title: Expertly played fiddle tunes. Nicely-arranged songs with down-home messages, harmony & tasty breaks

text:
It's been nearly six years since The Western Flyers put out this great album, and most of these songs (classics and less oft-heard numbers) are still in their eclectic repertoire. I never tire of the expertly played fiddle tunes along with the nicely-arranged songs with down-home messages, clear harmony and tasteful instrumental breaks.

Another album is long overdue, however. The Western Flyers do a mighty fine job on "Wild Blue Yonder," but bassist Gavin Kelso and fiddler Katie Glassman have moved on to other adventurous musical endeavors. As of 2022, the powerhouse western swing trio is Joey McKenzie (archtop guitar), Ridge Roberts (fiddle) and Matthew Mefford (bass). They also regularly invite guitar master Redd Volkaert to join them on big shows and tours. That's the quartet I caught at the Lost River Bluegrass Festival in Merrill, Oregon in July 2022 so hope they'll capture this sound on their next stellar album, and maybe even include some of Joey's hot mandolin, tenor banjo, twin fiddling in the mix or perhaps that of a guest artist like Tim Crouch.

Dubbed "The Biggest Little Band in the Land," The Western Flyers keep their electrifying energy at a high level and know how to impart Drive to slow, moderate and fast tempo'ed songs and tunes. I love hearing the high quality recording and arrangements that re-live a sound of a bygone era when Bob Wills & The Texas Playboys were touring in the 1940s. It doesn't hurt that the Flyers now have Grand Masters Natl Champion fiddler Ridge Roberts in the band (who also placed Third in the Natl Championship Division at Weiser). And leader of the group is best rhythm guitar accompanist for this music around, Joey McKenzie, who won that title at the National Oldtime Fiddlers Contest & Festival in Weiser, Idaho. I wouldn't mind hearing Joey, a fantastic multi-instrumentalist and singer in his own right, produce a solo album too. Redd Volkaert is known as a "master of the Telecaster," but I saw him recently playing a guitar built by Bruce Sexauer in Petaluma about '82.

This album is a great introduction to The Western Flyers. Since releasing it, they've been named 2019 Ameripolitan Western Swing Group of the Year. This album deserves a place in your collection, and I'm sure their next one will be every bit as good if not better. Also, check our Ridge Roberts' fiddling album. (Joe Ross, Roots Music Report)


title: A no-nonsense approach to presenting nine originals with high intensity & creative brilliance

text:
Brooklyn-based alto saxophonist Aaron Bazzell takes a no-nonsense approach to presenting nine original compositions with high intensity and creative brilliance. Originally a classical saxophonist, Bazzell took to jazz to explore the genre’s freedom of expression and camaraderie among practitioners. Holding a bachelor’s degree in jazz studies from Michigan State University and a master’s in music education from Teachers College, Bazzell now teaches at Brooklyn Institute for Liberal Arts where he emphasizes empathy, focus and consistency to his music students.

With the prophetic title of Aesthetic, this album creates many moods, featuring extraordinary musicians operating in their improvisational sphere.  Poised on the edge of total freedom, the musicians present edgy tracks like “Tomorrow Today,” “First Period Prep,” “Purpose” and “Maktub” with uncompromising vision and energy to spare. “Unrequited” is a ballad with considerable character. Numbers like “Asked and Answered,” “Up and Away,” and “Increase and Persist” tap the right and left sides of the brain to represent logic and creativity in the music, as well as to capture the duality inherent in nature. They may also be making both playful, as well as subtle political, statements.  Rachel Robinson’s breezy vocalizing colors “Eventually” with an expressive invitation to join the adventurous journey.

The penultimate track, “Maktub” was inspired by Pablo Coelho’s book The Alchemist, and has a Latinesque groove. Live the novel’s inspiring tale of Santiago’s self-discovery, Bazzell’s satisfying song yields bountiful rewards and encourage us to listen to our hearts, recognize opportunity, read omens strewn along life's path, and follow our dreams. Closing with “Increase and Persist,” Bazzell and his accomplices (Keith Brown, Brandon Donald, Jonathan Michel on piano, drums, bass, respectively) end the captivating session on both a passionate and high-spirited note. (Joe Ross, Roots Music Report)

attachment_type: IMAGE


title: Powerfully expressive, timeless and poignant

text:
In his hometown of Sitia on the island of Crete, Stelios Petrakis learned to play Cretan lyra (a 3-stringed fretted lap fiddle), and then expanded his repertoire to also include Greek, Turkish and Bulgarian music. Besides his solo performances, the multi-instrumentalist has collaborated with an impressive list of international artists who represent several Mediterranean musical traditions. He is also a luthier who has built lyras, laouto, boulgari, traditional and modern saz, and a few mandolins.

The Stelios Petrakis Quartet features the great musical traditions of Crete with a repertoire of traditional pieces and Petrakis’ own tradition-inspired compositions. Their 2015 live recording, Avgi: Live in Heraklion, was very well received. Now, on Spondi (Libation), the rest of the quartet includes Dimitris Sideris (lute), Michalis Kontaxakis (mandolin) and Nikos Lembesis (dance).  Sideris handles most of the vocals, but two tracks (“Kalos Andamothikame” and “Syrta”) also have singer Vasilis Stavrakah.

The best showpieces for the formal, elegant Cretan Quartet are the opener “Spondi “and closer “Maleviziotis.”  Three guest instrumentalists add colorings of zarb, daff, bendir, udu, Cretan bagpipe, and pandero de Peñaparda (Salamanca).  Songs like “Tempranillo,” “H mia for a,”  “Kalos Andamothikame,” and “Sto Barbareso tis avles” have enchanting sounds. The 60-page hard cover booklet that accompanies Spondi includes many photographs and interesting liner notes (in Greek, French and English).

A very satisfying project of soulful music, Spondi is not only inspired by libation, a ritual to Mother Nature, but also by a respect for antiquities, old tales, good company, magical memories, freedom and independence.  The quartet paints soundscapes that are carefully cultivated, emotionally-charged and memorable. A track of joyous celebration fits nicely in juxtaposition to ones that might reference atrocities of war or disgraceful, primitive customs of forced or child marriage.

I also recommend viewing some videos of The Stelios Petrakis Quartet to more fully appreciate their virtuosity and showmanship. Whether their world music uses traditional melodies or lyrics, or are original compositions by Petrakis, we hear pieces that are powerfully expressive, timeless and poignant. In Greek, one would say, “Καλή Ακρόαση!  (Kalí Akróasi!)” Good Listening!  (Joe Ross, Roots Music Report)


title: Stories of the “tenacious Mediterranean & its ancient, resilient people”

text:
Peaking at #15 on The Roots Music Report's Top 50 World Album Chart back in January, 2022, it was a delight to hear  Stefano Saletti & Banda Ikona sing their stories of the “tenacious Mediterranean and its ancient, resilient people” accompanied by a variety of string, wind and percussion instruments. Multi-instrumentalist Stefano Saletti plays bouzouki, oud, saz, guitar, tzouras, gambrì, cavaquinho, piano, bodhran, darbouka, tammorra and marranzano. Other band members layer clarinet, sax, bass and various drums into the mix, while guests color arrangements with occasional violin, organetto, ney, daf, ciaramella, cello, percussion and added vocals. At track 3, “Boulegar” even enlists the Baobab ensemble for a full choir of vocalizing.

Opening the set with “Anima de Moundo,” the vocals of Barbara Eramo and Yasemin Sannino sweetly  converse with Alessandro D'Alessandro’s organetto and Renato Vecchio’s ciaramella (Italian bagpipes). Another track receiving good airplay is the reflective, slower-tempo’ed ballad, “Canterrante’ that sensuously features Lucilla Galeazzi’s vocals, Riccardo Tesi’s organetto, and Giovanna Famulari’s cello. The title track, “Mediterraneo Ostinato” speaks of people who are stubborn, combative, obstinate and refuse to give up. It may have some socio-political meaning to address new forms of injustice, marginalization and a growing gap between the wealthy and poor.

While hints of traditional music enter the set (“Nare Nare” and “Se Fossi Foco”), the majority is contemporary acoustic world music, written by Saletti, with folk, ethnic and current perspectives. It seems that Mediterraneo Ostinato is a manifesto of a possible new “Mediterranean Power” that draws from an artistic culture of the past to present a hopeful, optimistic, connected future full of heart and soul.

The unique lyrics are sung in Sabir, an ancient Mediterranean language revived in Saletti’s original compositions inspired by the region’s literature and poetry. It was a language used by sailors, pirates, fishermen, merchants and ship-owners to communicate with one another, availing itself of terms from Spanish, Italian, French and Arabic. A project to unite the peoples of the Mediterranean, its soothing feel might also have a calming effect on the world at large, something that is much needed at this time in our global history.

As the album closes with “Maréia” (featuring only bouzouki and cello) and then“Cantar,” we feel somewhat like ancient travelers ourselves, ever discovering links to the past, encountering fresh insights, and exploring new environments. Stefano Saletti and Banda Ikona will no doubt continue their performing, recording and touring to take their musical statements about the need for collaboration and unification to an even larger global audience. (Joe Ross, Roots Music Report)


title: Passionate music that displays warmth, delicacy, charm, sensitivity and invention

text:
For all intents and purposes, the hardanger fiddle (hardingfele) is Norway’s national instrument with its bright tone and clarion sound due to its four “sympathetic” (drone) strings that vibrate beneath the bowed strings. In the hands of a master like Annbjørg Lien, who received her doctorate degree in hardanger performance at the University in Agder in 2019, the instrument presents a robust orchestral sound.

Lien keeps one foot firmly placed in traditional sensibilities while she presents all-original compositions that link the past to the future. Thus, this album entitled Janus, is a reference to the two-faced god of doors, gates, and transitions in Roman mythology, and who represents the middle ground between both concrete and abstract dualities such as beginning and end, war and peace, or life and death. The theme appears figuratively, to some degree, in tracks such as “Amazon,” “The Clock is Ticking,” “Intertwined,” “Mr. Snaky” and “Strangled Stranger.” Informative liner notes explain the different tunings, techniques and meters used to capture different moods and feelings in Lien’s music.

Building on her firm foundation in Norway's traditional music, Annbjørg Lien continues her journey to create a personalized signature sound with elements of jazz, rock and classical colorings. Both inspired and inspiring, she has consistently produced many albums (or contributed on over 100) that demonstrate strength, spirit and depth. Five of her albums have been nominated for The Norwegian Grammies. Some success may be attributed to her long-time multi-instrumentalist collaborator and producer Bjørn Ole Rasch, who plays harmonium, mellotron and keyboards on Janus. Other long-time collaborators include bassist Per Elias Drabløs and Swedish guitarist Roger Tallroth. Janus features other stellar musicians who tastefully color the sonic palate with bass clarinet, resonator guitar, Weissenborn guitar, harmonica, bagpipe, low D whistle, percussion, drums and vibes. Together, the cohesive music becomes majestic, memorable and adventurous, reminding me of my 1988 visit to Scandinavia and a trip on-board a cargo ship steaming through the fjords from Bergen to Trondheim.

Hardangers are found most often in the southwest and along the west coast of Norway.  The project leader for UNESCO Setesdal, Annbjørg Lien revisited the folk music tradition in Setesdal, one of the Hardanger’s heartlands in southern Norway.  One track, the dark and drone-like “Mr. Snaky” uses a Setesdal tuning (known as gorrlaus) with the lower string tuned down to F.

