Stacy Garrop

Invictus

Cedille, 2026

9/10

Listen to Invictus

Stacy Garrop’s piano concerto, Invictus, is fleshed out by Marta Aznavoorian and the Chicago Philharmonic, where the conductor Scott Speck guides the 6 detailed selections.

“Out Of The Night That Covers Me” opens with Aznavoorian’s rumbling keys before the harmonic quality enters amid light percussion and plenty of ambience, and “Black As The Pit From Pole To Pole” follows with dense keys and loud drumming, as tense strings surround the cinematic mood.

Halfway through, “Thank Whatever Gods May Be” flows in and out of textured waves that use percussion, keys and winds strategically, while “Interlude” emits intimacy from Aznavoorian’s fingers via the warm and sometimes firm performance.

Coming in near the end, “For My Unconquerable Soul” spends 9+ minutes mesmerizing us with its mysterious nature and animated winds, and “Joie De Vivre” exits with focus on the lively piano progressions that are heartfelt and emotive.

The project is structured around the first 4 lines of William Ernest Henley’s iconic poem of the same name, before the last 2 movements links the themes, and it showcases Aznavoorian’s inimitable playing alongside incredible dynamics from the Chicago Philharmonic.

Travels well with: Stacy Garrop- Oratorio Terra Nostra; Flutronix- Black Being

Terry Riley

The Holy Liftoff

Sono Luminus, 2026

9/10

Listen to The Holy Liftoff

The legendary composer Terry Riley see his work fleshed out by Claire Chase’s flute and the Jack Quartet, where Samuel Clay Birmaher’s realization unfolds in 60 minutes.

“The Holy Liftoff Chorale” opens with the warm flute emitting much grace amid the gripping strings, and it isn’t long until “Hymn” brings a light melody to the quick duration of sophistication.

Further along, “Parked Between Two Cloud” radiates a distinct intimacy in a nearly soothing manner, while “C Major Ishi” blends the colorful wind with the quartet’s dynamic string interaction.

Close to the end, “The Realm Of The Silver Balloons” moves minimally with a very calm demeanor, and “Escape” exits with a cinematic presence that allows for the manipulated strings and ambient flute to leave an indelible impression.

This installment is Chase’s 11th segment of her incredible, 24 year Density 2036 project, and it embraces classical and chamber ideas that unfold with an experimental presence which makes great use of Christopher Otto (violin), John Pickford Richards, (viola), Austin Wulliman (violin) and Jay Campbell (cello), i.e. Jack Quartet, superbly.

Travels well with: Elizabeth Newkirk- The Americanist!; Nicholas Finch- Cellostatus

Janna Critz & Arash Noori

I Saw My Lady Weepe

Acis, 2026

9/10

Listen to I Saw My Lady Weepe

Janna Critz’s mezzo-soprano and Arash Noori’s lute are joined by Stephanie Noori’s viola da gamba for these 13 selections that span the entire career of the legendary John Dowland.

“In Darknesse Let Mee Dwell” opens with Critz’s expressive pipes alongside the warm lute, and “The Earle Of Essex, His Galliard” follows with Noori’s melodic playing in the solo climate.

Moving into the middle, “Sorrow, Sorrow, Stay” enlists the viola da gamba via the intimate and touching delivery that allows for the mezzo-soprano to shine, while “Preludium” radiates much grace amid the meticulous lute.

Arriving near the end, “Time Stands Still” offers a poetic and heartfelt moment thanks to the sublime singing and careful lute, and “Solus Cum Sola” exits with a solo Noori piece that’s sophisticated and timeless.

A really well thought out effort, the trio use space, tonality and color with incredible attentiveness that does justice to Dowland’s vision.

Travels well with: Agave- Harmony Unchained; Greg Sandow- Three Quartets

Sophie Wellington

Her Bright Smile Haunts Me Still

Adhyâropa, 2026

9/10

Listen to Her Bright Smile Haunts Me Still

The folk artist and percussive dance star, Sophie Wellington, handles all instruments across these jazz, folk and classically influenced and harmonic 10 songs.

