Ashley Locheed & Chris Rottmayer

So In Love

Timucua Arts, 2020

8/10

Listen to So In Love

The esteemed jazz pianist, composer, vibraphonist and educator Chris Rottmayer is aligned with the vocalist, bandleader and recording artist Ashley Locheed here, as the pair put a very well done spin on standards and pop tunes with the help of Chuck Archard on electric bass, and Keith Wilson behind the drum it.

The title track starts the listen with mysterious percussion from Wilson and warm keys from Rottmayer, as Archard’s throbbing bass complements Locheed’s soaring, expressive pipes guiding the Latin influenced jazz template, and “Agua de Beber” follows with a playful approach of vocal scatting alongside eloquent wordplay where some mild pop melodies enter the memorable landscape.

Near the middle, “I Love Paris” is a dip into calm, ballad territory, as Locheed’s singing is on full display and builds into a bouncy album highlight, while “Something So Right” place Rottmayer’s proficient piano work on focus amid an elegant and precise adventure.

Closer to the end, “Sailing”, the album standout, then weaves the keys and drums around each other charmingly as Locheed shows us her vocal range on an exceptional version of the Christopher Cross classic, and “La Vie en Rose” is a close 2nd for the highlight as the firm drumbeat and universal approach is as timeless as it is mesmerizing. The final track is another version of “So In Love”, and this time it’s a more swing friendly rendition that finishes the listen as strong as it started.

An album that’s both intimate and worldly, there’s no shortage of sublime solos to be found here, as all participants turn in a top notch performance of tunes most of us have heard before, but never quite like this.

Travels well with: Matt DeMerritt- Fool’s Journey; Sue Anne Gershenzon- You Must Believe In Spring

Brian Cullman

Winter Clothes

Sunnyside, 2020

9/10

Listen to Winter Clothes

A man of many talents, the New York City artist Brian Cullman is an esteemed writer, musician and producer, and here he collaborates with Jimi Zhivago across a handful of tunes they worked on tirelessly and recorded live with players from The Lumineers, Ry Cooder and Martin Walker, among others.

Cullman starts the listen with the firm acoustic strumming and smooth singing of “Killing The Dead”, which isn’t an ominous as it seems, as groove friendly folk-rock ideas enter the well timed, cinematic drumming, and “Down Down Down” follows with an adventurous spirit of lush and well thought out swamp rock fun.

There’s 10 tracks here and not a dud in the bunch, including the bare but impactful bluesy ballad “Someday Miss You”, as well as the warm and intricate “New Year’s Eve”, where a saxophone adds much to the climate. Elsewhere, “Sleep It Off” shuffles with a vibrant display of retro rock’n’roll as vivid keys sound like it could have been penned in any decade since the ‘60s.

Close to the end, “Wrong Girl” flows with some Americana quality as Cullman’s vocals soar with a breezy appeal, and “Building” exits the listen with a slow burner containing plenty of atmosphere and a dreaminess amid some haunting ideas.

An exceptional effort where no two songs resemble each other that much, Cullman and company deliver mature, rhythmic and varied forms of folk on this exciting and timeless recording.

Travels well with: The Jayhawks- XOXO; The Long Ryders- Psychedelic Country Soul

Matt DeMerritt

Fool’s Journey

Self-Released, 2020

8/10

Listen to Fool’s Journey

Matt DeMerritt has had a lengthy and substantial career, which actually started when he was gigging while still in high school. He honed his saxophone skills during college, and began playing on albums right after, eventually settling down in Los Angeles. Now, having played on over 75 recordings, here DeMerritt makes his debut as bandleader, where friends from bands like Tenacious D, Kneebody and Wayne Kramer, among others, are in attendance.

“Zero Intro” opens the listen with much attention to mood as a flurry of brass and drums from Brock Avery sets the mood quickly, and the nature-esque “Wellspring” follows with expressive wordless vocals from Suzy Williams, where lively percussion from Davey Chegwidden and Kaveh Rastegar’s proficient bass populate the playful spirit.

Deeper into the listen, “Loner’s Waltz” makes the most of DeMerritt’s elegant flute prowess, while “Limbo” spends 8 minutes with trumpet from Jamelle Adisa to help flesh out the soulful jazz climate. “Lunedi”, an album standout, then recruits piano acrobatics from Sam Barsh as DeMerritt anchors the calculated chaos.