The hardanger is a highly decorated instrument, almost like a piece of artwork, with inlays on the fingerboard and around the instrument itself. Similarly, passionate music played well on a hardanger displays warmth, delicacy, charm, sensitivity and invention. While this eight track album ends all too quickly, it’s meant for repeated listenings to discover the poignant nuances in Lien’s forward-thinking vision without losing sight of the past. I plan to explore other albums that Lien has released, as well as other Norwegian music released by the Grappa Musikkforlag record company, on several prestigious labels, during the last four decades. Annbjørg Lien’s Janus exemplifies their approach to music, focusing on its forward motion, momentum and passages. They recognize that its beginnings transform into other shapes as movement and change are intrinsically interconnected.  (Joe Ross, Roots Music Report)


title: A nice sonic respite for world music exploration

text:
A sampler, such as this one released by the Folk Galore label in Germany, is a nice sonic respite for world music exploration. In October 2021, the Russian World Music Chart was launched to popularize and promote folk music of multi-ethnic Russia. A true community effort, forty albums in the genres of world, ethnic and folk music participated in the 2021 chart. A jury of 16 international experts (mostly music journalists and reviewers) from around the world then selected the 20 best albums by the end of the year. Folk Galore presents some of the best from Russian World Music Chart 2021 is an interesting, unique way to sonically experience a dozen artists from the twenty selected …. “a real chance to sound to the whole world!” as the liner notes state. My only suggestion would’ve been to include a few sentences about each sampled group, as well as website and contact info for each.

Featured artists include a few that I was somewhat familiar with such as Staritsa, Vedan Kolod, and Yat-Kha. From the CPL-Music label, Staritsa opens the set with “Kak Uvadilsya Кotok” (How Kotok Got Into the Habit) that has a compelling, repetitive chant and groove.  Vedan Kolod (Prophetic Tree), a trio from Siberia but now based in Moscow, has put out about ten albums during their nearly two decades in existence. Their interest in the ancient layers of authentic, organic, rugged Russian music has been known to be influenced by ancient shamanic traditions or themes from the natural world.

The unique Tuvan throat singing of Yat-Kha on “Kongurgai” features the growling, moaning voice of Albert Kuvezin accompanied by instruments that sound like guitar, jaw harp (khomuz) and perhaps igil (Tuvan fiddle). While not sampled on this CD, another band making the Russian World Music Chart’s Top 20 was Khöömei Beat, a young Tuvan quintet that formed in 2017 that also promotes khöömei (throat singing). Shoodja-Choodja and Uutai incorporate colorings of ambient, electronica and synthesized sounds into their instrumental programming to accompany peculiar vocalizing.

Released on the Sketis music label, I found “Time of Joy,” as played and sung by Opycham to be very relaxing and meditative. With her strong voice, Tatiana Molchanova sings a cappella, as do several singers on Kazachia Sprava’s “The Sun will Give the Morrow Birth” and Balkhar Ensemble’s “Balkhar Wedding Song.” With a rather bluesy vibe, Khara’s “Drunk Russia” has a flowing pulse with a simple melody that appears to use an oriental scale and chromatic inflections. As the album closes with fairly repetitive music from Mila Kikina and the Project “Close the Gate” and Alexey Khovalyg, I realize that one really needs more information and translation of lyrics to fully appreciate these Russian soundscapes. The Russian World Music Chart is a novel idea. You’ll no doubt hear some tracks that move you to further explore an artist’s music. I also wish that this music might help bring peace to that continent.  (Joe Ross, Roots Music Report)


Regarded for his many fine recordings as the drummer in the jam band Slightly Stoopid, Ryan Moran has truly stepped into the spotlight with his 2021 solo album Kinetic. Released under Ryan’s moniker of Rymo, the 16-cut Kinetic is a masterpiece of progressive instrumental music meets instrumental World music, with all tracks infused with Rymo’s skillful approach of merging World-based chill grooves.

Another key to the incredible backdrop of space-age chillout grooves on Kinetic is the excellent fretboard work of both stick master Tom Griesgraber and the ace fretboard of Marty Schwartz. Totally in tune with Rymo’s drums, keyboards, percussion as well as sound effects, Griesgraber also adds in Moog taurus pedals and other various sound treatment that adds a full-bodied, otherworldly vibe.

Several percussionists appear and horn players assist on a track here called “Mr. Roboto Visits The Outback” that really drives the beat to further inspired heights not to mention an appearance as well by stick legend Tony Levin on the surf-y "Spy Theme". There’s such a wild diversity in play on Kinetic that you don’t know what’s coming next. World beat, chill-out and New Age fans will dig the percussion / drumming grooves of Rymo. (Robert Silverstein, Roots Music Report)


David Finck’s BASSic Instinct is no doubt based on his natural desire to present some fine jazz to demonstrate his eclectic tastes, writing skills, and arrangements ranging from just bowed bass and piano (“Seascape”) to an octet with vocalist (“So What”). He also offers plenty of arrangements for trios and quartets. Bassist Finck always provides a very solid low end, along with solos, that lay in nicely with guitar, drums and piano. Guitarist Bob Mann provides some sweet chord voicings and single note linearity on a swinging “I’m Confessin’ (That I Love You),” “Theme From Mannix,” and “Soon It’s Gonna Rain.” Tedd Firth’s piano is in the spotlight of the trio arrangement of “The Best Thing For You (Would Be Me).” Other tracks offer varied and enjoyable colorings, such as Andy Snitzer’s tenor sax on “Dearly Beloved,” Laura Conwesser’s flute on “Joy,” Kevin Winard’s percussion and Meg Ruby’s piano on ”Tico Tico,” and vocalists featured on “Bateu Levou / Who’s Wrong Or Right,” “So What,” and “I Remember.”

While the musicians may have natural abilities and tendencies that bring these songs to life, a lot of thought obviously went into planning the various settings for the tracks to let the music’s soul come through. It’s all about the groove that lets the music become a larger thing with its own energy and momentum.  David Finck is a talented bassist who seems comfortable in straight jazz, Broadway and chamber-like settings. Based in New York, Finck has about four decades of performing and recording such acclaimed albums as his Future Day in 2008, Low Standards in 2017, Bassically Jazz in 2019, and now BASSic Instinct in 2021. (Joe Ross, Roots Music Report)


title: High-stepping, snappy fun!

text:
Produced with the assistance of a Prince Edward Island PEI Arts Grant, Canadian fiddler/singer Gordie “Crazylegs” MacKeeman has released a fun, lively album of rollicking music that families can share with the kids. MacKeeman also adds banjitar, foot percussion, percussion and guitar. Mark Geddes, the album’s co-producer and recording engineer, sings and plays bass, drums, percussion and mandolin. Some members of MacKeeman’s band, Gordie MacKeeman and His Rhythm Boys, make appearances on banjo and pedal steel (played by Tom Webb), guitar and vocals (Peter Cann), along with several other musical friends and family. When not performing, MacKeeman has worked for a decade as a daycare teacher, and he recognizes the many benefits of music and movement for all ages.

Folk for Little Folk draws from a repertoire of old-time, folk, bluegrass and even some classic country fare. Some instrumentals like “Chicken Reel” and “Listen to the Mockingbird” showcase Gordie sawing the strings. Standards like “Mama Don’t Allow,” “Hokey Pokey” and “Big Rock Candy Mountain” sit well between more unique offerings such as “Get Out There and Dance,” “Ladybug’s Picnic,” “Oo-De-Lally” and “Dancing in the Bathtub.” One album highlight is Wade Hemsworth’s “Log Driver’s Waltz,” although the vocals and lyrics suffer a tad in an arrangement that also includes accordion. Other standouts include the four pieces that MacKeeman had a hand in writing, “Snacciddent,” “Walking Along,” “Boogie Woogie Baby” and the graceful waltz, “Dreamland” that closes the album. All in all, these seventeen tracks are high-stepping, snappy fun.  (Joe Ross, Roots Music Report)


title: 8-cut EP ... drives home the duo’s prog-rock logic, sounding at times like early Genesis

text:
Best known for his vast knowledge of progressive music having written a book on the YES group, Tim Morse is also a member The Mangoes, a band he shares with his musical cohort Bret Bingham. The follow up to the band’s self-titled debut from 2015, the  8-cut CD EP called Pale Blue Dot drives home the duo’s prog-rock logic, sounding at times like early Genesis. Tim and Bret get ace backup from several assisting musicians including a fine rhythm section of Chris Capozza (bass) and Andrew Glasmacher (drums).

Every track here has something to offer. One could easily single out track 3 here called “Mystery” providing one of Bret’s best vocals yet. Tim Morse impresses with his vocals on “When The Sky Fell Down” yet the pair hit their highest high with a  fantastic Mangoes cover of “Free As A Bird,” the Beatles reunion single leading to the arrival of their 1995 Anthology series. Featuring both Bret and Tim on lead vocals, the song underscores the Beatle-flavored vibes running throughout the entire album. Andrew mixed “Free As A Bird” as well. Short but sweet Pale Blue Dot makes a primo introduction to the Mangoes. (Robert Silverstein, Roots Music Report)


title: A real sweet groove of expertly played jazz for octet

text:
Born in 1926, Vinnie Riccitelli started playing alto sax at age 11, served in the U.S. Navy during World War II, attended Juilliard School of Music, and became a full-time gigging musician until 2018. His last full-length album, described as “fresh and cool,” dates to 1956 when he released Unique Jazz, The Westchester Workshop to ply his writing and arranging skills for his octet while giving something back to the guys he admired and performed with.

Now retired, Riccitelli is documenting his legacy on For the Record with four of his unrecorded compositions (“Minor Seventh Heaven,” “Blues Dominant,” “Flugelsville,” “Little Boy Blew”), a dozen classic jazz numbers he arranged during his career, and one arrangement (“Maids of Cadiz”) by Tommy Newsom. Riccitelli emphasizes the beauty of melody, harmony and rhythm to color the aural palette. “Flugelsville” features veteran sideman Glenn Drewes, and “Little Boy Blew” is an up-tempo bebop blues over interesting chordal and harmonic changes. Other material draws heavily from standards by legendary writers like Jerome Kern, Gene De Paul, Don Raye, Henry Mancini, Vincent Youmans, Jimmy Van Heusen, Thelonious Monk, Tadd Dameron, Benny Golson, Duke Jordan, and Herbie Hancock.

Like his 1956 album, Riccitelli enlisted longtime friends he admired to perform the music on three saxophones, trumpet, trombone, piano, bass and drums. Selections like the breezy “If You Could See Me Now,” swinging “Mr. Lucky,” engaging “Dolphin Dance” and lively “Jordu” are tight and creative. They radiate with expression, imagination and taste, and Vinnie gives his illustrious guests plenty of room to strut their stuff.  For example, “Stompin’ at the Savoy” allows Lou Stelluti’s bass to take centerstage, “I’m Old Fashioned” features a lush solo from tenor man Joe Stelluti, “Along Came Betty” is flavored with pianist Eddie Monteiro’s accordion, and several numbers like “Little Boy Blue” and “Serenata” have Chris Stelluti’s baritone voiced out front.  The alto sax is masterfully played by Leo Ursini on 11 of 17 tracks, and by Nathan Childers on the other six. Ursini passed away before the recording was completed, and For the Record is dedicated to him. I also enjoyed the rhythmic changes in Leroy Anderson’s “Serenata” and Thelonious Monk’s “Round Midnight,” as well as the humorous 5/4 meter and key changes in “Star Eyes.”