“Scolding Wife” starts with the warm guitar playing and Wellington’s playful percussive ideas amid the melodic climate, and “Shacks And Chalets” follows with the intimate singing alongside cozy guitar that aligns with a mountain-esque spirit.

“Jack Of Diamonds” occupies the middle spot and radiates much grace thanks to the meticulous guitar progressions, while “Shirt Of Lace” offers a poetic mood that’s pretty and heartfelt.

Near the end, “Black Pats Peel” moves with a technical delivery that’s light and mesmerizing, and the title track exits with gentle singing and emotive guitar which is stirring and eloquent.

A record with plenty of Appalachia influence, Wellington puts a fresh coat of paint on some really old songs via her singing, dancing and flatpicking approach that uses fiddle sparingly and makes us a fan pretty quick.

Travels well with: Whispering Woods- Cosmic Cliffs; Ezra- Froggy’s Demise

Seamus Blake

The Electrifying Seamus Blake Plays The Music Of Eddie Harris- EH!

Cellar, 2026

9/10

Listen to The Electrifying Seamus Blake Plays The Music Of Eddie Harris- EH!

The multi-instrumentalist Seamus Blake is joined by an all star cast for these 7 dynamic tunes that pay tribute to Eddie Harris.

“Compared To What” opens with no lack of grooves, where Tim Lefebvre’s playful bass aligns with Blake’s soulful voice, and “Listen Here” follows with Blake’s lively tenor sax and Sam Yahel’s frisky keys making an impression.

In the middle, “Mean Greens” benefits from Corey Fonville’s agile drumming in a calmer mood that builds into a busy and intricate album highlight, while “Come Dance With Me” puts Dawn Pemberton on vocals for the the rhythmic climate that enlists a meticulous rhythm section and animated EWI.

“Funkorama” and “Illusionary Dreams” exit the record. The former certainly brings funk to the stylish jazz template, and the latter showcases group vocals that blends the keys, bass, drum, sax and EWI into a precise balance of softness and busy bouts.

Somewhere between jazz, rock and experimental ideas, Blake and company use a technical and spontaneous approach that certainly does justice to Harris’ legacy.

Travels well with: Miggy Augmented Orchestra- Unbreakable Hope & Resilience; Lakecia Benjamin- We Dream

Agave

Harmony Unchained

Acis, 2026

10/10

Listen to Harmony Unchained

The ensemble Agave return with 9 detailed pieces, where their always impressive skills unfold across Biber, Schmelzer and the 17th- century avant-garde.

“Sonatae tam aris, quam aulis servientes: IV. Sonata a 5 in C Major, C. 117” opens with the graceful violins and Kris Kwapis’ bright baroque trumpet illuminating the fluid climate, and “Harmonia artificioso-ariosa: Partia I in D Minor, C.62” follows with Katherine Kyme’s viola and William Skeen’s violoncello adding much richness to the dynamic delivery.

“Armonico Tributo: Sonata No. 2 in G minor” arrives in the middle and radiates much intimacy, where Henry Lebedinsky’s soothing organ won’t go unnoticed, while “Sonata a 5 in C major” offers an animated moment via the colorful horn and Anna Marsh’s well timed dulcian.

Arriving later, “Harmonia artificioso-ariosa, Partia III in A Major, C 64” makes great use of Aaron Westman and Anna Washburn’s intricate violins amid much ambience, and Pavel Josef Vejvanovsky’s “Sonata a 4” exits with a calm but no less impactful mood of warmth and melody.

Agave direct their vision towards the courts and cathedrals of the Holy Roman Empire and its seat of power, Vienna, with this body of work, and the result is an attentive and captivating performance, not unlike everything they’ve done already.

