Vasilis Kostas

Léna

General, 2026

9/10

Listen to Léna

The composer and musician Vasilis Kostas meshes contemporary jazz with Greek Folk traditions here, where his rich laouto is played meticulously via the stunning debut effort.

“Beyond Syndesis” starts with Kostas’ warm laouto that complements the heartfelt keys in the intimate climate, and “Reaching For Hope” follows with flowing progressions from the strings amid precise drumming that’s cultured and mesmerizing.

“For Léna” arrives in the middle and emits ambience before the stirring violin complements the cozy laouto, while “Kalesma” builds into a busy and dynamic album highlight that’s precise and radiates expressive singing, too.

Further yet, “Andi And Danielle’s Dream” employs cinematic piano and the strategic laouto alongside much caution, and “To Horio” exits with plenty of Eastern ideas amid the elegant and adventurous vocals.

An enlightening and nostalgic effort that doesn’t shy away from melody, tenderness and sweeping arrangements, Kostas fleshes out an album for his mother who passed away, and it’s nothing short of captivating.

Travels well with: Baklava Express- Sabába; Anupam Shobhakar- Liquid Reality

They Might Be Giants

The World Is To Dig

Idlewood, 2026

9/10

Listen The World Is To Dig

Hey look, it’s the 24th album from the New York legends They Might Be Giants, and like everything they’ve done, expect the unexpected and lots of it.

“Back In Los Angeles” opens with John Linnell’s deep voice alongside firm keys and stirring strings for the mature climate, and “Wu-Tang” follows with firm drums and John Flansburgh’s gritty and animated pipes that suit the upbeat rock flavor.

Further along, the scrappy “Outside Brain” uses playful guitar solos and plenty of sing-alongs for the immediately memorable delivery, while “New Wave Will Never Die” enlists frisky keys and a calmer pace for the stylish demeanor via vivid storytelling.

Getting deeper into the 18 tracks, “What The Cat Dragged In” buzzes and thumps with a sturdy rocker, and “They Might Be Feral” exits with acoustic guitar before building into a more dense finish that’s quirky in all the right ways.

Much like everything Linnell and Flansburgh do, this is a mixed bag of sounds all over the rock spectrum that are humorous, exciting and truly their own brand of sounds that, all these decades later, maintains their position as one of the best alt-rock outfits in history.

Travels well with: They Might Be Giants- My Murdered Remains; The Mountain Goats- In League With Dragons

The Joymakers

A Texas-Sized Band

Turtle Bay, 2026

9/10

Listen to A Texas-Sized Band

The Austin ‘Hot Jazz’ outfit, The Joymakers, use their 10 piece ensemble to explore the ‘20s-’30s under the guidance of the multi-instrumentalist and Grammy Nominated Colin Hancock.

“Deep Elm (You Tell ‘Em I’m Blue)” opens with the playful, nostalgic spirit that benefits from Hancock’s animated voice and Ryan Neubauer’s lively drums, and “Dreaming ‘Bout My Man” follows with Lauryn Gould’s distinct voice that suits Luke Allen’s rich trumpet in the hazy climate.

Entering the middle, “Honey Child” carries infectious grooves amid the layered winds and Ryan Gould’s precise bass, while “He’s Tall And Dark And Handsome” makes great use of David ‘Jelly’ Jellema’s clarinet and Shane Dicken’s keys in a song that should soundtrack a speakeasy.

Arriving late, “Daniel’s Blues” moves with a cautious appeal that’s heartfelt, and “Elephant’s Wobble” exits with a festive demeanor that’s all sort of retro fun.

A really exciting throwback affair that touches on ragtime, country and blues, this is feel good jazz that transports us 100 years with plenty of authenticity.

Travels well with: Ricky Alexander- Ragology; The Bix Centennial All-Stars- Celebrating Bix!

Ron Wilkins & Rebecca Patterson

The Vigil And The Sleeping Giant

Adhyaropa, 2026

8/10

Listen The Vigil And The Sleeping Giant

The New York multi-instrumentalists, Ron Wilkins and Rebecca Patterson, bring along plenty of friends for these diverse jazz songs that are full of vivid storytelling.

“Covid Suite I.” opens with Ed Neumeister and Wilkins’ rich trombones amid Mike King’s frisky Rhodes, and “Covid Suite II.” follows with Aaron Heick’s animated soprano sax alongside bright trumpet from Alex Norris.

