SoSaLa

1994 Live At CBGB

DooBeeDoo, 2024

9/10

Listen to 1994 Live At CBGB

The moniker of Sohrab Saadat Ladjevardi, who is a New York resident Swiss-born Iranian-American saxophonist, vocalist, composer, and music activist, as SoSaLa he meshes free jazz, noise, No-Wave, electronics, and traditional Persian influences into this set captured at CBGB’s way back in 1994.

“Yurei” starts with Toshimaru Nakamura’s dense guitar amid SoSaLa’s animated and howling vocals and rich sax for the noisey climate, and “Death” follows with shouted vocals alongside Masaki Shimizu’s thick bass in the jagged delivery.

Deeper into the set, “Life Drunk” is dedicated to UK’s Gallon Drunk, where a bluesy bass line is met with acrobatic jazz bursts, while “Positive Ja” blends punk, blues and psychedelic nods into a diatribe about those who complain, where Ryo Kato’s thumping drums won’t go unnoticed.

Further yet, “35 Cents Puppy Sandwich” tips its hat to Fugazi’s ethics with animated sax and a driving rhythm section that suits the loud singing, and “65” exits with a wandering melody that complements the squealing sax, scrappy drums, dissonant bass and feedback soaked guitar.

An extremely creative listen that might seem like jazz one minute but pretty soon points towards No Wave, SoSaLa’s adaptable pipes sing, yelp and communicate firmly via an iconoclastic vision that sure has aged well.

Travels well with: SoSaLa- 1983- Live at the Montreux Jazz Festival and the Rathausplatz Bern; SoSaLa- 1987- Hajime

Terry Waldo & The Gotham City Band

Treasury: Volume 3

Turtle Bay, 2026

9/10

Listen to Treasury: Volume 3

The pianist and composer Terry Waldo returns with a large cast for another installment of his Treasury series, where he displays the living, evolving spirit of music that’s molded by improvisation, interplay and shared history of early jazz.

The retro energy of “Minnie The Mermaid” opens with Waldo’s quick keys alongside flowing clarinets and group vocals via the ragtime spirit, and “Canal Street Blues” follows with Jay Lepley’s frisky drums amid the bright winds that will get you on the dance floor.

In the middle, “Frog-I-More Rag” blends lively banjo into the slow versus fast dynamics, while “Mabel’s Dream” makes great use of the rich trumpets alongside Brian Nalepka’s animated bass plucking.

Landing deeper, the indeed bluesy “Memphis Blues” is a bit calmer in scope with talking and singing both present, and “Black Bottom Stomp” exits with a busy and infectious energy that seems like it should soundtrack an evening at a speakeasy.

The final piece of this project, Waldo’s affinity for ragtime is again exciting, timeless and fleshed out flawlessly.

Travels well with: Terry Waldo & The Gotham City Band- Treasury: Volume 1; Terry Waldo & The Gotham City Band-Treasury: Volume 2

The Rallies

No Better Time

Self-Released, 2026

9/10

Listen to No Better Time

This 4th album from Seattle’s The Rallies bring plenty of bouncy, upbeat and pop fun to these 11 lively tunes.

“This Time” opens with Steve Davis’ warm guitar and bright vocals before Lee Brown’s thumping drums enter the power-pop delivery, and “I Believe” follows with a scrappy mood that’s got an animated spirit and benefits from Ben Heege’s playful voice amid the vocal harmonies.

“Be With You” arrives in the middle and brings a jangle to the melodies, while “Open Your Mind” is a soft moment with a dreamy appeal that flirts with folk ideas.

Coming In Later, “You Set Me Free”, the best tracks offers an anthemic bout with sing-alongs and sharp, indie-pop charm via Brian Chase’s meticulous guitar playing, and “If Only” exits with an intimate mood thanks to the cozy acoustic guitar, keys and multiple singers.

An album that is instantly memorable from the get go, The Rallies know their way around a melodic and harmonic tune that you won’t soon forget.

Travels well with: Crossword Smiles- Consequences + Detours; Wormstew- Last Days Of Loma

Jennifer Bellor

Catching Clouds

Lexicon, 2026

9/10

Listen to Catching Clouds

The inimitable songwriter and pianist Jennifer Bellor enlists clarinet, alto sax and vibraphone for these 9 instrumental tracks that are rich and well thought out.