For the Record establishes a real sweet groove of expertly played jazz for octet. Arranger Vinnie Riccitelli displays old-school discipline. He gives the music a very comfortable definition and direction that allow each voice into the room of light, lyrical conversation. That organization of the music lets its soul fully come through.  (Joe Ross, Roots Music Report)


title: White & her songwriter partners take one in with a compelling verse & an emotionally potent chorus

text: Amelia White and her various songwriter partners typically take one in with a compelling verse, setting up an emotionally potent chorus quite likely to bring one around for another listen.  Background vocals, both single and multi-tracked, add exceptional atmosphere to the Nashville-based singer/guitarist’s own frequently taut, urgent work.  "Daddy Run" is an airplay natural.  Other standouts in a very strong pack include “Brothers”, “Mary’s Gettin’ Married”, “Hollow Heart” and the title track. (Duane Verh, Roots Music Report)


title: Austin Walkin’ Cane’s smoky vocals never fail to convince, be they fierce or laid back

text: Due respect to all instrumentalists, in the world of deep blues the rarest finds these days are voices up to the task. Guitarist/vocalist/songwriter Austin Walkin’ Cane’s smoky vocals never fail to convince here be they fierce or laid back.  The title track is one of a number of standouts, co-written with guitarist Chris Allen. Others are “Waitin’ For A Little Sunshine”, “Wounded Dove” and “Living, Working, Dying”.  The Revolution Brass Band guests and Don Dixon produced. (Duane Verh, Roots Music Report)


title: A fresh new sound that fans will adore

text:
The new Nick Verzosa and the Noble Union EP has been released and is causing radio DJ’s to take notice.  Nick Verzosa and the Noble Union have a fresh new sound that fans will adore.

This new CD release is titled Love In Principle and delivers 6 of the hottest Americana tracks to be released in 2014.  The studio production and mix is sparkling, and this truly adds to the glowing songwriting and vocal performances.  This band has a feisty modern sound, which embraces a bit of the true country sound at times (with steel guitar and fiddle licks) but is subtle enough to add an Austin Texas flavor to some of the tracks.  Roots Music Report predicts Nick Verzosa and the Noble Union will be climbing the radio charts soon and lines will be long to see them perform live. (Robert Bartosh, Roots Music Report)


title: The jazz tribute to film music is lightheartedly funky, appealingly oddball or soulfully sentimental

text: Clarinetist David Krakauer’s jazz tribute to film music is, at turns, lightheartedly funky, appealingly oddball or soulfully sentimental.  In all cases, he and his ensemble place a unique and intriguing stamp upon a set of themes seemingly chosen more often for their potential than their familiarity.  Just the same, he offers up evocative readings of “Body and Soul”- a tribute to Woody Allen’s Radio Days- and the Funny Girl smash, “People”.  Violinist Jenny Scheinman is a standout in Krakuer’s supporting cast. (Duane Verh, Roots Music Report)


Robust, earthy vocals combine with originals equally true to the roots on Michael-Ann's first full-length release.  That said, the Missouri-bred, LA-based singer/songwriter on occasion graces her classic country melodies with fresh, low-key touches, as simple as an unexpected chord change.  Ballads are a strong feature, including the torchy “Hard To Breathe”.  The title track, a soulful mid-tempo rocker, is a good airplay bet as well. Instrumental backup is solid throughout.  (Duane Verh, Roots Music Report)


How does a traditional fiddle phrase fit atop a breezy, post-bop groove? For this quintet, led by alto saxophonist David Bixler, the question is far from problematic and makes for just one example of the fresh nature of this set.  Bixler and violinist Heather Martin Bixler are the primary voices on “heads” strong on invention without any sacrifice of swing.  Both are solid soloists as well but show-stealing credits go to pianist Arturo O’Farrill.  The accomplished Latin-jazz player consistently maxes out the potential of each distinctive theme present.  Fusion guitarist Mike Stern guests. (Duane Verh, Roots Music Report)


title: Bibb navigates the blues from just about every emotional angle ...

text: Eric Bibb here navigates the blues from just about every emotional angle and makes plenty of room for uplifting moments besides.  Tough, traditionally-flavored tracks- “Silver Spoon”, “Turner Station”- share space with a moody, jazz-tinged take- “God’s Mojo”, good-time double entendre- “Chocolate Man” and a fierce piece of talkin’ blues- “Rosewood”.  The inspirational fare is bolstered by guests The Blind Boys Of Alabama and Ruthie Foster. Bibb and Linda Tillery channel the Staple Singers- right down to the 70’s Stax Records production sound on “Remember The Ones”.  It seems a few real gems always squeeze in before year’s end.  This is one of those.


title: Roly Platt pushes the harmonica's borders

text: Like Sugar Blue, harmonica ace Roly Platt pushes the instrument's borders.  Like Charlie Musselwhite, Mr. Platt demonstrates that the blues harp can be right at home in a wide range of material without losing touch with the roots.  The decades-plus veteran of Canada’s blues scene- and his very solid backup unit- here serves up a primarily instrumental set both kick-butt and decidedly fresh sounding.  While one might easily concede that the Crusaders’ r&b gem “Put It Where You Want It” fits in a blues band’s “book”, it may take Mr. Platt’s soulful, articulate work on “Over The Rainbow” (yes, that one) for that song's inclusion.  His own tasty work is spelled with strong work from keyboardist Lance Anderson and guitarist/vocalist Steve Strongman delivers some particularly smokin’ lead & solo work on “Ocean Of Tears”. Fear not, Platt & company know how to swing hard- check out the high-octane boogie number “Mad River".  (Duane Verh, Roots Music Report)


title: A consistently satisfying & soulful simmer on a set of nicely chosen covers & genre-savvy originals

text: Boston-based vocalist Amy Black delivers a consistently satisfying and soulful simmer on a set of nicely chosen covers and genre-savvy originals.  And while the covers might draw the initial attention, particularly a classically Muscle Shoals-bedecked workup of the Sam Cooke classic “Bring It On Home” or Dylan’s “Gotta Serve Somebody”, Ms. Black’s “Woman On Fire” and “Get To Me” are scorchers screaming for airplay. (Duane Verh, Roots Music Report)


title: Ineson is an engaging songwriter ... songs are at the center of an appealing Americana/jam band mix

text: Carolina guitarist/vocalist S.D. Ineson is a quite engaging songwriter.  And, with the assistance of tasty, diverse roots instrumentation provided by his very capable bandmates, his songs are at the center of a most appealing Americana/jam band mix.  “American Radio” definitely deserves to see the light of airplay day.  The title track, with its vivid aural nod to The Band, also stands out, as do “Blue Guitar” and “Mama Lou”.  (Duane Verh, Roots Music Report)


Serious blues mojo spills over the edges here thanks to the scorching vocals of Christina Vierra, aided and abetted by the reliably nasty guitar tandem of Johnny Holiday and Ashley Bishop. Rhythm is relentless as well on solid tracks including “Burn That Woman Down”, “No Flesh in Outerspace” and “Who’s Gonna Run This Town”. (Duane Verh, Roots Music Report)


title: A sublime set of deep soul nearly as wide in stylistic range as is his multi-octave vocal spectrum

text: Powerhouse vocalist Gregg Martinez serves up a sublime set of deep soul nearly as wide in stylistic range as is his multi-octave vocal spectrum.  Covering Ann Peebles (“I Can’t Stand The Rain”), Sly Stone (“If You Want Me To Stay”) and hitting on rarefied gems in between, the Louisiana-bred Mr. Martinez never lets up here.  Neither does his thoroughly kick-butt studio band. Slotted among the primo covers here is a most airplay worthy original, the infectious “Remember You Used To Love Me”. (Duane Verh, Roots Music Report)


title: A stellar example of a singer-songwriter with lots of ideas

text:
With his background distilled from a lineage of different careers, Chris St. John finally arrives with his long-awaited debut solo album entitled “I’m Dreaming”. Heavy on production that is expertly tailored to the singer’s vocal range, I’m Dreaming collects a series of catchy, melodic arrangements in the spirit of late 1960s pop singers like James Taylor, Brian Wilson and Paul Simon and the all original songs more than fit the bill. In this way, the 15 track CD is kind of a throwback to the sounds of the late 1960s with influences like James Taylor for example (especially his 1968 album on the Beatles’ Apple label).

Although starting off ostensibly as a Country & Western type album with a song about the artist's horse, I’m Dreaming is actually a stellar example of a singer-songwriter with lots of ideas. With its wide range of musical styles, the album is enhanced by the excellent work of producer Mike Hogan as well as the music direction of Kati O’Toole. With this three-way partnership of artist, producer and music director, I’m Dreaming showcases the artist's excellent ideas with musicianship supplied by a number of studio session players that further shapes the artist’s vision by way of a very exquisite studio sound. What’s more, the overall vision of the album is quite eclectic, especially the way the more peaceful tracks merge into a more aggressive electric pop direction and again the 1960s provides the reflective backdrop. Ethereal, pop-rock friendly tracks like “The Winds They Blow”, the dreamy pop twist of “Your Baby Loves You” (sounding at least to my ears like Fear- era John Cale), the bouncy country-rock sound of “The Chance I Gave To You”, as well as the lush and fascinating instrumental “Pacific Sunrise”, are just several good reasons to check out the album debut from Chris St. John. (Robert Silverstein, Roots Music Report)


title: The best of horn-driven old-style rhythm and blues to show it’s still kicking along just fine

text: If you’ve been missing Wilson Pickett since that great soul singer’s demise, some of his spirit can be found in Roland Johnson. “Can’t Get Enough” and “Promised Land” render the evidence for the Pickett-like vocal phrasings, though in a less intense singing style than the Wicked Pickett’s – but who could match that?  “Mother” is another one, a New Orleans-style tune that digs into the ‘60s rhythm and blues bag, while “The Things You Do,” “Sweet Little Nothings” and especially the title track, “Imagine This” would get anyone off their butts and to the dance floor. Rather than cut new musical terrain, Johnson draws on the best of horn-driven old-style rhythm and blues to show it’s still kicking along just fine. (Joe Safari, Roots Music Report)


title: Pop gems from the 60’s & 70’s ... respect for the originals and finding his own voice

text: An alumnus of one of Nashville’s more rockin’ late 80’s duos, vocalist/guitarist Bill Lloyd here focuses on pop gems from the 60’s and 70’s, striking a nice balance between respect for the originals and finding his own voice inside them.  And if his driving leadoff take on the Bobby Fuller Four classic “Let Her Dance” speaks clearly to his Foster & Lloyd roots, he sounds equally at home with the pretty pop of Nilsson- “The Lottery Song” and the Raspberries- “Goin’ Nowhere Tonight”.  Mr. Lloyd’s version of “Lonely You” seems more Big Star than the original Badfinger and he extracts all the urgency of Wreckless Eric’s “Whole Wide World” without mimicking the original. The Beatles- “Across The Universe” and Todd Rundgren- “I Don’t Want To Tie You Down” are respectfully represented as well. (Duane Verh, Roots Music Report)