“Covid Suite IV.” arrives at the halfway point and showcases Jeff Barone’s warm guitar and Ray Marchica’s lively drumming, while “Sulk City” benefits from Seneca Black’s rich trumpet that complements the strong attention to atmosphere.

Further still, “Waltz Someday” blends the heartfelt brass with Carl Maraghi’s eloquent sax, and “Like A Brother” exits with Ron Blake’s tenor sax, Wilkins’ trombone and Mike King’s Rhodes for the colorful and soulful finish.

An album that took years to make, Wilkins’ near death experience with Covid in 2020 provides much of the storyline, as the outfit turn tragedy into authentic and timeless jazz textures.

Travels well with: Pete Mills- This Is Now; Shawn Purcell- Oblivity

Dorian Wood

Canto de Todes

New Amsterdam, 2026

9/10

Listen to Canto de Todes

The multi-faceted artist Dorian Wood brings many ideas to these tracks that use several vocalists and cellists for the 70 minute listen that was inspired by the late Chilean singer/songwriter Violeta Parra.

“Lirios” opens with the rich cellos alongside radiant guitar in the well thought out climate, and “Anonas” follows with a soft ambience, where powerful singing enters the 13+ minutes of enlightenment.

“Mapas” and “Honey” arrive in the middle. The former manipulates vocals like an instrument that creates a distinct atmosphere, while the latter moves with gentle emotion before the textured strings accent the building demeanor.

Arriving late, “La Hill” emits much sophistication via the meticulous cello, and “Dormilanos” exits with sublime vocal harmonizing populating the uniquely intimate finish.

Somewhere between chamber, classical, folk and experimental ideas, Wood’s vocals are nothing short of mesmerizing, and the help they bring ensures a listening experience that’s all substance.

Travels well with: Adam Tendler- Inheritances; Claire Dickson- Balance

The Greenberry Woods

It’s All Good, Sugar…

Big Stir, 2026

10/10

Listen to It’s All Good, Sugar…

This sure is a triumphant return for the power-pop luminaries The Greenberry Woods, who flesh out 12 tunes of grooves, melody and songwriting that will bring you back to the college rock of the mid ‘90s.

The colorful chords of “Summer Song” opens with thick harmonies alongside Joe Parsons’ thumping drums, and “Waiting ‘Round For Something To Go Wrong” follows with quick acoustic strumming to complement the scrappy climate that touches on jangly folk-rock.

Arriving in the middle, “Very Good Year” buzzes with an infectious energy that’s got grit amid the crunch, while “ All I Want Is You” gets a bit rugged, but not without tuneful singing, as Brandt Huseman’s strategic bass makes an impression.

“Leave The Light On” and “December Boy” exit the listen. The former offers intimacy alongside the sing-alongs and warm mood, and the latter blends Ira Katz, Matt Huseman and Paul Krysiak’s dense guitars, where Krysiak even tosses keys into the bouncy and flowing album highlight.

If legends like Teenage Fanclub, Big Star or Matthew Sweet make you smile wide, you’re going to love this. It’s been 30 years since The Greenberry Woods released an album, and they sure made the wait worth it with this power-pop masterpiece.

Travels well with: Wormstew- Last Days Of Loma; The Corner Laughers- Concerns Of Wasp And Willow

Inara George

Songs Of Douglass & Littell

Self-Released, 2026

8/10

Listen to Songs Of Douglass & Littel

The multi-faceted artist, Inara George, fleshes out songs by Eliot Douglass and Philip Littell, and she’s got some excellent musicians on hand for the jazz fueled effort.

The elegant “Tired Butterfly” starts with Douglass’ flowing keys that complement George’s gorgeous voice in the light jazz climate, and “LA Lune S’en Va” follows with Dan Schnelle’s skilled drums and elegant strings that suit the expressive singing.

“Tiny Girl” lands in the middle and moves cautiously thanks to the seductive vocals, soft keys and brushed drums, while “The Well” offers a poetic and intimate spirit that tugs on the heartstrings in its gentle ambience.

Residing late, “The Extra Nipple” benefits from Gabe Noel’s subtle bass via the hushed template, and “Undreamy Dreams” exits with some more forceful moments amid the descriptive wordplay and timeless jazz appeal.

A very personal and modern take on vocal jazz. George’s pipes are in fine form, as are the musicians, who illuminate these selections that were penned in the ‘90s and reflect the grief, resilience, and humanity of the AIDS crisis.