“Cloudbreak” opens with the flowing keys and melodic gestures that occasionally welcome a hint of rumbling, and “Serpentine Arroyo” follows with Conger’s animated clarinet and Doyle’s colorful vibes that add much color to the climate.

“Effervescence” and “Querencia” land in the middle. The former blends the lively clarinet and well timed vibes with strong attention to tonality, while the latter pays close attention to mood via the cinematic keys, wind and vibes.

“Drift Into Midnight” arrives late and uses both cautiousness and creativity in a poetic and meticulous fashion, and the title track exits with Pennock’s strategic alto sax amid the dancing piano and swirling backdrop of grace and beauty.

An effort where each track is linked thematically, the blending of jazz and classical into an engaging set of originals makes for another first rate album from Bellor.

Travels well with: Jennifer Bellor- Long These Days; Jennifer Bellor- Clocks In Motion

The Nth Power

Never Alone

Goundup, 2026

9/10

Listen to Never Alone

This 4th album from the fusion trio The Nth Power sees members Nick Cassarino, Nikki Glaspie and Nate Edgar welcoming plenty of guests to the 8 tracks.

“Dream Alive” starts the listen with an infectious energy, where Jon Deas’ lively keys add much to Glaspie’s animated drums, and “Crave You” follows with Keita Ogawa’s playful percussion complementing Cassarino’s flowing guitar.

“Thirsty” and “Could It Be ‘74 (Remix)” arrive in the middle. The former benefits from Edgar’s frisky bass in a soulful climate, while the latter offers a cozy and warm moment via Courtney Smith’s well timed keys and vocals.

Residing late, “Smile” recruits Nicholas Payton’s trumpet, Sherik’s tenor sax and Dominique Xavier’s organ for the lush and layered album highlight, and “Simple Life” exits with plenty of exciting brass and winds amid Lumar Leblanc’s snare drum amid the funky and festive finish.

A record with a tremendous amount of style and a live recording feel, there’s an authentic rawness to these groove filled and rhythmic tracks that see the trio interacting dynamically and with plenty of esteemed guests to fuel their funk/soul/jazz hybrid.

Travels well with: Chief Keegan- The Piles High Club; George Porter Jr- Crying For Hope

Art Schop

Wittgenstein & The Transcendental

Self-Released, 2026

9/10

Listen to Wittgenstein & The Transcendental

The Brooklyn musician Art Schop defies convention with his unique brand of folk-rock, where the life and work of the philosopher Ludwig Wittgenstein is set to distinct songwriting.

“Go Away” opens the listen with a warm ambience before Schop’s deep pipes enter the dense versus cozy guitar, and “Apology” follows with heartfelt guitar lines amid Chris Heinz’s gentle drums and the emotive singing.

“Oslo To Copenhagen” occupies the middle spot and indeed sounds like it could soundtrack a road trip with its reflective mood and dreaminess, while “Verlassen” moves a bit quicker via crisp drums and louder guitars that resonate a hint of alt-rock.

“Climbing High” and “Wonderful Life” exit the listen. The former shimmers with a prettiness that’s poetic, and the latter incorporates droning keys, haunting strings and an ominous backdrop that’s emotive and illustrates appreciation for a life well lived.

It’s not hard to think of Nick Cave or Father John Misty when absorbing these songs, as Art Schop (real name: Martin Walker) blend prog, lo-fi and bedroom style production into an absorbing effort.

Travels well with: Too Much Joy- Son Of Sam I Am (Tommy’s Version); Toy City- Toy City

Noah Meites

Counting

New Focus, 2026

9/10

Listen to Counting

The Los Angeles composer Noah Meites enlists some excellent ensembles for these chamber pieces that highlight his vivid artistic voice and unwavering role in the music community.

The title track opens with a large cast making for a rich and dynamic setting, where Jan Berry Baker’s lively saxophones and Allen Fogles well timed horn adds much to the 18+ minutes of chamber ideas, and “Cadere” follows with Brightwork New Music emitting a calming presence that builds into tense bouts of cinematic nods.