title: A set that’s heavy on roadhouse kick with just a touch of studio slick

text: Perhaps it was the vintage Nashville recording gear he used that makes Boo Ray’s LA session sound sooooo Music City.  The Carolina-bred singer/guitarist declares his love for “Redneck Rock & Roll” on the leadoff track and delivers much of the same on a set that’s heavy on roadhouse kick with just a touch of studio slick.  With studio backup whose aggregate resume reaches from the Average White Band and Tom Petty to Taylor Swift, a badass country-rock sound emerges to drive Mr. Ray’s multiple airplay-ready tracks. In addition to the opener, standouts include “I Got The Jug”, “Chickens”and title track.  An unexpected country reworking of the Hot Chocolate classic “Emmaline” works well as well. (Duane Verh, Roots Music Report)


title: Skoller keeps his blues very much in the present tense and personal with lyric sets

text: True to the tradition with his harmonica work, NYC-bred, Chicago-based Matthew Skoller also keeps his blues very much in the present tense and personal with lyric sets such as his “Big Box Store Blues” and "Only In The Blues”.  He keeps things interesting as well with change-ups such as the steamy, seductive groove of “The Devil Ain’t Got No Music” and his historically engaging, autobiographical title track.  (Duane Verh, Roots Music Report)


title: Observations of intimate transactions & interactions seem to come from a very solitary place

text: Beaver Nelson’s observations of intimate transactions and interactions seem to come from a very solitary place.  The Austin-based singer/songwriter’s sharp-minded, heart-pierced observations are possessed of an edge that syncs well with the pop/rock ballad approach that predominates here, at times conjuring an Alex Chilton-like bite. Standouts in this very strong set include “Well, Well, Well”, “Bad Movie”, “Are You Positive” and, most certainly, “Men Without Women”. (Duane Verh, Roots Music Report)


title: A blend between Country, Pop, and Rock that is truly cultivating for young listeners

text: Southern Halo is a soulful sister trio coming up from the Mississippi Delta. The sisters have crafted a blend between Country, Pop, and Rock, that is truly cultivating for young listeners and gives insight into the minds of three teenage southern belles. The songs on this track are profound and passionate and voice messages of the true struggles of today's youth. Standouts in a very ardent album include "Rewind" a song about bringing it back to the basics, "Little White Dress"a young girls view on young marriage  and "I Ain't Crazy (But My Daddy Is) a song title that explains itself entirely. (Brook Anastasia, Roots Music Report)


title: "Retro-modern rock" that stimulates a feeling of a timeless New York City

text: Alan Chapell started making and performing music at the early age of 5; while in high school he recorded his first EP with Jimmy Lenner and spent the next 20 years traveling and creating music with who ever came into his world. His new album The Redhead's Allegations is "retro-modern rock" and stimulates a feeling of a timeless New York City. The songs on his new album are engaging and catchy. The rhythm and style with in the tracks gives the listener a chance to live in the life of New York through music. The songs are ones that would be perfect for singing in the shower or on road-trips. Focus tracks include: "Giving Her More", "Heros", "The Game", and "Iggy". (Brook Anastasia, Roots Music Report)


title: A high-spirited & particularly tuneful set of old school blues, drawing ... on material from greats

text: Ms. Lynn growls and shouts her way through a high-spirited and particularly tuneful set of old school blues, drawing heavily on material from greats including Big Mama Thornton, Johnny Copeland, Lowell Fulsom and others.  While the Houston-based blues diva covers others impressively throughout the set, it’s her own “Thru Chasin’ You” that could snatch early airplay honors.  Keyboardist Randy Wall stands out in the rock-solid studio band. (Duane Verh, Roots Music Report)


title: Country-sweet, spot-on harmonies in the service of nicely crafted, genre-appropriate themes

text: Messrs. Dennijo, Andy & Chad Sitze serve up country-sweet, spot-on harmonies in the service of nicely crafted, genre-appropriate themes such as sin and salvation, front porch family sing-alongs and vintage pickup trucks, and with a solid, stick-with-you chorus every time.  Standouts include “Devil’s Playground”, “Over and Over Again” and “’59 Apache”. (Duane Verh, Roots Music Report)


Joanne Rand’s singularly evocative vocals can indict, console or reflect with equal intensity.  Notions of ceaseless conflict- “Little People’s War”, family- “Where The Waters Flow” and congenial social rebellion- “Humboldt To The Bone”, get vivid readings courtesy of the Northern Californian’s formidable vocal range.  Graceful piano and acoustic guitar touches, and strategic vocal multi-tracking highlight the first-rate production. (Duane Verh, Roots Music Report)


Award winning Costa Rica-born percussionist/composer/arranger/producer Luis Munoz, now a resident of Santa Barbara, California, is a master drummer. A student of music and architecture in Costa Rica, he received a music degree from UC Santa Barbara in 1974. This all-instrumental project marks his eight album.  Munoz performs on drums and keyboards and is accompanied by Jonathan Dane (trumpet), and Munoz’s trio partners, Brendan Statom (acoustic bass), and Daniel Zimmerman (Electric and acoustic guitar). The seven song program, all composed by Munoz, is an exciting and impressive outing. Secrecy opens with trumpet, drums and guitar with a flair, before it slows to a simmer with a guitar motif. The trumpet is given lead voice, although the band is featured in the ebb and flow of the piece.  Following a drum and cymbal introduction, Seveneves sees Ramses Araya guesting on busy and inventive percussion, though Munoz remains steadfast at the drums. Again, beautiful trumpet. Dane is clearly a Miles Davis disciple.

The Sleep of the Innocent (Trio version) sees Dane step out for the band to shine. Bass, drums and guitar are brilliant.  The very percussive Tierranegra is horn and rhythm again with a Latin jazz feel. The Dead Man, complete with drum rolls and rattles, is reminiscent in sections of Headhunters-era Herbie Hancock. Invisible (Trio version) again is a vehicle for guitar, drums and bass. It’s a gentle piece that entices.  The 10-minute closer, Savannah, is cinematic with especially impressive guitar work, with drumming on rims, skins, and cymbals. When the trumpet is introduced it’s almost Mingus-esque. It’s a breathtaking work that draws the listener in. Not exactly Latin jazz, it is adventurous, and very rhythmic and percussive. (Mark Gallo, Roots Music report)


title: The essence of modern-day Black Americana, flavored with a neo-country flavored roots-music twist

text:
NYC-based singer-songwriter Queen Esther is making waves with her 2021 album called Gild The Black Lily. Combining the essence of modern-day Black Americana, flavored with a neo-country flavored roots-music twist, the 13-cut CD features Esther diving deep into a musical pool brimming with rootsy, bluesy country tracks, all featuring her soulful and sublime vocals. A wide range of musicians, topped off by effective studio production by engineer Craig Dreyer, ably assist Esther on her fourth solo album. Growing up in the deep south, Esther gravitated early on to Gospel music, freeform radio and a style of Southern country music called  “countrypolitan”. Exposed to the music of blues legend Hubert Sumlin and moving to Harlem in NYC, Esther’s background consisted of jazz, country roots, pop, blues, Broadway and theater music, all genres that combine to stunning effect here.

On Gild The Black Lily, the focus is on her own music yet the album also covers of the time-honored “John The Revelator” as well as a faithful, heartfelt cover of the Eagles 1975 classic “Take It To The Limit”, yet it's her originals, like “This Yearning Thing” for example, are the best part of this set. Blues, Gospel and alt-country music fans will find much to like about Gild The Black Lily. Somewhere between Melissa Etheridge, Sly Stone, Nina Simone and Sarah Vaughan, Queen Ester creates magic within a variety of Americana genres, making Gild The Black Lily a most worthy listening experience. (Robert Silverstein, Roots Music Report)


title: Equally at home in r&b, blues and jazz

text:
Stew Cutler’s name may not ring a bell, but this is a guitar player who has been around the proverbial block many times. Equally at home in r&b, blues and jazz, he has accompanied the likes of Percy Sledge, Wilson Pickett, Fontella Bass and Earl King. One of his first jobs as a sideman was with ZZ Hill. He toured Europe with Queen Esther Marrow and the Harlem Gospel Singers and has worked with David Sanborn, Lester Bowie, Charlie Hunter, Bill Frisell and Jimmy Dale Gilmore. It doesn’t get any more diversified than that. As the title suggests he now has a regular gig at Arthur’s Tavern, nestled in New York’s Greenwich Village.

The friends along for the ride are Bobby Harden on vocals, JT Bowen on vocals on one song, Bill McClelland on drums, Nick Semrad on organ, Jullian Pollack on organ on a pair of songs, and Chulo Gatewood on bass. The music captured here is live in the studio, as the tavern was not available for the recording. Regardless, it’s the music that matters and the music here is a sampler of Cutler’s many musical hats. Opening with the original, “The Grind,” the guitarist reminds of Roy Buchanan. His mastery of the instrument is showcased here with forays into the upper stratosphere of the fretboard. On the follow up, “Gumbo Trane,” also an original, he quotes lines that vaguely call Coltrane to mind couched in New Orleans funk. The funk wins out over the Trane.

“Before I Go” features powerful vocalist Bobby Harden, who is even more effective on their version of the Allman Brothers classic “Not My Cross To Bear.” A strong vocalist, he captures the essence of Gregg Allman’s original, with Cutler approximating the Duane Allman guitar parts with his own unique spin. Semran’s organ and McClelland’s drumming stand out, as well. Harden sits out for the take on Sam & Dave’s “When Something Is Wrong With My Baby, on which JT Bowen more than aptly takes the lead vocal. The organ is prominent here and Cutler’s solo is breathtaking. Following a spirited lampoon of the “TV Preacher”, comes the sizzling intrumental, “Miss D,” on which everyone shines. The closer, Hop Wilson’s “Black Cat Moan,” is not much more than a one minute soundbyte that showcases Cutler cutting loose.

This is apparently Stew Cutler’s sixth album as a leader. His name is new to this writer and this writer has just become a serious fan. (Mark Gallo, Roots Music Report)


title: Clever lyrical craft meets with decidedly stylish vocals & a charmingly feisty persona

text: Rockabilly is yanked by the collar into the here-and-now thanks to the smart songwriting of singer/guitarist Lara Hope.  Clever lyrical craft meets with decidedly stylish vocals and a charmingly feisty persona on solidly delivered fare including “Callin’ My Name”, “Dr. Bartender”, “I’m Yours” and the title track.  (Duane Verh, Roots Music Report)


title: A soulful, ballad-heavy set with stick-with-you choruses dropped throughout

text: With a sleepy-headed vocal delivery out of the Lucinda Williams school, NOLA-based singer/songwriter Lynn Drury serves up a soulful, ballad-heavy set with stick-with-you choruses dropped throughout. Cases-in-point include the simmering leadoff rocker- “Lifetime Of Living”, a country charmer- “Cold Feet” and the melodically haunting “11:11”.  Strings show up now and again; the moody character of “11” is underlined by a compelling and very unexpected chart sounding straight out of the Jeff Lynne playbook. (Duane Verh, Roots Music Report)


Drummer Brian Woodruff‘s third album as a leader, A Centering Peace features nine original compositions arranged for his sextet that also includes Michael Rodriguez (trumpet), Lisa Parrott (alto and soprano sax), Alan Ferber (trombone), Pete McCann (guitar) and Matt Clohesy (bass).  Woodruff also penned some lyrics for guest vocalist Elisabeth Lohninger to sing on “The Welcome Song,” “A Centering Peace” and “King Size Blues.” The title cut was written to celebrate the 75th birthday of Woodruff’s lifelong friend and spiritual advisor, Monsignor Edward Straub. Blending with the band’s instruments, Lohninger sings of “goodness and truth” that “heals you, guides you, and calls you to love.” A Centering Peace invites you to “share its truth, share its joy, and follow its beacon towards our future of oneness in love and God.”