Near the end, “Earth (Joe Henderson)” uses Tablas strategically and “Zero Outro” finishes much like how the album started- adventurous, a bit progressive and highly unpredictable.

As to be expected considering his fine work as a sideman, DeMerritt hits it out of the park on his first time at the helm, where his varied and easily enjoyable version of jazz flows with engaging, timeless precision.

Travels well with: The Moore-McColl Jazz Society- Electric Fantastic; Kenny Kotwitz & The LA.Jazz Quintet- When Lights Are Low

The Dillards

Old Road New Again

Pinecastle, 2020

8/10

Listen to Old Road New Again

The folk-rock legends The Dillards return with their first new music since 1991, and they make it worth the wait where Rodney Dillard, George Giddens, Beverly Cotten-Dillard, Tony Wray, and Gary Smith are accompanied by some heavy hitting guests across their country and bluegrass ways.

“Earthman” starts the listen with warm strings as soothing vocal harmonies enter the cautious landscape, and “Save The Last Dance For Me” follows with a playful and upbeat approach as Sharon and Cheryl White contribute stunning harmony vocals.

Near the middle, “Funky Ole Hen” benefits much from Tim Crouch’s fiddle as a more forceful bluegrass emerges with much melody, while the indeed sweet “Sweet Companion” features Sam Bush on mandolin as the Dillard’s harmonize with seeming ease. “Tearing Our Liberty Down”, an album standout, then brings Ricky Skaggs into the mix on the quintessential country influenced bluegrass setting.

The last two songs resonate well, too, and include Don Henley’s precise contributions of the highly rhythmic “Old Road New Again”, and “Take Me Along For The Ride” exits the listen with string acrobatics and raw yet tuneful vocals from Rodney’s soulful pipes.

The Dillards have an impressive career that goes back to the ‘60s, and this strong album proves that their talent and passion hasn’t waned one bit as Old Road New Again is packed full of proficient and timeless song craft.

Travels well with: Robert Hale- Blue Haze; Lindley Creek- Freedom, Love And The Open Road

The Michael O'Neill Quartet

And Then It Rained

Jazzmo, 2020

8/10

Listen to And Then It Rained

On this 5th album, Michael O’Neill, a San Francisco Bay Area jazz regular, omits vocals, where all original tunes are fleshed out with Michael Bluestein holding down piano, Dan Feiszli on bass and Jason Lewis behind the drum kit. O’Neill brings tenor, alto, and soprano saxophone, as well as clarinet to the very technical effort.

“Port Of Spain” starts the listen with gorgeous interplay between piano and soprano saxophone with plenty of swing appeal, and “Emerging Impressions” follows with a cautious display of timeless jazz as Bluestein delivers an impressive solo amid the creative balladry.

Further on, “Cloudscape” offers subtle but precise drumming from Lewis as the melodies flow from O’Neill’s brass, while “And Then It Rained” benefits greatly from a cello-like melody played on Feiszli’s bass, as soprano sax highlights the mood well. “Song For Mama Bear”, one of the best of the best, then recruits clarinet as a tribute to Pegi Brandley unfolds with precision and beauty.

“Suite Iris” and “The Dreams We Left Behind” finish the listen, where the former moves swiftly with frisky percussion and no shortage of elegant rhythm, and the later glides gently with much emotion as the song was written following a failed relationship.

Not only is this O’Neill’s first instrumental record, but it’s also his first with all compositions he penned. If this happens to be his trend moving forward, you won’t hear any complaints from me and he and the band deliver one memorable jazz tune after another on And Then In Rained.

Travels well with: Charles Lloyd & The Marvels + Lucinda Williams- Vanished Gardens; The Nel Cline 4- Currents, Constellations

Robert Hale With The 8th Wonder Band

Blue Haze

Pinecastle, 2020

8/10

Listen to Blue Haze

Robert Haze aligns himself with The 8th Wonder Band on this adventurous outing, where they take some massive hits of the past and rebuild them with a bluegrass template that was clearly very fun to make, and just as enjoyable to hear.

“Help!” starts the listen with Hale putting a playful bluegrass spin on The Beatles tune with flowing string acrobatics, and “It’s All Over Now”, popularized by The Rolling Stones, recruits strong vocal harmonies amid precise finger pickin’.