“Fracture Mechanics” resides in the middle and enlists the New Thread Quartet, whose textured saxophones are quite mesmerizing, while “To Whom Shall I Tell My Grief” pairs Linnea Powell’s viola with Richi Valitutto piano for 2 segments that balance intimacy with playfulness.

“Voyager Golden Record” exits, and it allows for Meites' own ensemble, LA Signal Lab, to mesh jazz and classical ideas with much intrigue via the electronics.

An accomplished body of work that’s sometimes dramatic, other times rhythmic and entirely complex, this is modern chamber music at its finest.

Travels well with: Eric Chasalow- …arching, reaching, breathless; Lei Liang- Six Seasons: Instrumentation Lab

Yvonne Rogers

The Button Jar

Pyroclastic, 2026

9/10

Listen to The Button Jar

The pianist/composer Yvonne Rogers uses her creative upbringing in Maine as an impetus for this solo album, where complicated and rhythmic ideas unfold with an unpredictable nature.

“Luster” starts the listen soft and warm, as Rogers’ intimate keys mesmerize us quickly, and the title track follows with the dancing keys that radiate tremendous playfulness.

“Litte Dance” arrives in the middle and offers melodic gestures amid the meticulous progressions, while “Thread The Needle” emits a haunting mood that manipulates space and tension precisely.

Arriving late, “Mismatch’ balances gentle moments with animated fingers that touch on cinematic qualities, and “Exhale” finishes with a poetic and thoughtful moment of grace and beauty.

Now A Brooklyn resident, Rogers is quickly making a name for herself in the progressive jazz scene, where her adaptable skills can swing with charm, instill joy and tug on the heartstrings with its delicate presence.

Travels well with: Brandon Seabrook- Hellbent Daydream; Ches Smith- Laugh Ash

Mike Lorenz

I’m Not There

Each And Only, 2026

9/10

Listen to I’m Not There

The Pennsylvania guitarist and composer Mike Lorenz is joined by Sandy Eldred and Matt Scarano for these 10 improvised tunes that search for comfort, empathy, and beauty in these turbulent times.

“Where Do You Go?” starts the listen with Lorenz’s warm guitar before Scarno’s well timed drums enter the cautiousness, and “We Used To Talk All The Time” follows with playful strumming and crisp drums alongside Eldred’s frisky bass lines that help cultivate a charming rhythm.

“I Don’t Have Time To Love You” occupies the middle spot and is a soft moment that builds into a distinct dreaminess via the meticulous guitar, while “Close The Book” uses acoustic guitar amid the cozy rhythm section for an album highlight that touches on folk-rock.

“Renovated Heart” and “Beta” exit the record. The former employs plenty of melody which suits the timeless jazz appeal, and the latter is an animated moment that illustrates a strong chemistry between the trio.

There’s a lot of history between these 3 musicians, and the songs they deliver here are authentic, diverse and carry a spontaneous energy that ends entirely too soon.

Travels well with: Michael Hudson-Casanova- Heyman 2; Owen Chen- The Ghibli Collection

Movses Pogossian/Armenian Music Project

Stanzas In August

New Focus, 2026

9/10

Listen to Stanzas In August

This 4 CD collection pairs Movses Pogossiann’s violin with the Armenian Music Project for mostly music by Ashot Zohrabyan and Koharik Gazarossian, though there’s a lot of diversity present.

Vahram Sargsyan’s “Vox Temporum” opens the listen with Sargsyan’s deep chanting alongside Varty Manouelian’s precise violin and plenty of other strings for the rich delivery, and further into this disc Aram Hovhannisyan’s “String Quartet” radiates tension and cinematic qualities via Pogossian’s exciting violin and Mia Barcia-Colombo’s gripping cello.

The piano works of Koharik Gazarossina occupies disc 2, where “Preludes” illustrates much pensiveness via the meticulous key progressions, while “Suite No. 2” pays close attention to tonality and emotion.

The chamber music of Ashot Zohrabyan arrives on disc 3. It opens with the frantic pace of “String Quartet No. 1”, and it isn’t long until “String Quartet No. 3” blends the violins, viola and cello into a textured and cautious landscape.

The final disc assembles several composers. “Chinar Es…”, by Artur Avanesov, allows for his gorgeous piano playing to shine in a bare setting, and closer to the end, “Aram Khachaturian’s “Sonata-Monologue” enlists Eva Aronian’s stunning violin in a solo piece that is nothing short of sublime.