Brian Woodruff’s music reflects what’s in his heart, and a piece like “What Happened” allows the sextet to make an expressive statement rather than pose an unanswered question. With an idea that’s clear and concise, “Pirouette en Dedans” is a showpiece for trumpeter Rodriquez’s individuality. “War Paint,” “Every Detail Minding” and “Freeway Doctor East” are somewhat more beguiling as they create elasticity for musical mood changes. One thing’s quite apparent in “Undertow” … the sextet has good chemistry and displays teamwork as they maneuver through the arranger’s musical signposts. Closing with “King Size Blues,” the ensemble recalls Ellington and Basie but with a few twists and some tongue-in-cheek lyrics and scat vocalizing to close the album with a solid groove rather than too much melancholy.  (Joe Ross, Roots Music Report)


title: Sizzling soul/rock, the stripped-down, one-man band format ...

text: Florida-bred guitarist/vocalist AJ Ghent serves up sizzling soul/rock, the stripped-down, one-man band format of which makes for an infectious primitive/modern mix; rhythmically recalling the Fat Possum label’s “blues-and-beats” phase of the early 2000’s.  His take on Junior Kimbrough’s “Do The Rump” funks as hard as the title suggests.  “Wash Your Hair” hangs somewhere between Prince and Curtis Mayfield. “Power” is a fiercely rockin’ “attitude” track.  Good stuff. (Duane Verh, Roots Music Report)


Well-covered Nashville songwriter and collaborator John Scott Sherrill serves up brand new offerings as well as his own renditions of songs penned for artists such as John Anderson and Patty Loveless.  Mr. Sherrill’s convincing common man vocal delivery shines atop modestly masterful production and first-rate small group backup.  Standouts in a strong set include “Nothing But The Wheel”, “That’s Just You”, “Some Fools Never Learn” and the title track. (Duane Verh, Roots Music Report)


The personae of compelling singer/songwriter and savvy, roots-bound player are joined at the hip in the work of Steve Conn.  One should not be surprised if they catch a side glimpse of Mose Allison or Randy Newman within the narratives of the axe-to-grind or heart-on-his-sleeve protagonists portrayed here.  One should also delight in the Louisiana-bred Mr. C’s rock-solid keyboard work.  Standouts in a very strong set include “You Don’t Know”, “Annalee”, “Sing Me To The Other Side” and the title track. (Duane Verh, Roots Music Report)


Based way up north in Hamilton Ontario, Canada, guitarist / composer Strat Andriotis returned in 2018 with another album of unique guitar magic called Night Manager. Featuring Strat's guitar backed up by memorable contributions from legendary violinist Jerry Goodman—appearing on seven of the eight tracks—and South Florida’s Cuban piano icon Gonzalo Rubalcaba, on one track, Night Manager also spotlights Canadian pianist Adrean Farrugia on a pair of tracks.

According to Strat, “Gonzalo and Jerry overdubbed their parts in their studios. The chemistry is pretty amazing. It sounds that we are playing in the same room." Commenting further about Night Manager contributions from violin legend Jerry Goodman, Strat explains, “Jerry's playing sometimes reminds me of Grappelli. You get to hear Jerry play differently than he did with Mahavishnu. But he still lays out those lightning fast runs heard on the early Mahavishnu recordings! “The Arrival” is a song that Jerry's melody became the hook.”

A perfect example of smart musicianship and recording in an age where musicians, with the help of untold futuristic technology, can record an album with other musicians thousands of miles apart, Night Manager perfects this relatively recent recording art form and makes it a fantastic reality. The sound of the eight cut album is so perfectly designed so you can almost hear the rosin flying off of Jerry’s violin bow, while the elegant piano work of Gonzalo Rubalcaba and Adrean Farrugia tastefully adds to the excitement of Strat’s guitar wizardry. Although Strat is also a gifted pianist, it’s really his guitar work that is central to the overall success of the Night Manager sound. The intense swing of the recording may seem overwhelming to music lovers at times, but the beauty of Night Manager comes with repeated listening. With sheet music and expert musicians on hand to expedite the realization and recording process, Night Manager stays up after hours but Strat's late night guitar action is well worth it. (Robert Silverstein, Roots Music Report)


With many long respected artists backing off from making what is now known as “physical” product, and now going the download / web-based approach, (which is the trend), so then along comes U.K. based Zeelley Moon with their self-titled album debut. And a winner of an album it is. With appealing hard bound book like CD packaging, the artwork is excellent with complete lyrics and intriguing and sometimes shocking photography.

A well-timed 21st century modern rock quartet, Zeelley Moon centers around the songs, vocals and keyboards of Patrick Molesworth. Not exclusively considered prog-rock, and sounding more like Phil Collins era Genesis than classic Genesis, the ten cut CD sounds like modern pop-rock and group leader / composer Patrick Molesworth sounds very influenced by piano rock legends like Billy Joel and Elton John. The sizzling electric guitars of Tony Dubinski combined with Tony Dodd (bass) and Geoff Bolam (bass, guitar), gives the sound a cleverly tracked Frampton meets Supertramp influence.

Commenting on Zeelley Moon being accepted and even praised by progressive rock fans in the U.K. and beyond, Patrick adds that, “I didn’t set out to make a prog song or album; I write very much to please myself, but I like to think the term “progressive” can be applied to any genre. Maybe mine is middle of the road prog? I would like people to think it’s original, even unique with a slightly different approach and just a bit different to things they’ve heard before.”

Different musicians play on various tracks while keeping the rock quartet sound in focus. Even with further refinement of their impressive productions and bountiful melodic ideas, on what will hopefully be future band recordings, the musical vision of Zeelley Moon is well on the way to developing into a progressive rock force to be reckoned with. (Robert Silverstein, Roots Music Report)


Instrumental music composer and keyboardist Paul Kirkpatrick—recording as a solo artist under his stage name Paul K—has released three critically acclaimed solo albums in England during the past 5 years, starting with his first solo album, Soul Connection in 2015, followed by Omertà in 2017. During this time Paul also released the 2016 debut album by his rock band with singer Rachel Harvey, in the band, Glitch_Code.

Now in the Fall of 2018, Paul K has released his third solo album, a powerful concept album called The Fermi Paradox. The anticipated follow-up album to Paul's critically-acclaimed 2017 album Omertà, The Fermi Paradox is a progressive music opus that merges 21st century instrumental rock with an avant-garde neoclassical edge. A tribute album with a twist, Paul K's album, The Fermi Paradox pays an instrumental prog-rock homage to Italian scientist / physicist Enrico Fermi and his famous 1950 quote “So, where is everybody?” also known as "Where Are They?" – a question that sparked a pop culture revolution in the middle of the 20th century. The Fermi Paradox literally renewed a quest to search for life beyond Earth.

As written about in greater detail in The Fermi Paradox CD booklet liner notes, Enrico Fermi’s question was, quite subliminally, first introduced to the pop culture masses in 1968, by way of Stanley Kurbrick’s acclaimed masterpiece 2001: A Space Odyssey.  As more astute listeners and critics will note, Paul K’s 2018 concept album, The Fermi Paradox is among the most unique sounding and unparalleled instrumental albums released thus far in the 21st century.

Paul K explains, “This album is about the vastness of the universe and if we are alone or not and about the evolution of life.” Paul K also implements spoken word tracks on several songs here that serves, from a historical viewpoint, to underscore a cosmic connection to the expansive scientific concepts of The Fermi Paradox. The track “The Great Silence”, features cellist / vocalist Rachel Dawson reading a poem by the late holocaust poet Abraham Sutzkever. The Fermi Paradox also features spoken word tracks of rare recordings, from the Oxford University Fine Tuning Workshop videos, featuring esteemed Oxford professors Joe Silk and Mario Livio as they deliberate upon the Fermi Paradox and Enrico Fermi’s famous 1950 quote “So, where is everybody?”

Musicians performing on The Fermi Paradox include: Paul K: Piano, Synths, Theremin, Percussion, Mellotron, Programming - Julian Todd: 4, 5, 6 String and Fretless Bass - Gordon Foley: Guitar, Ebow - David Williamson-Smith: Drums - Rachel Dawson: Cello, Narration and Backing Vocals - Corinna Jane: Backing Vocals. In addition to his core band with keys, drums, guitars, cello, bass and spoken word vocals, The Fermi Paradox also features diverse instrumentation such as electric violin, theremin, pipes and more, giving the album an ancient yet futuristic feel. The most ambitious album so far by music maestro Paul Kirkpatrick, The Fermi Paradox propels progressive music forward into a deep and dark sonic future. (Robert Silverstein, Roots Music Report)


A mix of original piano improvisations and refined traditional religious hymns, Held In The Light is an intimate-sounding, all instrumental solo album, released in late 2017 / early 2018 by Maryland-based recording artist Dan Chadburn. In his brief yet insightful CD liner notes, Dan states that among his fondest memories remain as a youngster attending church every Sunday morning with his parents and also playing church organ in the same church. Also in the Held In The Light liner notes, Dan’s parents are also praised in as being an encouraging factor in his musical career.

As always on his unique sounding piano albums, Dan makes you feel he’s performing just for you, with a rare musical gift that often times sets him apart in a field of crowded competitors. With its up close and personal studio sound, Held In The Light was recorded in Sedona Arizona with mixing and mastering engineer Joe Bongiorno and the album was co-produced by Dan and longtime partner Tom Nichols. What is even more amazing on Held In The Light is how Dan recreates a kind of hallowed spirit and aura of these hymns that he first heard and played so early on in his life. Many of the hymns, as revoiced for piano by Dan, date back to the late 1800’s although, in his approach to playing them as instrumentals, Dan also shows how important the chord structures were and still are to 20th century music and even to rock music. For example, track nine is Dan’s solo instrumental version of the famous hymn “Morning Has Broken”, which dates back to 1931 when it was first heard and appreciated later, in recent times in a mass consciousness kind of way, thanks to Rick Wakeman’s piano performance and composed piano solo in the song covered as a pop song on the 1971 Cat Stevens album Teaser And The Firecat.

As Dan intended it to be, each of these hymns has a rich and unique history and, while ten of the 13 tracks on Held In The Light are Dan’s own piano versions of these timeless hymns, three of the tracks—including the title track—are actually recent, original piano improvisations composed by Dan. All of Dan’s albums are filled with a rich, sonic texture and fine attention to detail and with Held In The Light, Dan Chadburn reaches yet a new level of piano artistry. (Robert Silverstein, Roots Music Report)


title: Clearly one of the finest instrumental New Age / synth meets rock albums of 2019

text:
Following the 2016 release of the first album by Shining Pyramid, the duo of Nick Adams (guitars) and Peter Jeal (synths, keys) return in early 2019 with a second CD called Children Of The Stones. Written and recorded in the same spirit as their self-titled debut, Children Of The Stones may be a kind of play on words yet, in fact this is instrumental, impressionistic rock played with much precision and expertise. It's not by chance alone that the age of the DIY artist has yielded a bumper crop of outstanding new artists, because Shining Pyramid truly shines on Children Of The Stones.