Elsewhere, Jerry Jeff Walker’s “Mr. Bojangles” trims the pace back with soothing rural harmonies, while the traditional “House Of The Rising Sun”, which has been covered countless times, sees a sublime mountain spirit injected that you’re not likely to hear anywhere else.

Near the end, Clapton’s “The Shape You’re In” is a frisky and highly rhythmic display of bluegrass beauty, and “Riding The Storm Out” is a cautious and precise interpretation of the REO Speedwagon classic where strong chemistry between the players exists.

Hale handles guitar and vocals here, and his band includes Scott Vestal (banjo), Missy Raines (bass), Shawn Lane (fiddle) and Chris Davis (mandolin). Certainly a novelty album, let’s hope this isn’t the only covers album they plan on releasing, cause hearing these tunes in this manner brings us all a new appreciation of their timelessness.

Travels well with: Lindley Creek- Freedom, Love And The Open Road; Lorraine Jordan & Carolina Road- Bill Monroe’s Ol’ Mandolin

David Sills

Natural Lines

Gut String, 2020

8/10

Listen to Natural Lines

The Los Angeles reed specialist David Sills is in fine company here, as Larry Koonse, Mike Scott, Blake White and Tim Pleasant lend their talents on this 17th album as leader for Sills, where influences from legends like Stan Getz and Joe Henderson invade the highly intricate and very stylish execution.

“Minor Monk” starts the listen with elegant and fluid musicianship where Sills’ prowess flows well alongside Scott’s impressive guitar lines, and “Sync Or Swim” follows with no shortage of rhythm as Pleasant anchors the tune with proficient drumming in the jazz fueled setting.

In the middle, “Foggy Daze” swings playfully, and dances around with frisky interplay between the musicians, while “Mellow Stone” moves with a more restrained quality as blues ideas enter the atmosphere. “Nardis”, an album standout, then has Sills on alto flute as the climate builds into an unpredictable, quivering delivery where White’s plucked bass impresses.

Close to the end, “Outside Corner” is a jumpy, groove filled display of varied skill, and the aptly “Interplay” exits the listen with each player showcasing their respective talent on the Bill Evans original.

An accomplished outing that doesn’t shy away from solos, admirers of jazz- old and new- will find much to enjoy across this splendid mix of originals and covers as Sills and company weave seamlessly from track to track.

Travels well with: Kenny Washington- What’s The Hurry; Susan Tobocman- Touch & Go

Brennen Leigh

Prairie Love Letter

Self-Released, 2020

8/10

Listen to Prairie Love Letter

The songstress Brennen Leigh pens an album about the state line between Minnesota and North Dakota, where she’s from, and she’s brought along the always impressive Robbie Fulks, among others, to help flesh out the thoughtful, articulate song craft.

“Don’t You Know I’m From Here” starts the listen with exceptional guitar from Fulks, as mandolin from Paul Kramer and Jenee Fleenor’s fiddle complement Leigh’s expressive and sincere vocals, and this warm formula continues to the timeless Americana of “Billy & Beau”, where harmony vocals add even more beauty.

At the halfway point, “Little Blue Eyed Dog” picks up the pace with Alison Brown’s banjo fueling the dance friendly, country rocker, while “I Love The Lonesome Prairie” offers a gentle duet where Leigh’s soaring pipes are on full display alongside her elegant acoustic guitar that could soundtrack a campfire. “Elizabeth, Minnesota”, a particularly memorable tune, then recruits intricate picking amid Pete Finney’s sublime pedal steel where jazz ideas are in attendance.

Near the end, “You Ain’t Laying No Pipeline” is a playful, busy roots rocker, and “Outside The Jurisdiction Of Man” exits the listen emotive and bare, where Kaitlyn Raitz’s cello makes an impression in the reflective climate.

Essentially a love letter to her rural upbringing, even if you’ve lived an urban life, Leigh and company will still resonate with their eloquent storytelling and sublime, organic instrumentation that sounds as great today as it will 50 years from now.

Travels well with: Jesse Dayton- The Outsider; Karen Jonas- The Southwest Sky And Other Dreams

Sabertooth Swing

Songs Of Future Past

Slammin, 2020

8/10

Listen to Songs Of Future Past

A born and raised New Orleans outfit, Sabertooth Swing bring all the hallmarks of their city to thriving swing jazz sensibilities. On this outing, the band take a different route, as the impetus for the record stemmed from a show Sabertooth Swing played a dance in a local juke joint that involved a set with a slower pace.