A lengthy project that touches on some of the most important events of the 20th century, the fuller settings are just as luminous as the single instrument pieces, where the timeless chamber dynamics are executed with inimitable precision and care.

Travels well with: Ann DuHamel- Prayers For A Feverish Planet: New Music About Climate Change, Vol. 1; Michael Jones- The Promise Of Escape

Ian James

2024

Blue FX, 2026

8/10

Listen to 2024

What began as a single a month turned into a full length record for the Massachusetts artist Ian James, whose one man band approach makes for a multi-faceted version of rock.

“January: There’s Still A Chance” opens with playful drumming and rhythmic guitar that draws us in immediately, and “February: The Sweet Life” follows with rich guitar playing amid the lively percussive ideas.

Further along, “May: Humid” carries an infectious energy that’s scrappy and emits soulful sax, while “June: See How They Run” enlists Gearedmah’s spoken word amid mystery and ambience that comes with a cinematic quality.

“November: Were Almost Home” resides late in the listen and offers melodic gestures and bass acrobatics that you can’t not be in awe of, and "Jinx”, a bonus track, uses acoustic guitar and singing via a cozy exit.

Somewhat of a ‘bedroom’ sort of formula that touches on funk, rock, grunge, folk and experimental ideas, the vocals are used sparingly but effectively for a really unique project that sounds great as singles as well as in its entirety.

Travels well with: Nick Joz- Hieroglyph & Stuttering; Dan Miraldi- Alphabet City 2AM

Denise La Grassa

A Crossroads Communion

deelagee, 2026

8/10

Listen to A Crossroads Communion

The powerful singer-songwriter Denise La Grassa is joined by an all star cast for these 9 sturdy tracks that cover themes of pain, hope, anger and joy.

The rugged yet tuneful “Big Bad Dream” opens with Timothy Walker’s thumping drums alongside La Grassa’s distinct pipes, and “These Vain Games” follows with Alvin Santner’s dense guitar riffs amid the expressive singing and a firm groove.

“Boy The Blues Have Been Blue To Me” lands in the middle and is a frisky moment that benefits from Steven C Manns’ animated bass and Pierre Lacocque’s well timed harmonica, while “The Jesus Real” places John Kregor on guitar to complement La Grassa’s soulful voice in the gospel fueled environment.

“Go Down Laughing Good” spotlights Stephen Ryan’s animated slide guitar for the album’s best, and “Go Bad Mouth Yourself” exits with some funky spirt thanks to the meticulous rhythm section, flowing guitar and La Grassa’s colorful singing.

A blues record that comes from a faith filled angle, La Grass and company run the gamut of human emotion with emphasis on lightness, community and Jesus.

Travels well with: Candace Ivory- New Southern Vintage; Allison August- August Moon

Mark Winkler

Love Comes First

Cafe Pacific, 2026

9/10

Listen to Love Comes First

The always impressive Mark Winkler is joined by 22 of Southern California’s best jazz musicians for these 11 timeless and romantic songs.

The finger snapping fun and playful bass of “Snappin’ On The 2 And 4” opens with Winkler’s smooth voice guiding the warmth, and the title track follows with frisky drums amid the expressive singing that tugs on the heartstrings.

In the middle, “Embraceable You” offers an intimate and cozy setting that pairs Winkler’s emotive pipes with graceful keys, while “Everything But You” takes help from Tom Culver’s voice for the upbeat and harmonic jazz appeal that employs sax.

Close to the end, “Just In Time” carries an infectious energy via the lively rhythm section and Winkler’s soaring vocals, and “Do You Ever Wonder?” exits with Grant Geissman’s radiant guitar that complements the flawless singing and stirring strings.

Winkler tosses in 6 originals here, and his wit and authentic presence is again appreciated across relatable storytelling and melodic jazz sensibilities.

Travels well with: Mark Winkler- Hold On; Mark Winkler- The Rules Don’t Apply

The Hands Free

Upturned Cup

New Amsterdam, 2026

9/10

Listen to Upturned Cup

The New York quartet, The Hands Free, brings the talents of James Moore, Caroline Shaw, Nathan Koci and Eleonore Oppenheim to these 8 songs that mash chamber music, jazz improvisation and folk music.

