, here they’re on board for a very eclectic experience that was recorded completely analog with no digital conversion at any point. Certainly atypical and not fitting into any easy classification, Rodwell’s iconoclastic vision of Calypso tinted and psyche-friendly blues rock makes for a captivating body of work.

Travels well with: Laura Mihalka- Feels Electric; Jon Byrd- Me & Paul

Bonsai Universe

Too Many Ghosts

Self-Released, 2019

8/10

Listen to Too Many Ghosts

The accomplished musician Woody Aplanlap returns with another installment under the Bonsai Universe moniker, and, much 2017’s Moonstream, it defies classification in all the best ways.

“It’s A Shame” starts the listen with quirky, bluesy psychedelia mixed with fuzzy, classic rock feelings, and “Beepsy” follows with an eccentric electro-pop setting.

A listen where no 2 tracks sound that much alike, “Altadena” offers hazy bedroom pop ideas, while “Crumbs” brings funk fun to the equation. “Spanish Lady”, one of the album’s most bare but impressive tunes, recruits folky acoustic guitar prowess for a surprisingly sparse highlight.

Near the end, the busy “Long Long Time” is a feisty garage rocker, and “Drunk Firefly” gets weird with video game type noises in the fleeting instrumental. “My Little Corner Of The World” exits the sophomore album with vocals from Liela Avila on the charming, almost kid friendly, psych-pop version of the classic love song.

Aplanlap has already worked alongside Lauryn Hill and Nels Cline, among others, and on his own he brings us back to the ‘60s and ‘70s with his dreamy formula where legends like Pink Floyd and Neil Young come to mind, although blurred into the unique vision that is Bonsai Universe.

Travels well with: The Flaming Lips- King’s Mouth; Of Montreal- White Relic/Irrealis Mood