The music is still firmly in the throes of the finest Euro-prog elements – from Berlin style electronics in the spirit of T. Dream, Michael Rother and current German guitar wunderkind Alan J. Bound, yet the guitar-centric rock edge, also inspired by Steve Hackett, also says a lot about Shining Pyramid’s theatrical dynamic of instrumental progressive rock. Even without lyrics and vocals, Children Of The Stones is filled with a multilayered depth of emotion and sonic intensity.

The seven tracks on Children Of The Stones seems to flow effortlessly into each other, with the song times ranging from three minutes to almost ten minutes in length. A good example of the mix of musical skill and devotion to all things prog can be heard on track 3, "Horses", also the longest track on Children Of The Stones. That track mixes a haunting melody with dramatic shifts in musical moods and directions that should impress even the most hard-core progressive rock fan. Those lucky enough to have heard the 2016 Shining Pyramid will be amply rewarded by the sonic might and majesty of Children Of The Stones, clearly one of the finest instrumental New Age / synth meets rock albums of 2019. (Robert Silverstein, Roots Music Report)


title: A modern day album essential for adventurous guitar fans

text:
The city of N.Y. is blessed for its sheer wealth of guitar talent. New to the scene in 2019 comes Nicky Barbato Project with their album debut called Every Day Is A Bad Hair Day. Covers of the Beatles’ “Norwegian Wood” and a take on ABBA’s “Dancing Queen” are treated with respect. The otherwise all-original album combines a hard driving NYC style guitar noir that mixes in all sort of guitar styles like surf, jazz and soundtrack instrumentals.

Recorded in Red Hook Brooklyn, the 11 cut CD features Nicky’s band including Tony Mason (drums), Jon Irabagon (sax), and Chris Anderson (bass). Track 4, “Au Pair” mixes in some sweet strings that evokes Norrie Paramor producing The Shadows circa 1963. Other tracks will appeal to not only surf-jazz instrumental fans but also darker styles that sound influenced by greats like John Blakeley of The Sandals and great guitarists of today like current NYC favorites such as the Supertones’ guitar ace Tim Sullivan and also Bill Frisell creeps into the mix too. Even with so many eclectic sounds, Every Day Is A Bad Hair Day is a modern day album essential for adventurous guitar fans. (Robert Silverstein, Roots Music Report)


title: A superbly packaged CD that tastefully blends rock, pop, singer-songwriter style sounds

text:
New Jersey’s finest singer-songwriter, Michal Towber returned in 2018 with yet another groundbreaking album of memorable compositions entitled No Resolution. Hard to believe it’s been 19 years since Michal’s big breakthrough on Columbia Records, back when she was a teenager. Raising a family and balancing a rock star career in more recent years ain’t easy, yet Michal rises to the occasion on a superbly packaged CD that tastefully blends rock, pop, singer-songwriter style sounds to great effect.

Several semi-acoustic, piano-based, unplugged tracks near the end of the album changes the vibe of the 14 track album yet, for most of its 45 minute, with tracks 1-10 rock sound, No Resolution really hits home with Michal’s soaring vocals and manic presence and kinetic vibe. One new surprise here is that No Resolution marks the first collaboration with gifted guitarist / saxophonist and songwriter AR. Co-production by Kazim Zaidi is further enhanced by his crisp sounding drumming, guitars and bass guitar skills. With 14 memorable pop-rock tracks, No Resolution is an excellent follow up to Michal’s 2012 album One Immortal Day, and the album goes the distance to further her already impressive repertoire of recorded music. (Robert Silverstein, Roots Music Report)


title: Engaging tales from the road and the heart

text: Matching his unvarnished vocals with articulate guitar work, Adam Carroll offers up engaging tales from the road and the heart with an instantly memorable chorus waiting at the end of the verse. Pedal steel master Lloyd Maines’ multiple instrumental contributions and splendid minimal production touches provide the ideal finish.  Standouts include “Caroline”, “Crescent City Angels”, “This Old Garage” and “My Only Good Shirt”. (Duane Verh, Roots Music Report)


Back in 2015, Consider The Source released World War Trio Part 1 and in currently in 2019, that very same band are back with a new full-length CD masterpiece called You Are Literally A Metaphor. Jazz-rock fans will be in orbit with this new CTS album, featuring guitarist Gabriel Marin and the rhythm section of Jeff Mann (drums, keys) and John Ferrara (bass).

With the album very much conceived and written as a group effort, Marin’s guitar imagination does stand out, basking in the band’s RTF and Mahavishnu style fusion freak-outs to even more carefully detailed melodic guitar arrangements that sometimes evokes George Harrison and Eric Clapton. Being an all-instrumental album, those comparisons say a lot about the diversity of this unique and exciting NYC-based prog-jazz power trio. The credits also say that several tracks on the CD are based on Eastern European traditional melodies. Alight in the astounding, high-tech glow, the musical might of Consider The Source emerges fully formed on You Are Literally A Metaphor.
(Robert Silverstein, Roots Music Report)


Colorado-based guitarist / composer Wayne Wilkinson is making jazz fans happy with his 2019 album Proceed To Route. Having gigged all over the world, Wayne strikes jazz guitar gold with his new eleven cut album. Combining a range of originals and covers, Proceed To Route has something for both jazz fans and guitar buffs. For pop fans looking for a melodic approach, Wayne tackles the Paul McCartney / Wings era classic “My Love”, as a guitar instro and there's also uptempo covers of Jimmy Webb, Irving Berlin, Count Basie, Duke Ellington, all well situated among new tracks penned by Wayne. The band featured here, backing up Wayne on his eighth indie label release is also worth mentioning, including Andy Burtschi (bass), Todd Williams (drums) and Thomas J. Dawson, who, in addition to producing the album, adds in piano and strings on a pair of tracks. Jazz guitar fans will be mightily impressed with Wayne Wilkinson’s Proceed To Route. (Robert Silverstein, Roots Music Report)


title: A dynamic counter balance of compositional and improvisational sounds

text:
Two Parts is the third album by the Indiana-based group The Tucker Brothers, featuring the instrumental jazz-based music of Nick Tucker (bass) and Joel Tucker (guitar). Released in 2019, the nine track Two Parts album also features Sean Imboden (sax) and Brian Yarde (drums) as well as a host of guest artists. The album starts of quite sublimely with an Erik Satie inspired instrumental featuring the entrancing wordless vocals of Elena Escudero, yet it quickly settles into a solid, all instrumental jazz-fusion mode.

The music of The Tucker Brother is described as being rawly emotive, deeply expressive and curious and true to form, the music on Two Parts presents a dynamic counter balance of compositional and improvisational sounds. Produced by The Tucker Brothers and Jake Belser, Two Parts is just the ticket to bring their music to the eyes and ears of jazz music fans worldwide.  (Robert Silverstein, Roots Music Report)


A truly diverse and eclectic musical artform, country-rock can, at times, be just as orchestral and majestic as progressive rock. Case in point is The Wine Of Youth, the 2020 CD by California-based singer-songwriter Zach Phillips. Front and center on the 13-track CD are Zach’s catchy, up-tempo songs, which are adorned by his smooth, heartfelt vocals as well as his multi-faceted electric and acoustic guitar work. With Zach handling all the vocals and guitars, The Wine Of Youth also spotlights well-recorded performances by Gregg Montante (bass, drums, guitars) and Bobby Cressey (keyboards) with Gloria Taylor on backing vocals.

Perfectly atmospheric, yet hard-driving Americana-flavored country-rock brought into the 21st century, The Wine Of Youth is that and much more. In the spirit of country-rock legends like Bruce Hornsby, The Eagles, and New Riders Of The Purple Sage, the music of Zach Phillips is a well-honed mix of folk-based rock and electric country-rock packed with ample and often blazing electric guitars. Played loud for maximum effect, The Wine Of Youth is a timeless, yet contemporary masterpiece by the soon-to-be better known Zach Phillips. (Robert Silverstein, Roots Music Report)


title: Timeless tones of traditional Hawaiian music

text:
Some of the biggest names in 21st century Hawaiian music have banded together on the 2020 CD release of Aloha: Radio Hawaii. Subtitled A Musical Journey To The Golden Age Of Hawaiian Song, the 13-track, 40-minute album features a range of musicians and some of the best guitarists around, including Ken Emerson (Hawaiian steel guitar, ukulele), Jim Kimo West (electric guitar, acoustic guitar, ukulele) and Dean Parks (electric guitar, Hawaiian steel guitar), while also featuring a wide range of supporting musicians. A lot of the album features instrumental selections with the musicians recreating classic Hawaiian favorites from the late 19th century to the mid 20th century although, vocalist Tavita Te’o does appear along with some other truly vintage sounding singers appearing as if by magic singing in native Hawaiian.

Kimo explains, “Yes, the label is in China, they do very good work!  Everything was recorded this past winter including the vocals. We recorded at the legendary A&M / Henson studios in Hollywood the old way - just sitting in a circle with no headphones, using vintage mics. It was mixed in 32-bit 96k Dolby Atmos in addition to regular stereo.”

Recorded in L.A., the album was superbly produced by Rhymoi Records head Yunchuan Ye and the CD packaging is brilliantly designed while the studio sound, crafted by engineer Dave Way, is also noteworthy. The timeless tones of traditional Hawaiian music live on thanks to the fascinating sound of Aloha: Radio Hawaii. (Robert Silverstein, Roots Music Report)


title: Skillful musicianship readily makes Hey, Oaxaca a fun-filled experience

text:
There is plenty of cool jug band music meets alt-country style folk-rock sounds on Hey, Oaxaca the third release from Boston-based musos Sado-Domestics. With 12 original tracks, clocking in at just over 41 minutes, their Hey, Oaxaca album shines a light on the musical team of Chris Gleason (vocals, guitars, banjo, mellotron, percussion) and Lucy Martinez (vocals, rhythm guitar, kalimba). There’s an earthy, upbeat, low-fi vibe inside the Sado-Domestics sound, and some of it rocks harder than other tracks.

Both Chris and Lucy have fine singing voices and to top off their low-key, yet totally enjoyable album, and they are joined by a number of musicians including Bruce Bartone (keys, electric guitars), a pair of fine drummers, and a range of other players. The CD is neatly packaged, with artwork that quite effectively enhances the image of the band. This album won’t blow you away with heavy jamming and hard rock sounds, but still the Sado-Domestics' skillful musicianship readily makes Hey, Oaxaca a fun-filled experience. (Robert Silverstein, Roots Music Report)


title: Matt injects a very deep sense of emotion & commitment into each of these eight tracks

text:
Despite its future reputation as being the year a global pandemic killed hundreds of thousands of humans and paralyzed much of Earth, 2020 also brought a few welcome surprises on the music front, including the long-awaited new studio album from Austin, Texas based Matt Smith. The flagship release of Matt’s extensive 2020 CD campaign, featuring eight albums of Matt’s music, both vintage and new, Being Human was released at the height of the 2020 pandemic.