“Frankie & Johnny” starts the album steeped in rich New Orleans jazz, where guest sax from Seth Bailing adds much to the playful and vibrant setting that’s not short on grooves, and “Blue Skies” follows with soulful vocals from Dan Ruch as Ryan Hanseler guests on piano and Robert Montgomery pulls of an incredible drum performance.

The back half of the album is just as much fun, and includes the cautious yet adventurous “Chocolate Jesus”, where they deliver a very bluesy interpretation of the Tom Waits tune, while “Lawn Boy” weaves pretty, emotive textures in the Phish original that’s reinvented in a new light. “Atlanta Blues” exits the listen and is the only vocal-less track, though with the dynamic horn section present words are unnecessary.

An extremely versatile group whose members are well versed in folk, bluegrass, New Wave and reggae, Sabertooth Swing are nothing if not varied, and this outing puts some new ideas on old tunes that you’ll want to revisit again and again.

Travels well with: Preservation Hall Jazz Band- That’s it!; Kermit Ruffins- We Partyin’ Traditional Style!

Victoria Bailey

Jesus, Red Wine & Patsy Cline

Rock Ridge, 2020

8/10

Listen to Jesus, Red Wine & Patsy Cline

A Southern California singer-songwriter who channels the spirit of legends like Patsy Cline and Emmylou Harris, Victoria Bailey might be a youngster, but she delivers like a seasoned vet on these timeless country tunes where gospel and blues also enter the equation.

“Honky Tonk Woman” starts the listen with Bailey’s strong, soaring pipes on a classic country tune dripping with twangy melody, and “The Beginning” follows with a smooth, warm Americana setting where Bailey’s pipes sound wise beyond her years.

Elsewhere, “Homegrown Roots” shuffles playfully with a danceable spirit that’s instantly memorable, while “Tennessee”, the lone cover, is indebted to old school country flavor with sublime musicianship that pays tribute to Johnny Cash with much beauty.

“Skid Row” and “Travelin’ Kind” bookend the listen, where the former bounces playfully with piano amid upbeat, rootsy swagger, and the latter resides closer to balladry with aching pedal steel complementing Bailey’s sublime pipes.

Bailey’s got an all star cast of players on hand here, including Eric Roebuck (lead guitar), Ian Foreman (drums), Billy Mohler (bass), Phillip Glenn (fiddle, mandolin), Elijah Peters (Harmonica), and Elizabeth Chavez/Cole Syverson (strings), and together they help illuminate the songstresses sharp, eloquent and relatable song craft that anyone with an ear for the early days of country will be enamored with.

Travels well with: Mary Bragg- Violets As Camouflage; Meghan Hayes- Seen Enough Leavers

The Persian Leaps

Smiling Lessons

Land Ski, 2020

9/10

Listen to Smiling Lessons

A St. Paul, Minnesota duo who are as prolific as they are exceptional, The Persian Leaps return with 7 new tunes of their indie-rock meets power-pop hybrid that recruits traces of post-punk, Brit-rock and even New Wave amid their highly melodic approach.

“PRN” starts the listen with power-pop strumming, bright melodies and a crisp, playful delivery, and “Chamberlin” continues the fun with some crunchy guitar work alongside some nods to ‘90s alt-rock

Elsewhere, “Lost Cause” moves swiftly while channeling the spirit of Elvis Costello with a punchy, jangly feel, while “Spoon-Fed” is pure melody and power that’s syrupy sweet but with a bit of grit, too. “The Entertainer” exits the listen on a high note, where the their brand of indie-rock flows with a timeless, energetic spirit.

Now consisting of just Drew Forsberg (vocals, guitars, keys, drum programming) and Jon Hunt (bass, vocals), The Persian Leaps are entirely a studio band at this point, and, as long as they keep pumping out guitar driven rock of this caliber, no one should have a problem with that.

Travels well with: Sugar Stems- Only Come Out At Night; Sloan- Commonwealth

Extra Medium Pony

Traffic

Self-Released, 2020

9/10

Listen to Traffic

A Cleveland outfit spearheaded by Rick Spitalsky, who has an impressive resume playing in bands like Dreadful Yawns, Afternoon Naps and Herzog, this 3rd album from Extra Medium Pony resides somewhere between indie, punk, folk, and lo-fi, while never really fitting into any definitive category.