Travels well with: Greg Sandow- Three Quartets; Natalie Draper/Anne Laver- Interlaced

Greg Sandow/Terra String Quartet

Three Quartets

Acis, 2026

9/10

Listen to Three Quartets

The composer and critic Greg Sandow enlists the esteemed Terra String Quartet for a trio of pieces that are nothing short of meticulous.

The heartfelt and graceful “Quartet For Anne” opens with Audrey Chen’s lovely cello interacting intimately with the violins and cello, and “The Remembered Song” follows with percussive sounds before the tense viola from Chih-Ta Chen enters the cinematic bursts and balancing of softness and firmness.

“Mahler Variations” exits, and it’s a 26+ minute piece where Harriet Langley and Amelia Dietrich’s meticulous violins radiate much emotion, as the chapters become animated, bouncy and even ominous.

The album was captured at the Dekelboum Concert Hall, Clarice Smith Performing Arts Center, University of Maryland on January 21–23, 2025, where the quartet’s incredible chemistry illuminates Sandow’s vision of classical music superbly.

Travels well with: Natalie Draper/Anne Laver- Interlaced; Reena Esmail- Exaltations

Natalie Draper/Anne Laver

Interlaced

Acis, 2026

9/10

Listen to Interlaced

Natalie Draper’s composing and Anne Laver’s organ are joined by strings, brass and vocals for these involved and timeless pieces.

The warm title track opens with William Knuth’s meticulous violin alongside Laver’s glowing keys, and “Pattern Dances” follows with 5 chapters that radiate grace, playfulness and a soothing quality thanks to the elegant strings and moody keys.

In the middle, Heather Buchman’s deep trombone helps add a cinematic quality to the cautiousness “Out Of The Depths”, while “A Study In Breathing” recruits sopranos and Katherine Suzanne Weber’s mezzo-soprano for the tonally vibrant and powerful album highlight.

“Joyful Canons” lands late, and showcases Laver’s intricate organ playing that’s got a melodic backdrop, and “Cloths Of Heaven” exits with soprano voices and the Hendricks Chapel Choir of Syracuse University merging for a dreamy and harmonic finish.

An exciting collaboration where each piece brings new textures to the table, Draper and Laver’s inimitable talents are illustrated with unparalleled attention to color and timbre.

Travels well with: Reena Esmail- Exaltations; Susanna Mendlow- Travels With Cello

Grant Farm

Broke In Two

Grant Central, 2019

8/10

Listen to Broke In Two

The quartet Grant Farm, spearheaded by Tyler Grant, have found a very unique place to reside somewhere between country, rock’n’roll, bluegrass and folk music. Now with keyboardist/singer Kevin McHugh added to their esteemed line up, Broke In Two has the outfit at a career high with inimitable songwriting prowess on this lengthy and detailed 5th album.

“Morning Train” starts the listen with playful gospel feelings and jam band stylings, and “The Golden Charioteer” follows with a dreamy, psyche-rock setting. “Arjuna The Believer” then brings us to quick paced Americana shuffling, while “Forward On” unfolds with lush, retro-rock that’s impossible not to enjoy.

The second half excels with the rhythmic atmosphere of “Nester”, the howling, bluesy guitars of “Love And Pain”, where crashing percussion and solos invade the tune, and the soft, folky keys of “Tumbleweed”, as spirited guitar licks really complement the affair. The album ends on the organ fun of “Broke in Two”, where melodic vocals and a hazy setting span 10 minutes of dynamic interplay between the 4 artists, who all bring their respective talents to the exit.

Forging a sound sometimes referred to as ‘Cosmic Americana’, Grant Farm’s arsenal of sounds keeps the listener constantly surprised and awed by their seemingly endless ideas and boundless talent. If you haven’t joined the ‘farmily’ of admirers yet, Broke in Two would be a fine introduction.

Travels well with: Ryan Adams & The Cardinals- Cold Roses; The Grateful Dead- American Beauty