Filled with so many memorable songs, the 8 cut Being Human CD is a most welcome return from Matt. Known for his potent jam band albums and well as his reputation as a guitar hero / instructor and equally a first-rate music producer, Matt injects a very deep sense of emotion and commitment into each of these eight tracks. He clearly also put a lot of work into the you tube videos, that you can watch online, for these tracks but, a must for those with decent CD stereo systems, Being Human is also a stellar example of Matt’s studio production skills.

With one stunning track after the next, Being Human offers a mix of modern-day rock protest music, disco-funk jams, folk music, punk-rock, driving ballads and even, what sounds to my ears as pop-jazz music inspired from the peaceful, easy late 1970s. Being Human’s lead off track “Sanctuary” touches a nerve with its critical, charged lyrics paired to a Dire Straits inspired guitar groove. “God Is Watching Over You” is a solid torch song with a melody and emotion that Elton and McCartney fans will appreciate. With its acoustic protest movement mood, “How We Got To Here” would make the late Phil Ochs or John Lennon proud. With its driving unique rock sound, “Down In The Hole” reflects Matt’s own personal life story of overcoming addictions and finding recovery and hope. Fans of Matt’s stellar electric guitar work will be amazed at his fretboard melodicism and high energy riffing throughout Being Human. Fleshing out the excellent studio production, Matt’s production gathers 20 different musicians that appear on various tracks—each one tastefully-recorded at Matt’s and Bill Kaman's world-renowned 6 String Ranch studios in Austin. It’s been ten years since I wrote about the Matt Smith’s World CD and now ten years after, Matt Smith's Being Human lives up to its title with a stunning collection of Pandemic-era recordings that serves as a virtual soundtrack for 2020. (Robert Silverstein, Roots Music Report)


Stripped-to-the-bone rock and blues laced with particularly personal sounding lyric sets is the tasty fare served up by guitarist Rick Holmstrom.  The Venice CA-based bandleader for Mavis Staples made good use of a tour-less stretch steering a back-to-the-basics trio format into varied roots-bound regions.  Fretwork is consistently mood-appropriate: whether the uncomplicated articulation of the ballad “Lonesome Sound” or the bite of the acerbic “Keep It Hid”.  Grooves are a treat throughout; kudos to always-in-the-pocket drummer Steve Mugalian. (Duane Verh, Roots Music Report)


title: Straight-forward, unpretentious players who emphasize sensibility over flamboyance

text:
The pandemic didn’t slow down Slide Attack, a quintet with trombonists Alan Goidel and Howard Levy, Hiroshi Yamazaki (piano), Michael Goetz (bass) and Chuck Zeuren (drums). During 2020, they masked up and socially distanced during rehearsals and recording sessions. Slide Attack blends elements of vintage and modern jazz as they play fast and fluidly through nine original compositions. Opening with Yamazaki’s “Spring Roll,” the band makes an emphatic statement with propulsive solos. In Goidel’s swinging “Road Trip,” the journey is happy, joyous and carefree as Levy incorporates some rapid-paced growls and slurs to approximate scat-like vocal effects.  His inspiration for the up-tempo, bebopping “Owens” came from Gershwin’s “I Got Rhythm” and allows both trombonists to get imaginative just as they also do on “Bluedemic,” a composition that channels Charlie Parker.

Levy’s “Clauditti” has a Brazilian samba groove, while the funky forward momentum of “Struttin’” is driven by Zeuren’s percussion. The two trombonists are creative, and their artistic expression really shines on the slower, lyrical pieces like “Look Within,” “A Walk in the Park” and “Early Morning.” Goidel and Levy are straight-forward, unpretentious players who emphasize sensibility over flamboyance. Together, the two-trombone quintet features pliable musicians who work well together. They also show how that instrument can be centerstage and plugged into more than just nostalgic traditional arrangements. The music reminds me of some of the material that trombonist Kai Winding produced with other masters of the instrument, J. J. Johnson and Curtis Fuller. Now, I’m wondering if Slide Attack’s next Road Trip might even bring along a third or fourth trombonist for even more adventure and excitement.  (Joe Ross, Roots Music Report)


title: Memorable songs and first-rate musicianship

text:
An established guitarist and composer known for his impeccable instrumental approach to neoclassical / avant-prog guitar music, Tom Salvatori is also the owner of his Salvatori Productions music label. Expanding on his label’s repertoire, Tom moves into the pop-rock market with the 2020 album release of That’s Everything, his second release by Chicago-based singer-songwriter Paul Christian. Back in the late 1960s, early ‘70s, the singer-songwriter sound was all the rage and in the spirit of country-rock legends like Buffalo Springfield and Poco, Paul Christian’s music defies genre. Mixing folk, rock and country to great effect, That’s Everything is a do-it-yourself album in the truest sense of the word.

Speaking about Paul Christian, the album’s co-producer Tom Salvatori tells mwe3, “Besides being a great songwriter, Paul is a multi-instrumentalist… he performed on all instruments (guitars, bass, drums, keyboards) and as a result, we gave him co-producer credit as well. The only guest appearance on the album is Julie Chatman who performs the female vocal part on track 4 - "Memphis Tonight.” Through the wonders of modern-day studio music magic, Paul sounds like a one-man band and on several of the tracks he even gets to show off his formidable electric lead guitar chops, case in point being track 9, “The Boy”. Most of these tracks have a deep in thought, kind of singer-songwriter approach that ranges from influences such as early 1970s legacy artists Richie Furay and Harry Chapin to more modern day vocalists like Marshall Crenshaw and Michael Stipe of R.E.M. Featuring memorable songs and first-rate musicianship, That’s Everything strikes a wonderful musical balance and in doing so creates an impressive collection of folk-meets-rock sounds. (Robert Silverstein, Roots Music Report)


title: Vibrant guitar harmonies, memorable melodies, and funky R&B grooves

text:
Back in 2014, guitarist / composer Les Sabler released his tribute album to Antonio Carlos Jobim and, following a move from Florida to Nashville, Les is back in early 2021 with a new studio CD called Tranquility. With ten tracks clocking in at under 40 minutes, the album pairs Les with guitar icon and co-composer / music producer Paul Brown along with a range of musicians including New Orleans native, guitarist / composer Shane Theriot, keyboardist Lew Laing and other fine musicians. Utilizing a vintage Gibson Johnny Smith guitar helped Les achieve a new electric guitar sound to which he says, “The guitar’s sound is a sonic departure from anything I had previously recorded.”

Paul Brown is well known in the contemporary instrumental jazz world, going back to 2007 and his White Sand CD and that same sense of low-pressure smooth jazz groove is alive and well on Tranquility. Legendary guitarist, George Benson is referenced here on a Tranquility cover of Benson’s instrumental jazz classic “Sunrise”—the CD-closer that also spotlights Lee Thornberg (trumpet and trombone). Another highlight here called “Easy Moves” is an upbeat contemporary jazz classic showcasing swirling synth strings backing up Sabler’s guitar work. A number of musicians fill out the soundstage throughout the album, including Lenny Castro (percussion), Gorden Campbell (drums), Roberto Vally (bass) and others. Les has credited producer Paul Brown with the album’s direction and guidance. The finest album so far from Les Sabler, Traquility is overflowing with vibrant guitar harmonies, memorable melodies, and funky R&B grooves. A memorable musical experience from start to finish, Tranquility is a modern day, instrumental jazz classic. (Robert Silverstein, Roots Music Report)


Sometimes you can tell a lot about an artist by the company he keeps and, in the case Rick Ray, the artists he has opened for in the past. A sense musical diversity is well on display on the 2020 CD release of Acrylic Charlie, the latest album by The Rick Ray Band. Opening for a wealth of rock legends, from Robin Trower and Peter Frampton to The Dregs and the Steve Morse band, Rick has released a lot of albums over the past 20 years and his 2020 CD is certainly well worth checking out. As the guitarist and lead singer of The Rick Ray Band, Rick’s musical presence is truly something to behold and he gets solid support from his quartet members Dave “Shaggy” Snodgrass (bass, vocals), Kip Volans (drums) and Rick “Sarge” Schultz (reeds, synths) with added keyboard support from Sam Guinta.

With one action-packed track after the next, Acrylic Charlie simply sizzles with a white-hot rock energy. There’s a ton of musical variety on the 11-track album and as each player sounds quite skillful, the music also sounds influenced by jazz-rock fusion even as a predominant hard rock energy rules. Featuring some truly virtuoso players, The Rick Ray Band is steeped in a kind of musical ESP and some of the tracks, at least to my ears, sounds influenced by the legendary U.K. horn-centric fusion sound of the band Colosseum noticeably felt on track 4, “Lunacy Set Free”. With this much sonic diversity and musical skill on display, Acrylic Charlie will impress hard rock fans as well as jazz-rock listeners. (Robert Silverstein, Roots Music Report)


In addition to releasing 3 albums of his own music on CD in 2020, keyboardist Pat Strawser introduced me to a new double CD set entitled Stories Without Fingerprints from a band he also writes and records music with called, French TV. Nothing to do with television or from France but French TV is an instrumental progressive rock-fusion band from Louisville, Kentucky, believe it or not! Pat is actually the newcomer in the band, which has been playing since the mid 1980s and that also features founding members Mike Sary (bass, loops, samples), Katsumi Yoneda (electric guitars), and Jeff Gard and Mark L. Perry (drums).

Interesting fact is that French TV have released ten albums over the years and, although one hundred percent original, influences abound from the great progressive UK rock bands to a number of American  jazz-rock fusion legends. Even as we enter 2021, French TV is one of the best kept secrets on the American instrumental jazz-rock fusion scene and Stories Without Fingerprints  is essential listening for listeners of contemporary jazz-rock fusion. (Robert Silverstein, Roots Music Report)


title: Compelling moods and meaty lyrics

text: With a solid grip on acoustic blues underneath and a consistent show of song crafting flair, Steve Hill’s current offering commands well deserved attention throughout the set.  The Montreal-based guitarist’s muscular, measured vocals match well with a string of originals and collaborations marked by compelling moods and meaty lyrics.  All of this coexists with abundant displays of guitar prowess.  The smart pop nature of “Cold Hearts” makes for a standout track as does the haunting atmosphere of “Judgement Day”. (Duane Verh, Roots Music Report)


title: Stately, sonic guitar-based grooves and sonorous arrangements

text:
In 2019, Bay-area based guitarist / composer Carl Weingarten released what some were calling then his finest album yet called This Is Where I Found You. Like most of the rest of the world, Carl was affected by the global pandemic of 2020, yet he rises to the occasion again with a most worthy follow-up release entitled Ember Days. Regarding the 2021 CD release of Ember Days, Carl explains “I recorded most of it over this last year during the shut-in. It was a challenge and became an opportunity to reimagine my sound.”

The ten-track album starts off optimistically with “Round Robin”, featuring Carl’s acoustic and electric guitar as well as slide guitar, backed up by Michael Manring on fretless and 10-string bass. The album moves solidly onward from there with added presence from a number of musicians including Pete Calendra (keyboards), Kit Walker (piano), Ulrich Schnauss (synths), and Carl’s long-term accomplices in his early band Delay Tactics, David Udell (guitar) and Walter Whitney (keyboards). In the spirit of her appearance on This Is Where I Found You, vocalist Tate Bissinger appears once again on Ember Days, adding her wordless vocals, doubling Carl’s melodic lead guitar lines on several tracks.