Travels well with: Lily Frost- Post-Moderne; Maria Taylor- Story’s End

Jeff Lederer/Mary LaRose With The Wildebeest Quintet

There’s a Yearnin’: Music For Winds And Voice

Little Music, 2026

8/10

Listen to There’s a Yearnin’: Music For Winds And Voice

The saxophonist, clarinetist and composer Jeff Lederer helps showcase the first recording from the woodwind sextet by Eric Dolphy, where 3 composers are spotlighted for this unique body of work.

“Forms And Sounds, mvt 1” opens with Sara Schoenbeck’s detailed bassoon that illuminates Ornette Coleman’s vision, and “Images” follows with Katie Scheele’s well timed oboe amid Michel Gentile’s skilled fluted that’s layered precisely via the Oliver Nelson tune.

Halfway through is where “Woodwind Sextet. mvt 2” resides, which is a Dolphy original, and spotlights Gentile’s meticulous flute prowess, while “There’s A Yearnin’” moves cautiously and brings Mary LaRose’s expressive voice to the eloquence.

Arriving late, “Crucifixiton (not a word)” pairs Lederer’s strategic clarinet and Curha’s curious electronics to the atmospheric gestures, and “Lem And Aide” exits with a playful demeanor that meshes the winds and Nathan Koci’s horn into an unpredictable and memorable finish.

All the players have strong improvisational skills, and the meshing of jazz and classical with plenty of spontaneity sure is appreciated.

Travels well with: Paul McCandless Quintet- Live At Kimball’s East; Max Richter- Hamnet: Original Motion Picture Soundtrack

Grand Teton Music Festival Orchestra

Mahler 5

Reference, 2026

9/10

Listen to Mahler 5

The inimitable Sir Donald Runnicles leads the Grand Teton Music Festival Orchestral through Mahler's Symphony No. 5, which was captured at the Walk Festival Hall in Teton Village, Wyoming.

“Part 1: I. Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt” opens with the booming percussion and elegant strings unfolding in both calm and tense bouts across the cinematic 13+ minutes.

“Part 1: II. Stürmisch bewegt. Mit grösster Vehemenz” blends the sophisticated strings with colorful winds via the melodic appeal, while “Part 2: III. Scherzo. Kräftig, nicht zu schnell” unfolds with dreamy flutes and intimate waves of strings that are heartfelt.

Residing near the end, the rich and emotive presence of “IV. Adagietto. Sehr langsam” is largely calm before the ebullient finish, and “Part 3: V. Rondo-Finale. Allegro” builds into a colorful and meticulous album highlight that’s powerful, elegant and captivating.

The incredible acoustics of the venue only enhance the listen, as the orchestra play with the detail and dynamics they’re globally known for, and certainly do justice to Mahler’s work.

Travels well with: Sean Shibe- Vesper; Elsa Barraine- Symphonies 1 & 2, Song-Koï (Le Fleuve rouge), and Les Tziganes

Isata Kanneh-Mason

Prokofiev

Decca, 2026

9/10

Listen to Prokofiev

The pianist Isata Kanneh-Mason never disappoints, and this time she tackles Sergei Prokofiev’s different periods and styles with the Philharmonic Orchestra on hand for some selections.

“Prokofiev: Toccata, Op. 11” starts with the atmospheric keys that are executed with incredible detail and excitement, and “Prelude” follows with much beauty and grace thanks to Kanneh-Mason’s agile fingers.

Further along, the 3 segments of “Piano Concerto No. 3 in C Major, Op. 26” recruits the Philharmonic Orchestra’s tense strings via the cinematic appeal, while “4 Pieces from "Cinderella", Op. 97” illustrates dancing keys that change in tonality and mood with much care.

Arriving late, “Troika (Sleigh Ride)” offers an upbeat and melodic album highlight that allows for Kanneh-Mason’s inimitable talents to shine, and “Piano Sonata No. 3 in A Minor, Op. 28” exits with both sophistication and adventurousness populating the meticulous finish.

This is Kanneh-Mason’s 4th solo album on the Decca label, and like everything before it, it’s full of vivid lyricism, percussive rhythms, and unparalleled virtuosity.

