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