Euphoria Station, formed by vocalist Saskia Kraft van Ermel and guitarist Hoyt Binder, are back with their third album, Smoking Gun, which continues where they left off with their critically acclaimed album, The Reverie Suite, which garnered such accolades as Friday Night Progressive’s Indie Prog Award for Vocal Album Of The Year, Dutch Progressive Rock Page’s Top 10 List and a nomination from Hollywood Music In Media’s independent music artist award in their Americana category.

Staying true to their art, Saskia brings her powerful voice and lyrics while Hoyt keeps pushing the envelope, crossing boundaries while retaining their signature sound.

Smoking Gun pays homage to the heroes of Southern Rock, with acclimation and reverence to their legacy and indelible sound engraved in our hearts. This album includes a cover of The Marshall Tucker Band’s Take the Highway, a big influence on Saskia’s youth.

It’s loosely intertwined themes are inspired by a western fueled daydream on a long train running, involving the fastest gunslinger in the West, love lost and love found, and remembering fallen Southern Rock heroes along the way.

1. Amazing Grace (In Memory Of...) [1:27]
2. Take The Highway [6:46]
3. Smoking Gun [6:19]
4. Nowhere Junction [5:23]
5. Off The Beaten Path [4:40]
6. My Mistake [4:21]
7. The Ballad Of Grace Malloy [3:16]
8. Carolina On My Mind [4:31]
9. Sweep Me Away [5:54]
10. Here With You [4:07]
11. Living For Today [5:33]
12. Dusty Roads [5:26]
13. November Came Early [5:35]

Evolving from the lush Americana orchestration found on The Reverie Suite, favoring a more raw and stripped-down, improvisational approach, the new album opens on an atmospheric, short but sweet Amazing Grace (In Memory Of...) and the rambunctious Take The Highway and then w get brought forth the grittier title track Smoking Gun, the mid-tempo, harmonica-driven rocker Nowhere Junction, the melodious Off The Beaten Path and the foot to the floor storytelling that drives my own personal favorite My Mistake.

Along next is the beautiful winding instrumental guitar balladry of The Ballad Of Grace Malloy and the joyful rocker Carolina On My Mind and they are in turn backed seamlessly by the sweetly free flowing Sweep Me Away, the playfully rock-lite fare of Here With You, and the harmoniously crafted Living For Today, the set rounding out on the instrumental guitar rock of Dusty Roads, coming to an all too soon close on the impassioned November Came Early.

Whether it’s three chords and the truth, progressive detours, or the soundtrack to your next renegade-road trip, Smoking Gun will take you on a journey to Nowhere Junction where you can let loose, Off the Beaten Path.

Musicians:
Saskia Kraft van Ermel - Vocals
Hoyt Binder - Guitars, Dobro, Harmony Vocals
Toss Panos - Drums
Rebecca Kleinmann - Flute
Mike Disarro - Harmony Vocals
Tollak Olestad - Harmonica
Jorgen Carlsson - Bass
Ronald van Deurzen - Hammond B3, Piano

Euphoria Station - Smoking Gun (Official Video)

Official Purchase Link

Maia Sharp was raised in Los Angeles, but more latterly works out of Nashville. She has slotted into the latter’s songwriting fraternity with her songs being recorded by Trisha Yearwood, Cher, Bonnie Raitt, Art Garfunkel as well as Keb’ Mo’ and Taj Mahal (their recent single, Junkyard Dog), and a host of others.

Sharp’s work in general is gentle, introspective singer-songwriter fare; reflective tales covering relationships and observations of life. Some gained through personal experience, her confessional tones sneak into ones’ senses.

The poetic beauty of her music, vocals and melodies awash in innovative percussive additions (Eric Darken) consume the listener. Darken and Will Honaker (bass) provide the main support to multi-instrumentalist, Sharp (acoustic, baritone, electric guitar, piano, keyboards, synths, tenor sax).

Maia’s 10th solo album, Tomboy (due out September 12th, 2025) is the sound of shifting perspective. It is an ultra authentic, American-adjacent record steeped in quiet gratitude, internal celebration, and a complete embrace of true self.

Like all of her solo work, Tomboy resonates profoundly by being so real, so personal, and so eloquently written. Indeed, the new album multi-instrumentalist Sharp revisiting her famously compelling songcraft and relatable lyricism with a more rhythmic and playful approach - like the tingling joy of stepping into the unknown, secure in the belief that, whatever happens, all will be okay.

1. Tomboy
2. Counterintuition
3. Is That What Love Does
4. Only The Lucky
5. On The Edge Of The Weather Line
6. Asking For A Friend
7. Better Story
8. A Fool In Love Again
9. Any Other Way
10. Still Haven’t Found What I’m Looking For

Awash with the poetic beauty of her music, vocals and melodies, Maia’s new album opens on the melodically enriched title track Tomboy and then we get the ariose Counterintuition (featuring flugelhorn and trumpet from Rod McGaha), the soothing balladry of Is That What Love Does and both the atmospheric Americana of Only The Lucky (featuring her father on steel guitar) and the sweeping On The Edge Of The Weather Line (a resonating tale about travelling along the highway and different weather situations, nothing dramatic; but of the kind you could parallel life).