“We Will Watch Them Grow” starts the listen soft, with an organ and smooth vocals from Spitalsky as backing vocals and percussion enter later, and the title track follows with firm guitars alongside playful indie-pop that’s as creative as it is atypical.

Closer to the middle, “Moonlit Floor” moves gently with hushed vocals that sounds like they’re coming through the AM dial, while “Can’t Explain” glides swiftly with a lively beat alongside plenty of rhythm in an indie-rock template. “I Tried”, the album highlight, then recruits harmonicas on a warm and jangly display of folk-influenced fun.

Near the end, “Stupid Teeth” thumps with a retro energy that builds into a quirky, fuzzed out rocker, and “Father Time” exits the listen aglow in acoustic strumming amid frisky modern-rock that we will never tire of.

Self-described as ‘dirty indie-pop’, though Spitalsky has a condition called phobic anxiety and often isn’t comfortable leaving his house, he takes some help with cello, violin, synth and drums on this charming and extremely unique record that will appeal greatly to those who know and appreciate names like Lou Barlow, Doug Martsch, and Ben Gibbard.

Travels well with: The Rentals- Lost In Alphaville; Sebadoh- Harmacy

The Pull Of Autumn

Small Colors

RBM, 2020

9/10

Listen to Small Colors

This 3rd album from the Boston/Rhode Island collective The Pull Of Autumn brings 16 tracks of art-influenced, genre defying sounds where members come from several countries, and the sounds traverse many decades and plenty of textures.

“Bakchalarda” starts the listen with much ambience as glitchy sounds meet wordless vocals in an exciting, experimental landscape, and “Easy” follows with acoustic guitar and deep vocals as an almost New Age backdrop enters the soothing yet playful setting.

Things only get more interesting from here, including the folk-like strumming of “That’s How It’s Always Been”, while “The Stars Or The Jungle” is some variation of avant-garde indie-rock that moves cautiously and unpredictably. “Bored And Lonely”, the album highlight, then brings raspy singing and hand clapping to a campfire meets coffeehouse anthem that jangles in all the right ways.

Near the end, the busy, buzzing “Color” is a droning, fuzzed out rocker that’s got some alt-rock muscle behind it, and “No Day At The Beach” exits the listen calm, with poetic storytelling against the sounds of water in a mysterious, atypical finish.

An extremely original album that embrace post-rock, jazz, and British folk music, to name a few, members of The Pull Of Autumn also play in Johanna’s House Of Glamour, Broken Little Sister and Boyracer, among many others, and their collective skill makes Small Colors a fascinating journey that we’re all better off for experiencing.

Travels well with: Fashion- Stairway To Nowhere; Johanna’s House Of Fashion- As Far As Forever

Lloyd Jones

Tennessee Run

VizzTone, 2020

8/10

Listen to Tennessee Run

The veteran roots artist Lloyd Jones has had an impressive career that includes 7 albums now, countless tours and awards, as well as playing alongside legends like Albert Collins and Charlie Musselwhite. Here, he’s in the company of Kevin McKendree, Delbert McClinton and Teresa James, among many others, across 14 originals that were inspired by the Delbert McClinton ‘Sandy Beaches’ cruise.

Jones starts the listen with the bright horns, warm organ and playful guitar riffs of “You Got Me Good”, and this upbeat tone continues to the percussive strong and bouncy “Me & You”, as well as rollicking keys and danceable rhythm of the honky tonk friendly “I Wish I Could Remember Loving You”.

Closer to the middle, “Turn Me Loose” brings a timeless rock’n’roll spirit to the raw but tuneful setting that sounds like it could have been birthed in the ‘50s, while “That’s All I Want” benefits greatly from a busy display of brass prowess and plenty of festive grooves. “Chicken Bones”, the best of the best, then finds itself in swampy southern blues territory andthat’s as timeless as it is memorable.

Deeper into the record, “Dilly Dally” recruits dynamic chemistry between the talented players on hand, and “Chevrolet Angel” exits the listen soulful, and with a gospel influence amid soaring female backing vocals

Though he lives in Oregon, Jones brings the spirit of Memphis and New Orleans to these lively tracks, and though he might be the most criminally overlooked blues musician of this generation, his name should be synonymous with Gatemouth Brown, Coco Montoya and Joe Louis Walker, who, incidentally, have all covered his songs, which only brings further credibility to the strength of Jones’ song craft.