The title track opens with Shaw’s mesmerizing violin before Moore’s playful banjo enters the warm climate, and “Chrysalis” follows with Koci’s rich accordion amid the strong attention to atmosphere that’s heartfelt.

“On That Specific Pillow” and “Frost” land in the middle. The former makes great use of Oppenheim’s meticulous bass via the pretty and gentle interaction, while the latter embraces tonality amid the precise plucking dynamics.

Residing near the end, “Zender” blurs the instruments artistically and in a hazy fashion, and “First Train To Glasgow” exits with the dancing violin, firm guitar strumming, strategic bass and playful according making an indelible impression.

The Hands Free have been making music together for over a decade, and that chemistry is very apparent across these rhythmic, melodic and unpredictable tunes that are easy to admire and difficult to forget.

Travels well with: ~Nois- What Is ~Nois; Dorian Wood- Canto de Todes

Cheikh Ibra Fam

Adouna

Cumbancha, 2026

9/10

Listen to Adouna

The Senegalese singer, songwriter and multi-instrumentalist Cheikh Ibra Fam is back with a personal effort, where knowledge, faith, unity, migration and love are packed into plenty of worldly flavor.

The animated mood of “Gnou Mbollo” opens with flowing vocals, crisp drumming and rhythmic guitars that make an instant impression, and “Amoul Solo” follows with rich horns and playful winds that radiate plenty of culture and grace.

Halfway through, “Shabida” blends and pop and soul ideas into the thoughtful climate, while “Sali” carries an infectious energy that invites singing-along- even if it’s not in your native tongue.

“Mama” and “Wakhtane” exit the listen. The former leads with tribal drumming before frisky pop gestures enter, and the later showcases Fam’s expressive pipes amid the colorful dynamics.

A truly global record that was recorded in multiple countries and utilizes Afro-pop, soul, and the traditional languages of West Africa, there’s a very contemporary appeal as well, where lyrical intimacy, grooves, rhythm and melodies are never in short supply.

Travels well with: Kimi Djabaté- Dindin; Wesli- Tradisyon

Layla Kaylif

Call Of The Yoni

Self-Released, 2026

8/10

Listen to Call Of The Yoni

The English–Arab singer-songwriter Layla Kaylif pens an album steeped in pop and rock ideas that surround sovereignty, spirituality, roots, sight, and transformation.

The title track opens with warm guitar and bright singing alongside playful drumming and charming winds for the Eastern fueled ideas, and “My Love Is A Saint” follows with spoken word before the flowing melodies and mesmerizing spirit enters.

“Everyone Is As Stranger” and “The Bride Is Beautiful (But She’s Married To Another Man)” arrive in the middle. The former relies on sophisticated keys and Kaylif’s soaring voice, while the latter is a textured and animated album highlight that blends strings into the precise rhythm section and powerful vocals.

“Hallelujah” exits, and it’s a cover of the Cohen classic sung in Arabic that gives the setting a different angle that’s much appreciated.

An effort that carries a world fusion vision and much spirituality, Kaylif delivers anthemic songs that embrace womanhood and offer insight into modern feminism.

Travels well with: Lucy Dreams- VVVVV; Chloe Navarre- Periwinkle

Yolanda Kondonassis

Terra Infirma

Azica, 2026

9/10

Listen to Terra Infirma

The Grammy Nominated harpist Yolanda Kondonassis presents world premiere recordings by the composer Reena Esmail, where the violinist Vijay Gupta, the Interlochen Center for the Arts Orchestra and Chorus, conductor Andrew Grams and choral director Carter Smith are all in attendance.

The title track opens with 7 segments, where the intimate strings surround “Bone-Colored Branches”, and “Helium Ember” incorporates bells and Kondonassis’ dreamy harp that adds much richness.

Deeper into this set “Swallowed” gets tense via the booming drums and firm harp dynamics, as a cinematic quality unfolds, while “Sandhiprakash” recruits Gupta’s stirring violin prowess alongside the mysterious and ambient duet.

“Earth Speaks: Curiosity” exits with 3 chapters, as the SATB Chorus and chilling harp make for harmonic and textured ideas that radiate warmth and timelessness.