Travels well with: Isata Kanneh-Mason- Mendelssohn; Isata Kanneh-Mason- Childhood Tales

Hank Alrich

Broken River

Walkinay, 2026

9/10

Listen to Broken River

The Austin, Texas legend, Hank Alrich, fleshes out 12 authentic and organic tunes here, where plenty of idea are explored with eloquence.

The warm spirit of the title track starts with Rick Richard’s crisp drumming and Warren Hood’s elegant violin complementing Alrich’s flowing voice, and “The Perfect Hat” follows with Andrew Hardin’s meticulous guitar and Red Young’s playful keys amid the bright storytelling of the rhythmic climate.

Entering the middle, Alrich’s cozy acoustic guitar tugs on the heartstrings in the intimate mood of “She Had Whiskey For Dinner”, while “Where You Been” benefits from Glenn Fukunaga’s precise bass alongside the bluesy nods.

Deeper yet, “Blue Guru” invites Floyd Domino’s animated keys and Alrich’s spoken word via the stylish album highlight that enlists well timed backing vocals from Shaidri Alrich and Barbara Nesbitt, and “Can You Hear Me Calling” exits with Keith Little’s lively banjo that complements the sing-alongs and rural melodies that are instantly memorable.

Alrich helped put Austin on the map in the ‘70s through Onion Audio and Armadillo Records, and his creative ways haven’t waned one bit, as evidenced by these folk, blues, country, free jazz, bluegrass and gospel tinted songs that will always be relevant.

Travels well with: CJ Hooper- Over Yonder; The Unfaithful Servants- Fallen Angel

Charlie Marie

Signs

Self-Released, 2026

9/10

Listen to Signs

An artist with a penchant for classic country sounds, the Rhode Island native Charlie Marie blends old school ideas with modern songwriting for these 11 sincere songs.

The title track opens with Marie’s heartfelt singing alongside Nick Mercado’s warm acoustic strumming that sees her hitting some impressive notes, and “Heart” follows with a country rock presence via Rob Motes’ frisky drums that suit Marie’s emotive storytelling.

Halfway through, the honky tonk flavor of “Pondersosa Pine” will get your boots shuffling on the dance floor to the rootsy energy and Tyler Tingey’s steel guitar, while “Keleena” lands in darker territory thanks to the moody guitar and Ben Voskeritchian’s skilled bass.

Later on, “Buffalo” welcomes grooves and rhythm to the lush climate that touches on folk rock, and “Aspens In Alaska” exits with a romantic mood that tugs on the heartstrings and showcases Marie’s adaptable and inviting voice amid the emotional songwriting.

The songs here are the result of Marie’s 2022 roadtrip across the country that came with no plan or real purpose other than to reflect. She certainly did a lot of soul searching on the journey, and it makes for relatable, enlightening and timeless country music.

Travels well with: Margo Cilker- Valley Of The Heart’s Delight; India Ramey- Villain Era

Rik Wright's Fundamental Forces

Fool’s Fate

HipSync, 2026

9/10

Listen to Fool’s Fate

The atypical guitar player Rik Wright leads his quartet, Fundamental Forces, through 7 unpredictable and jazz-ish tunes here.

The title track leads with Wright’s intricate guitar licks that complement James Dejoie’s animated sax and Greg Campbell’s thumping drums, and “Nothing But A Thang” follows with the frisky rhythm section amid rich sax and playful guitar.

“Luminescence” and “Glitter Bomb” land in the middle. The former opens with dreamy guitar and soulful sax before the strategic drums enter the cautious 10+ minutes, while the latter is anchored by Geoff Harper’s meticulous bass playing that suits the rock focused moments.

“Something Sad And Sweet” exits, and has the quartet interacting precisely and with much dynamic energy that’s mesmerizing and timeless in a jazz fusion sort of way.

An album that embraces improvisation and melodic textures, the setting can get firm, too, as Wright and company continue to evolve in their own iconoclastic and exciting way.

Travels well with: Pete Mills- This Is Now; Shawn Purcell- Oblivity

Pete Mills

This Is Now

Mighty Ernie, 2026

8/10

Listen to This Is Now

The Canadian saxophonist Pete Mills is back with 12 straight forward jazz tracks, and this time he’s got Matt Wilson, Martin Wind, Kenny Banks Jr. and Pete McCann along for the occasion.

The title track starts the fun with Mills’ flowing sax alongside Banks Jr.’s lively keys and Wilson playful drums, and “Sunset STX” follows with a calmer pace thanks to the soulful wind and Wind’s rich bass lines.