As on This Is Where I Found You, the album artwork, this time from Martin Stranka, gracing the CD package is excellent, as is the first video from the album, the title song “Ember Days”. Musically, an air of wistful nostalgia permeates the soundstage. It’s not quite a Deja-Vu feeling, yet melodically Ember Days finds Carl Weingarten further refining his instrumental guitar-centric sound. Some may describe the 10-track, 51-minute album as New Age, Impressionistic Folk-Jazz, future jazz or even contemporary neoclassical in scope and feel. With such a display of stately, sonic guitar-based grooves and sonorous arrangements, the effect of Ember Days is mesmerizing, soothing and entertaining all at the same time. (Robert Silverstein, Roots Music Report)


title: A transcendent contemporary statement

text: Based in Baltimore, guitarist Ahmed Warshanna holds a degree in Jazz Studies, and his debut album Ishta demonstrates his unique compositional and arranging skills informed by a passion for combining element of both the East and West into his music. The five tracks, each ranging from 7-10 minutes in length, create aural experiences that range from plaintive (“Azra’”) to exhilarating (“Intisar”). The first two tracks, Warshanna’s arrangements of classics by Egyptian singer Umm Kulthum, set the stage with intrigue, using Middle Eastern scales with resonant chords and rhythmic percussive sounds. Arranged for septet, the guitarist’s music also showcases the musicianship of Hart Guonjian-Pettit (trumpet), Dominic Ellis (tenor), Daniel Sperlein (trombone), Joshua Miller (piano), Thomas Owens (bass) and Charlie Seda (drums). Kulthum was known to sing her songs at length and in depth, and Warshanna takes a similar approach with his septet’s instruments. Ishta has plenty of atmospheric instrumental dynamics, but perhaps some vocals and ud could’ve been used to make them even more mysterious. Warshanna’s music may be rooted in the organic Egyptian earth, but it also conveys his uncompromising, honest desire to make a transcendent contemporary statement. The album is a tribute to Ahmed’s mother who passed away in 2021. She brought music into his life, and he acknowledges that this music was inspired by her and that she’ll live on through his music. (Joe Ross, Roots Music Report)


title: Spirited originals with an existential groove

text: Named for American jazz musician and bandleader Billy Tipton, The Tiptons Saxophone Quartet & Drums have created a splendid hour-long album of spirited originals with an existential groove.  Wabi Sabi is based on the Japanese Buddhist philosophy of finding beauty in the imperfections and transience of nature. Thus, I listened to The Tiptons’ music with more than just its sounds in mind, rather focusing also on its shapes, forms, textures and colors. Soon, I discovered that the music engages all of our senses with expressive statements. Each of the four sax players (Amy Denio, Jessica Lurie, Sue Orfield and Tina Richerson) create an aesthetic that’s joyful and celebratory in pieces like “December's Dance,” “El Gran Orinador,” “A Sparkley Con” and “Memory Bait.” Some occasional vocalizing (in selections like “Wabi Sabi,” “Root Dance” and “Moadl Joadl”) blends sweetly with the band’s instrumentation. Robert Kainar’s drums give the music a pulse that allows it to resonate with all. The mellow “Working Song” closes the set with a lighter, lyrical tag. The Tiptons have gathered up a potpourri of varied musical treasures, and then cohesively arranged them meticulously for boutique, pleasurable imperfection. Wabi Sabi’s deeper message seems that we should look beyond an item’s surface to celebrate a reality akin to freedom, comfort and expression. (Joe Ross, Roots Music Report)


title: Formidable group with a compelling big band sound

text:
Bandleader and arranger Ian Charleton has assembled 18 solid musicians to present a tasty set of his varied originals and creative arrangements. This is his sophomore effort after his well-received Brain Chatter album in 2013. Ian Charleton started playing tenor sax in fifth grade, began composing at age 15, earned degrees in jazz studies at University of North Texas, and has spent 20 years in the U.S. Navy Band. Many of the pieces on A Fresh Perspective were written and arranged with key soloists in mind, and to capitalize on the strengths of stellar musicians like Bart Kuebler (piano), Kerry Moffitt (trumpet, flugelhorn), Keith Philbrick (tenor sax), Richard Garcia (alto/soprano sax), David Fatek (baritone sax), John Lloyd (trombone), Ryan Persaud (bass), Wes Wagner (guitar) and others.

Charleton’s four originals range from the joyful “1 West 67th Street” and relaxed “Sunday Morning” to the more adventurous “A Fresh Perspective” and swinging “Party on Park.” Modernized, reinvented renditions of “Stardust,” “When Sunny Gets Blue” and “Tea For Two” were a pleasure to hear, and I also enjoyed the band’s light funky presentation of Stefan Karlsson’s “El Otono” and the two classics featuring Ian’s wife, Emily, on vocals (“Everything I’ve Got” and “Blue Skies”).  This formidable group has a compelling big band sound. The album’s variety takes us from the soothing comfort of restful pieces to impressive, up-tempo, playful statements. The band appears to have good chemistry as they romp and shine with a consistency of presence and dynamics.  (Joe Ross, Roots Music Report)


title: Hunt’s original music introduces new shapes & forms to tight, cohesive soundscapes

text:
After a decade on the road with several prominent jazz artists, keyboardist Steve Hunt celebrates his most enduring musical connections, as well as the chain of the universe that unites all objects and processes. This interesting pandemic project features a high tech contemporary approach to recording. All of the stellar musicians recorded their instruments and vocals in their home studios. Hunt’s nine tracks of smooth jazz establish a unique groove with some elements of rock and funk. I wonder if there would've been more spontaneity and empathy between the musicians had they been together in a studio. Opening with “Now’s the Time,” Hunt establishes the initial context of his music with certain notes, tones and phrases, embellished with Tucker Antell’s tenor and Jorge Bezerra’s percussion and vocals. As the album progresses with “Prayer for a New Day” and “Memories of Sherwood” and “First Creation,” we sense how time, place and situation may change during a journey, but the bond and unity remain. That seems to be the nature of Connections as Hunt’s original music introduces new shapes and forms to the tight, cohesive soundscapes. Hunt and company tap into their emotions to get their points across in memorable musical statements.

I particularly enjoyed hearing Nando Lauria’s entrancing vocals in “Carry On,” Ole Mathisen’s soprano sax in “Quantum Entanglement,” and Robert Ritchiesse’s grand guitar in “Le Zonage Trois.” Besides just Connections, there’s also duality in nature that provides balance, the yin and yang if you will. Hunt seems to get it, and if his music builds with tension, eventually it releases. After we hear Eric Marienthal’s alto sax in “Full Plate,” we hear Hunt’s synthesizer respond. There’s plenty of sound on this album, and it’s also the fleeting silence or space between notes that provide joyful relief. Hunt’s focus on the music’s dynamic is what gives it continuity and vitality. While it’s heady jazz music, try to insert yourself into its intricate cosmological web. By doing that, you’ll experience its yin-yang in aspects of your own life. As I focused on the smallest details in the closing title cut Connections, Hunt’s emotive music took on even more personal, deeper meaning to me. (Joe Ross, Roots Music Report)


title: The songs sparkle with clarity and sophistication

text: Tenor saxophonist Jack Brandfield may only be in his twenties, but he plays like a seasoned veteran with years of experience. Originally from New York City, Brandfield studied jazz at Michigan State University. A scholarship recipient, he’s now pursuing a graduate degree at the Frost School of Music at the University of Miami. Recorded in a trio with Randy Napoleon (guitar) and Rodney Whitaker (bass), Brandfield’s debut album presents swinging, straight-ahead jazz from the Great American Songbook.  Both Napoleon and Whitaker are on the faculty at MSU, and the album’s title track, “I’ll Never Be The Same,” speaks to their mentorship, insight and inspiration to the young up-and-coming musician. Brandfield’s repertoire is a collection of favorite music that has significantly influenced him. Becoming a leading interpreter of songs like “On A Slow Boat To China” and “Nobody Else But Me” is one of his lifetime goals, and he’s already well on the way to infusing these classics with his own signature sound and creative, interpretive twists. It’s a pleasant set, and selections like “Bossa Nova Ova,” “Wildwood” and “Lover Come Back To Me” are arranged with beauty and substance. Brandfield also recorded a couple duo tracks, “Do Nothing Till You Hear From Me” with Whitaker, and “Somewhere Over the Rainbow” with Napoleon. Brandfield is a solid melodist who makes the songs sparkle with clarity and sophistication. His breezy original piece, “Where Leaves Change” is sublime. Brandfield’s striking debut will certainly help him launch his career in music.  (Joe Ross, Roots Music Report)


title: Smooth jazz with a creative sense of worldly Latinesque adventure

text: Saxophonist Kenney Polson’s Colors of Brazil album offers smooth jazz with a creative sense of worldly Latinesque adventure. Born to a musical family in Kansas City, Polson earned a master's degree in jazz composition and arranging from Howard University in 1997. Widely travelled, Polson has given ten tunes a new groove by incorporating sounds and textures from unique instruments such as harp, Japanese koto and African nGnoni. Polson spent five years performing and recording in Rio de Janeiro. On selections like “Caravan” and “Bicycle Ride,” we hear a few of the album’s Brazilian musicians, Marinho Boffa (keyboards), Paulinho Trompete (trumpet), and the late Nico Assumpção (bass) who composed “Mariana” for his daughter. They’re also featured on Polson’s self-penned number, “Hipnotizado (Mesmerized).” While Polson’s feet are solidly planted in smooth jazz and funk, his Brazilian colleagues contributed exhilarating styles such as samba, partido alto, samba/funk, and afoxé. Four tracks were recorded in Brazil and six in the U.S.  While the album is certainly sax-centric, I also appreciated the imagination and elegant taste conveyed on guitar and nGnoni (by Leni Stern), harp (Mariea Antoinette), koto (Mitsuki Dazai and Dr. Osamu Kitajima), piano (Federico Pena), keyboard (Todd Simon), and many others. “Incompatidade De Genios” includes some vocalise by Arrieta Ward and a scat solo by Azure McCall. Polson proves that the language of music knows no barriers and also is a great vehicle for building bridges.  (Joe Ross, Roots Music Report)


title: Solid set of relaxing music that emphasizes tone, taste, tranquility

text: For a duo album to succeed, commitment, chemistry and concision are needed. Master guitarist Doug MacDonald and versatile bassist Harvey Newmark carry on grand conversations in economical ways. Offering soulful, interpretive renditions of classics like “Flamingo,” “These Foolish Things” and “If I Had You,” MacDonald and Newmark sound quite comfortable together. Their swinging groove is sturdy on the title cut, a tribute to an area near North Hollywood known for its wonderful, and mostly bygone, tradition of live jazz music. MacDonald’s light, graceful touch provides a sublime character to his self-penned originals “Is This This?,” “Desert Jazz,” “De-Ha,” “Pleasante Pleasant,” and “New World.” The duo conveys considerable emotional resonance and depth of feeling on numbers like John Coltrane’s “Village Blues” and the evocative ballad “Easy Living.” Toluca Lake Jazz is a solid set of relaxing music that emphasizes tone, taste and tranquility from MacDonald and Newmark.  (Joe Ross, Roots Music Report)