Travels well with: Andy Watts- Supergroove; JW-Jones- Sonic Departures

Alecia Nugent

The Old Side Of Town

Self-Released, 2020

9/10

Listen to The Old Side Of Town

Although she has made a name for herself playing bluegrass, the ‘Hillbilly Goddess’ Alecia Nugent returns after a 10 year break from music with a country album, where the Louisiana native gets back to her roots across 10 intimate and sometimes heartbreaking tunes.

The title track starts the listen indebted to classic country ideas as Nugent’s soaring pipes guide a warm, pretty landscape, and “I Might Have One Too” follows with soothing balladry as aching pedal steel and expressive singing populate the emotive climate.

At the midpoint, you’ll want to gather up your dancing shoes for the playful shuffling of “Tell Fort Worth I Said Hello”, while “The Other Woman” recruits eloquent piano on the Americana influenced beauty which tells the story of infidelity. “Too Bad You’re No Good”, one of the album’s best, then picks up the pace with string acrobatics alongside a frisky delivery of punchy country rock fun.

Near the end, “I Thought He’d Never Leave” brings the listen back to balladry initially, but then bursts into melodic honky tonk swagger, and the bonus track, “They Don’t Make’em Like My Daddy Anymore”, exits the listen with bluegrass ideas amid the vivid storytelling.

A triumphant return that embraces the many experiences Nugent has sorted through since she left Nashville a decade ago, the songstress finds herself embarking on a new creative chapter with a leap into country sounds, and it’s one we will all be thankful to be a part of.

Travels well with: Sister Sadie- II; Deanie Richardson- Love Hard Work Hard Play Hard

Kevin Keller

The Front Porch Of Heaven

Self-Released, 2020

8/10

Listen to The Front Porch Of Heaven

A veteran ambient composer who possesses an artistic vision that runs parallel to names like Brian Eno or Harold Budd, Kevin Keller’s The Front Porch Of Heaven packs a whole lot of ideas into 6 very versatile tracks.

“Beacon” starts the listen with plenty of atmosphere, as a surreal setting with bare keys and whispers of vocals unfolds as classical ideas meet modern electronica, and “The Forgotten Places” follows with a mysterious quality as the tune becomes soothing alongside keys and strings meshing together.

The back half of the listen offers the spacey and synth friendly “Into The Light”, which wouldn’t be out of place in a sci-fi film, while “The Sky Below” benefits greatly from textured ambience as a guitar adds much to the unpredictable landscape. “Solana” exits the listen cautiously, yet with an adventurous spirit that builds into a lush display of timeless melody and boundless beauty.

An album inspired by a recent brush with death when Keller underwent heart surgery and was on life support, that experience seems to have altered his creative process into even more exciting avenues of his ambient chamber music.

Travels well with: Lusine- The Waiting Room; The Rileys- Way Out Yonder

The Last Shall Be First

The JCR Records Story, Volume One

Bible & Tire, 2020

8/10

Listen to The JCR Record Story

Culled from 170 reels of tape, the Memphis label Bible & Tire unearth gems recorded in the ‘70s here, and select 17 tracks full of sacred soul, gospel grooves and plenty of authentic grit.

“Keep On Pushing”, by The Calvary Nightingales, starts the listen with spirited guitar as soulful vocals enter the gospel rocker where backing vocals illuminate the religious mood, and The Pilgrimairs’ “Father Guide Me, Teach Me” follows with a retro feel as rich singing is met with bluesy rhythm.

Closer to the middle, the stirring female vocals of The Seven Souls highlight the emotive “I Want To Move A Little Higher”, while “Someone Who Cares”, by The Dixie Wonders, moves bare and purposeful, with soaring vocals amid the hymn. “In The Last Day”, one of the album’s best, then recruits playful keys and a call and response vocal strategy that builds into a rowdy rock’n’roll adventure as The Hewlett Sisters impress us.

Near the end, “Too Late Too Late” is a sparse but moving track thanks to The Chose Wonders, and “Sinner Man (What You Gonna Do)” finishes out the listen with The Bible Tones raw but tuneful execution.

Included are very thorough liner notes from music historian Michael Hurtt, which helps puts the listen as perspective and reiterates the very authentic nature of the effort. Musically covering gospel, soul, blues and rock, this is a spiritually aware and very powerful display of talent that is thankfully being preserved well in this medium, and let’s hope there’s more to come.