Along next is the rhythmically upbeat Asking For A Friend (featuring Randy Sharp on electric, 12-string guitar) which is itself backed seamlessly by the beautiful ballad Better Story (co-written with Matthew Perry Jones), a stunning, synth-fueled ballad (and my own personal favorite track) A Fool In Love Again, the set rounding out on the gently impassioned Any Other Way (with backing vocals from Sarah Holbrook; and violins, and Shannon LaBrie; and piano), coming to an all too soon close on a fiercely rousing, yet sentimentally hued version of U2’s Still Haven’t Found What I’m Looking For (featuring Garrison Starr on harmony vocals).

Maia Sharp - Tomboy [Official Music Video]

www.maiasharp.com

For those unaware, Sam Pilnick is a saxophonist, composer and arranger known for his boundary-pushing collection of original compositions and reimagined works that highlight the artist’s evolving voice and the dynamic synergy of their ensemble, Sam Pilnick’s Nonet Project.

With a sound that blends big band jazz, modern jazz and rock and roll, Sam Pilnick has performed and recorded with his nine-piece ensemble Sam Pilnick’s Nonet Project. Indeed, the Nonet Project has been featured global publications, with Downbeat Magazine giving the composer/arranger/saxophonist his four-star review!

Their brand new album is entitled The Project (due out November 7th, 2025 via Symphonic Records) and draws from the swing tradition, ECM-inspired modernism and rock-rooted grooves that he has himself been known to dabble in throughout his storied career.

Furthermore, this record perfectly captures Pilnick’s multifaceted musical voice through six vibrant tracks with each composition serving as a snapshot of his evolution as a writer and improviser.

1. 60657 [9:06]
2. Southbound Trail [7:33]
3. Life Is [6:54]
4. Neon [6:10]
5. Pannonica [7:45]
6. Fight club is a bad movie [8:54]

The Chicago-based Jazz collective opens on the languishing beauty that drives the organic 60657 and the gently-cultivated hipsway of Southbound Trail, and then we get brought forth the rhythmically motivated Life Is, the propulsively sculpted John Mayer cut Neon, the set rounding out on the veritably shimmering magnificence of Thelonious Monk’s Pannonica, coming to an all too soon close on the ornately emboldened, interestingly titled fight club is a bad movie.

Musicians:
Sam Pilnick: Tenor Saxophone, Composer/Arranger
Natalie Lande: Alto Saxophone
Ted Hogarth: Baritone Saxophone
Emily Kuhn: Trumpet
Andrew Meyer: Trombone
Andrew Sudhibhasilp: Guitar
Grayson Nye: Piano and Keyboard
Mary Halm: Upright and Electric Basses
Ethan Bouwsma: Drums

Official Purchase Link

Back Door first came together in 1971 as a trio featuring Colin Hodkinson (bass, guitar, vocals), Ron Aspery (saxes, flute, electric piano) and Tony Hicks (drums) and recorded their first album in 1972.

This self-financed and independently released record came to the attention of the London music press and after enthusiastic reviews and a short residency at Ronnie Scott’s club in Soho, the band secured a wider release of their album with Warner Bros. Around this time Back Door also began to record sessions for BBC Radio 1 and had a supporter in legendary DJ John Peel.

Over the next few years they recorded a further three albums, ‘8th Street Nights’, ‘Another Fine Mess’ (which saw keyboard player Dave McRae added to their ranks) and ‘Activate’ (which featured new drummer Adrian Tilbrook). The band also undertook a tour of the USA supporting Emerson, Lake & Palmer with Carl Palmer produced Back Door’s final album ‘Activate’ in 1976.

Disc One: Back Door
1. Vienna Breakdown
2. Plantagenet
3. Lieutenant Loose
4. Askin’ the Way
5. Turning Point
6. Slivadiv
7. Jive Grind
8. Human Bed
9. Catoce Rag
10. Waltz for a Wollum
11. Folksong
12. Back Door
Bonus tracks - Recorded at Impulse, Newcastle in 1971
13. Jive Grind 14. Plantagenet 15. Folksong 16. Human Bed 17. Back Door 18. Sweet Home Chicago 19. Forget Me Daisy 20. Waltz for a Wollum 21. Idle Pig Farm 22. Three in a Bag 23. Slivadiv 24. Turning Point 25. Modern America 26. Bobby’s Song

The totally instrumental 12 compositions are all fairly short in length and the diversity of the material ranging from the frantic Catcote Rag to its preceding track, the more mellow Human Bed where Aspery switches to flute show a range and scope many would think not possible with such limited use of instrumentation.

The standard of playing is excellent. They’re all primarily jazz musicians but play with a rock sensibility giving their music plenty of fire and each is given a turn to shine. Often the main theme of the tune will feature unison bass and sax until Aspery goes off on some wild excursion.

Not surprisingly Aspery takes most of the lead on sax throughout but Hicks, who is never less than stunning gets his turn with a fantastic performance on closing track Back Door. Hodgkinson, who incidentally played with Whitesnake for a while in the early eighties, gets his turn with the solo bass piece of Lieutenant Loose but his lively style of mixing individual notes with chords always puts him upfront anyway.