Closer to the middle, the bouncy energy of “Bird Lives” is a charming duo between the keys and sax, while “Exit Strategy” is a busier bout that layers the animated sax over firm keys, thumping drums and McCann’s meticulous guitar.

Residing deep on the back half, the intimate spirit of “Sliver Of Silver” embraces rhythm and melody for the album’s best, and “U.M.M.G” exits with a quick Strayhorn cover that’s bare but impactful thanks to the cautious sax and light drums.

A timeless body of work that can swing with the best but also retreat to calm gestures, Mills again impresses us with his unparalleled sax prowess and memorable song craft.

Travels well with: Pete Mills- For The Record; Shawn Purcell- Oblivity

Shawn Maxwell

Frenetic Domain

Cora Street, 2026

9/10

Listen to Frenetic Domain

This 14th album from the sax and clarinet wizard Shawn Maxwell brings along some excellent guests for 7 exciting and atypical jazz tunes.

“Cats Are Gods” opens the listen with Maxwell’s rich sax playing amid Nils Higdon’s well timed percussion that helps the tune build into a lively energy, and “The Last 10 Kilometers” follows with Michael Barton’s frisky bass and Greg Essig’s crisp drums adding much to the rich climate.

“Reed Tire Earth” and “Frenetic Random Activity Periods” arrive in the middle. The former employs radiant keys from Mark Nelson alongside Chika Inoue’s animated alto sax, while the latter carries cinematic qualities thanks to the dreamy keys, intricate rhythm section and colorful sax prowess.

“Public Domain Hit In 2138” exits, and it has the dueling winds flowing amid bright keys and a more rock-focused rhythm section.

Maxwell knows his way around a rhythmic, melodic and unique jazz tune, and the complicated time signatures, free jazz moments and unpredictable formula makes every moment worth repeating.

Travels well with: Shawn Maxwell- J Town Suite; Marcus Rezak- Guitar Head

Mim Crellin/Morten Duun

Only A Setting Sun

Self-Released, 2026

9/10

Listen to Only A Setting Sun

The vocalist and guitarist Mim Crellin and Morten Duun are joined by some first rate musicians for a quick EP that came to life shortly after an aggressive breast cancer diagnosis for Crellin had been treated.

“Everyone To Someone” starts the listen with Crellin’s lovely voice alongside Duun’s warm guitar playing and harmony vocals adding much to the heartfelt climate, and “Sweet Something” follows with Jon Hunt’s rich clarinet and Sam Anning’s meticulous double bass helping make for a rich delivery.

“Autumn” and “Don’t Go To Strangers” occupy the middle spots. The former is a bare moment of sublime beauty via the dreamy guitar, light clarinet and poetic singing, while the latter builds into a fuller moment thanks to cozy guitar, gentle bass and soaring vocals.

“Sollys” exits, and recruits Josh Barber’s meticulous drums, Flora Carbo’s soulful sax and Duun’s electric bass that complements Crellin’s adaptable voice in a harmonic and textured EP highlight.

An effort that’s subtly intense and full of jazz influences, singer-songwriter nods and timeless folk qualities, Crellin and Duun’s vision is one of sincerity and memorability.

Travels well with: David Garland- The Spark; Christopher Dammann- Christopher Dammann Sextet

Maria Taylor

Story’s End

Million Stars, 2026

10/10

Listen to Story’s End

The singer-songwriter Maria Taylor brings her inimitable voice to these deeply personal tracks that arrive after much soul searching, and there’s plenty of great help present, including some folks from her Omaha days.

The atmospheric title track opens with Taylor’s gripping voice, powerful keys and strategic drums in the moving climate, and “Shades Of Blue” follows with Macey Taylor’s playful bass that suits the inviting beat and flowing melodies of the indie-rock setting.

“Never Thought I’d Feel Now” arrives in the middle and is strong on ambience and enlists Louis Schefano’s punchy drums and Nik Freitas’ well timed voice amid soft and stylish songwriting that builds into a fuller delivery, while “Nathaniel” recruits Tim Gillespie’s flute and Lisa Fendelander’s keys alongside elegant strings for the dreamy album highlight.

Later on, “Everything Is Fine, My Loves” benefits from Ben Brodin’s cozy bass, Taylor’s gorgeous singing and frisky strumming, and “Change Is Coming Soon” exits with Tiffany Osborn’s eloquent violin, Mike Mogis’ programming and intricate guitar adding much to the heartfelt demeanor.