Each selection touches on the care towards our relationship to the environment, where the harp playing is superb and adaptable, and the contributions from the guests helps make for a colorful, intricate, and occasionally fierce body of work that is of the utmost importance.

Travels well with: Yolanda Kondonassis- Five Minutes For Earth; Laila Biali- Wintersongs

Bill Laswell & P.ST

Mount Analogue

Subrosa, 2026

9/10

Listen to Mount Analogue

The bassist Bill Laswell and the electronics of P.ST come together with plenty of help for 2 discs that pays tribute to René Daumal and his enchanting world of mysteries and magic.

The title track occupies disc 1 with the quick “Introduction” that unfolds like a field recording, before “Meeting” blends Henry Kaiser’s radiant guitar amid the soft spoken word of Percy Howard and Anna Clementi’s gorgeous singing.

Further into this portion, “Meeting” uses wordless vocals alongside the meditative talking that floats with a New Age appeal, while “Arrival” meshes Peter Apfelbaum’s keys, Nils Petter Molvaer’s trumpet and Hideo Yamaki’s percussion into a lush and enlightening bout.

Disc 2, Mount Analogue Solos, leads with the dreamy guitar playing of “Jodorowsky’s Peradam” before finding all sorts of sounds and tones to reside in, and “The Application Of Obscure Knowledge” exits with a gentle, rhythmic finish that’s melodic thanks to Kaiser’s precise fingers.

A truly unique unfolding of colors, aromas, meanings, textures, and moods, this musical poem is in excellent hands and incorporates cinematic and psychedelic nods in an often soothing demeanor.

Travels well with: Petr Bakla- Cello & Piano; Miroslav Beinhauer- Pieces For Sixth-Tone Harmonium

Veronika Wu

Under The Ocean

Navona, 2026

9/10

Listen to Under The Ocean

The inimitable composer Veroniku Wu is joined by Tomoki Tai’s cello for this 6 movement suite that highlights the voices of the sea and its creatures.

The eloquent “A Mermaid Without Legs” opens with the plucked and bowed strings making for an inviting start, and “Breathing In The Dark Ocean” follows with a murky presence that emits animated gestures near the end.

“Humming A Melody Too Loud To Sing” lands at the midpoint, and balances tense moments with much beauty, while “Peeling The Scales Elegantly” showcases Tai’s acrobatic fingers via the meticulous progressions that are rich and poetic.

“Hear You Hearing Me” exits, and weaves in and out of thoughtful, sometimes turbulent instrumentation that illustrates the unpredictable nature of the ocean.

Each selection is tied to an emotion that pulls the listener further into the ocean’s spiritual depths, and instills even more awe for the natural world.

Travels well with: Gabriel Jackson- Rigwreck; Laurie Altman- Songs & Poems Briefly

Don Vail

Stand Of Tide

Self-Released, 2019

9/10

Listen to Stand Of Tide

A Canadian indie-rock vehicle spearheaded by Mitch Bowden that has blossomed into a full band in a ten year existence, Don Vail is in its best configuration yet, as evidenced by the dynamic, eclectic and charming sounds of Stand Of Tide.

After the brief guitar “Intro”, the band get right into pulsating indie-rock with the shimmering rhythm of “Pulse Of Disappearing”, and “On The Wire” continues with cautious melody in a subdued alt-rocker that takes subtle nods to post-punk.

An album where each tune is the stand out track, the warm keys of “Basement Therapy” bring a cinematic and instrumental moment, while ‘If We Both Start Young” takes the keys in another direction with punchy pop-rock fun.

The back half of the album is just as luminous with the fuzzy yet cautious “New Danger”, the booming alt-rock of “Stand Of Tide”, and the ambient, hazy “Institutionalized”, which bursts into clever indie-pop. “Fireflies” ends the listen as strong as it started, with a glorious display of multifaceted rock that’s spacey, chamber-influenced and beaming with radiant energy.

An extremely inviting record, Don Vail are well versed in infectious power pop as they are the dreamier side of rock, and while the tunes here remind us of some of the greatest songwriters of this generation, they still very much belong to Don Vail.

Travels well with: The New Pornographers-Challengers; Elliott Smith- Figure 8