Travels well with: Dedicated Men Of Zion- Can’t Turn Me Around; Bebe Winans- America America

Jose Rizo's Mongorama

Mariposas Cantan

Saungu, 2020

8/10

Listen to Mariposas Cantan

A bandleader, songwriter and well known DJ, Jose Rizo started Mongorama in 2011, and this 3rd album brings in an esteemed band and plenty of guests on this mix of originals and covers that are soaked in Latin jazz and salsa sensibilities.

The album starts percussively strong with the feisty mood and strong rhythm of “Mambo Mindoro”, where Ramon Banda’s timbales makes an impression, and the title track follows with an elegant playfulness as James Zavaleta’s expressive pipes guide the dynamic musicianship.

Halfway through, “Quiero Menudo” flows with a cultured delivery, while “Mongorama” mixes fluid percussion, alongside tenor sax from Justo Almario. “Watermelon Man”, the album standout and a Herbie Hancock cover, then displays Darynn Dean’s strong vocals amid Joe Rotondi’s keys and Joey De Leon’s Congas

Late in the listen, “Como Fue” benefits greatly from flute and Yoshigei Rizo’s sublime pipes in the ballad, and “East L.A. Meets Napa” exits the listen with a festive spirit where background vocals complement the memorable finish.

The song “Mongorama” contains the last recorded solo from Ramon Banda, who passed away shortly after this record was made. An album dedicated to his memory, Rizo and company pull of an exceptional listen that any and all fans of Latin jazz will adore.

Travels well with: Arturo O’Farrill And The Afro Latin Jazz Orchestra- Four Questions; Negroni’s Trio- Acustico

Nation Beat

The Royal Chase

Fresh Grass, 2020

8/10

Listen to The Royal Chase

An outfit spearheaded by drummer/percussionist Scott Kettner, on this outing Nation Beat bring a wealth of brass to a listen that offers both original and classics with no shortage of grooves, funk and liveliness.

“Forró De Dois Amigos” starts the listen and immediately makes an impression with flowing brass alongside plenty of cultured rhythm, and “Moró Omim Má” follows with an Ilú from Pitoco De Aira that complements the frisky yet cautious landscape.

Near the middle, “Paper Heart” benefits greatly from Rob Curto’s keys amid the highly melodic and emotive delivery, while “Ciranda For Lia” recruits plenty of jazz ideas and Latin influences in spades. “Big Chief”, one of the album’s best, then bounces with a punchy execution that’s danceable and infectiously fun.

Deeper cuts include the soft, expressive vocals from Carolina Mama (one of the few tracks with singing) on the dreamy “Algunas Cantan”, and “Roseira do Norte” finishes the listen and shuffles with a festive spirit where precise and playful interaction between the esteemed musicians exits on a very high note.

Along with Mariel Bildsten (trombone), Mark Collins (trumpet), Paul Carlson (sax and horn arrangements) and Joe Correia (sousaphone), as well as many guests, Kettner steers the party into a swingin’, funk, jazz and blues friendly outing that you won’t hesitate to hit repeat on.

Travels well with: Brownout- Berlin Sessions; Diplomats Of Solid Sound- A Higher Place

Leonard V. Ball, Jr.

Worlds Translucent

Ravello, 2019

8/10

Listen to Worlds Translucent

The veteran composer Leonard V. Ball, Jr. makes an impression with his first release on the Ravello label, as he uses violin, viola and piano to express human mortality versus the basic day to day domestic life.

“Night Vision” starts the listen with Timothy Lovelace’s sturdy keys holding down the setting as Michael Heald’s violin acrobatics are explored in many forms, and “The Forest (f)or The Trees” follows with Heald’s lone violin carrying all 5 parts with skilled precision and deft manipulation.

The back half of the listen offers the cinematic and sprawling “Vignettes du Jour”, where viola from Maggie Snyder complements Heald as the pair work off each other well, and “within-without” exits the listen with viola and keys in a haunting, sparse and minimal conclusion executed with flawless instrumentation..

A highly articulate and eloquent display that addresses the fears of the human condition as well as the universal joys, Worlds Translucent is a fine companion to the magnificent yet sometimes turbulent journey that is life.

Travels well with: Peter Greve- The Palace Of The Dreamking And Other Works; Steven Masi- Brahmsiana