Having spent a lot of time listening to Azure Ray decades ago (a duo Taylor was in during the early 2000s), I knew I was going to enjoy this, but the emotional capacity, stirring strings and profound reflection sweeps in with so much vulnerability and forthrightness, it’s difficult to call this album anything but perfect.

Travels well with: Jenny Owen Youngs- Avalanche; Grant Lee-Phillips- In The Hour Of Dust

Beyond 1969

Coming’ Back To The Blues

FYI, 2026

9/10

Listen to Comin’ Back To The Blues

An album of all originals, these live in the studio tracks by Beyond 1969, i.e. Tom Forst, Tony Delisio, Jeff Bousfield and Bryan Caudle, are delivered in fine form for this lively blues effort.

“I’m Never Gonna Leave You” opens the listen with Forst’s sturdy guitar and smooth voice alongside Delisio’s animated bass lines for the warm blues spirit, and “Feels So Good To Feel So Bad” follows with Caudle’s thumping drums that suit the grooves and rhythm.

The middle spot belongs to “I’m Not Over You Yet”, where Forst’s soulful pipes are met with intricate guitar in the bare climate, while “Darkest Before The Dawn” allows for the meticulous rhythm section to shine amid the guitar solos and Bousfield’s animated keys.

Residing late in the record, “It’s My Own Damn Fault” moves with sophistication and power in its thoughtful mood, and “When It All Falls Down” exits with a bouncy and energetic spirit that’s got some crunch in its timeless execution.

Every track from Beyond 1969 is top notch blues, and if names like Johnny Winter or Joe Bonamassa mean anything to you, well, ‘Comin’ Back To The Blues’ needs to be in your collection.

Travels well with: Matthew Curry- One For The Ride; Davey Jones- Ball Cap Blues

Wormstew

Last Days Of Loma

Big Stir, 2026

9/10

Listen to Last Days Of Loma

The Long Beach, California trio, Wormstew, play a clever and memorable version of pop-folk, where these 14 songs see the brainchild of the band, Mike Schnee, welcoming new members Teresa Cowles and Michael Simmons.

The jangly and warm “Spinning” starts with Schnee’s inviting voice alongside Cowles’ playful keys and plenty of melody, and “Sheriff Brody” follows with loads of rhythm, where soulful backing vocals and Simmons’ crisp drumming won’t go unnoticed.

Closer to the halfway point, “J.P. McCartney” benefits much from Schnee’s acoustic guitar and the frisky percussive ideas that emit a breezy mood, while “Assholes” is a quick upbeat moment that entertains singing-along immediately.

Further along, the soft intimacy of “Forgotten” tips it hat to the ‘70s and uses Cowles’ bass strategically, and “Last Days Of Loma” exits with a cozy, folksy strummer that’s heartfelt and harmonic.

There’s not a dud to be found here, as Schnee and company include themes of grief, cats and love, and their timeless pop, folk and indie template will resonate with fans of McCartney, They Might Be Giants or even The Kinks.

Travels well with: The Corner Laughers- Concerns Of Wasp And Willow; Splitsville- Mobtown

Dawn Landes

My Tiny Twilight

Yep Roc, 2019

8/10

Listen to My Tiny Twilight

The Nashville songstress penned these 6 tunes out of exhaustion, bewilderment and pure love during the early period of motherhood, so it’s not surprising that there’s plenty of kid friendly ideas here, though adults will find plenty to enjoy in these feel good tunes.

“Hello” starts out the quick listen with acoustic folk prowess with Landes’ rich pipes guiding the way, before the handicapping and vocally expressive “I’m Your Mama”, which relies on body percussion as an instrument.

Elsewhere, Landes returns to twang on the summery “Everybody Dream”, while “I’m Wishing Upon A Star” puts her guitar melodies on display with great results. The last two tracks are certainly geared towards mom life, with the lullaby “Baby Please” and “Hushabye” finishing out the EP with calm piano and a soothing setting.

Landes has already done excellent work in the area of folk, pop, rock and country in her decade and a half career, and here there’s traces of all those genres in a playful and memorable listen that embraces motherhood with her creative and warm spirit.

Travels well with: Sara Watkins- Young In All The Wrong Ways; Shannon Wright- In Film Sound