Disc Two: 8th Street Nights
1. Linin’ Track
2. Forget Me Daisy
3. His Old Boots (Sein Alter Stiefel)
4. Blue Country Blues
5. Dancin’ in the Van
6. 32-20 Blues
7. Roberta
8. It’s Nice When It’s Up
9. One day You’re Down, the Next Day You’re Down
10. Walkin’ Blues
11. The Bed Creacks Louder
12. Adolphus Beal

This quite stunning album contains twelve very short tracks, and for the first time some of them feature the vocals of Colin Hodgkinson, while three of them are cover songs by early Afro-American Blues guitarists Robert Johnson and Huddie Ledbetter.

Furthermore, all three of these cuts are extremely flash-backed with a 50’s style and a sound between Blues and Soul, totally outside of the trio’s usual repertoire. The majority of the album walks on Jazz and Jazz Rock paths with touches of Orchestral Music, led by the desire of Aspery to deliver either smooth or frenetic sax parts, the full-chord performance of Hodgkinson on bass and the jazzy drumming of Tony Hicks.

Only a few tracks offer the lovely performance of Aspery on flutes, which is a shame, as these seem to be the more interesting ones, like the melodic and calm Forget Me Daisy or the bluesy but innovative It’s Nice When It’s Up with its diverse instrumental sound.

In truth, the music lacks energy for most of its length, with a lot of stretched out, low tempo passages, but when it isn’t following that mold there are a few more upbeat tracks which shows Back Door at their best with extremely tight solos and grooves. Oh, and the improvised moments are exceptional to listen to and help the listener to follow the album’s overall concept.

Disc Three: Back Door BBC Radio Sessions
BBC session January 1973
1. Vienna Breakdown
2. Blue Country Blues
3. Captain Crack Up
4. When You’ve Got a Good Friend
5. Adolphus Beal
BBC In Concert 1973
6. Folksong
7. Roberta
8. Linin’ Track
9. Forget Me Daisy
10. Country Blues No. 1
11. His Old Boots
12. Walkin’ Blues
BBC session December 1973
13. Human Bed
14. Fanny Wiggins
15. Walkin’ Blues
16. Louisiana Blues
BBC session September 1974
17. Slivadiv
18. The Spoiler
19. TB Blues
20. Blakey Jones
21. The Dashing White Sergeant

In 1968 bassist Colin Hodgkinson and saxophonist Ron Aspery met at the Starlite Club in Redcar. A summer season followed, in Bournemouth on the south coast, after which Aspery played sessions around London and Hodgkinson joined Alexis Korner’s group. Korner’s role in promoting and developing the British blues scene, as a performer and broadcaster, was fundamental. He was the compere of the broadcast from which this recording was taken, but although he’s credited as such on the album art (along with vocals and guitar), none of his compering activity seems to have made it onto the record.

A return to the Starlite Club brought drummer Tony Hicks into the frame and Back Door was born. The band gained support from the New Musical Express, drew the attention of major labels such as Warner Brothers (which signed the band) and supported Chick Corea at Ronnie Scott’s club. By the time the trio recorded this set of tunes for the BBC, on July 5th, 1973, it had already recorded two albums — the second at New York’s Electric Lady studio.

Two instrumentals show another side to Back Door’s style. Folksong is, despite its title, the jazziest of the seven tunes, featuring some raucous sax from Aspery. Forget Me Daisy is a calming, whimsical, tune—folkier than Folksong, Asprey’s flute reminiscent of Didier Malherbe’s work with Kevin Ayers.

Disc Four: Another Fine Mess
1. I’m Gonna Stay a Long, Long Time
2. Blakey Jones
3. T.B. Blues
4. Candles Round Your Hat
5. Detroit Blues
6. The Spoiler
7. Shaken by Love
8. Streamline Guitar
9. Manager’s Shirt
10. The Dashing White Sergeant

After touring in Germany, UK and the States (next to Emerson, Lake & Palmer) Back Door added veteran New Zealander pianist Dave MacRae (known for his work alongside several Canterbury bands) in the line-up and recorded this third work; which although sounding inconsistent, elegantly still managed to mix Jazz, Fusion, Blues and some so-called child tunes (on par with the front cover of the album).

All that said, Another Fine Mess does happen to contain some of the band’s finest moments, like the very good Blakey Jones or the almost dramatic Shaken by love. On the whole this is somewhere between Jazz and Blues Rock with interesting sax and bass work, the mood is always happy, but the arrangements are rather conventional with no particular surprises, in my humble opinion.

Disc Five: Activate
1. You Got Evil
2. Thru the Zig Zag Gate
3. Train Won’t Blow
4. Dragonfly
5. Eliminate
6. Speedwalker
7. Roll On
8. Moon Mad Woman
9. Cryin’ Inside

Activate was the fourth studio album by Back Door, released in 1976 by Warner Bros. Records and was brilliantly produced by Carl Palmer, known for his drumming in the bands Atomic Rooster and ELP. Original member Tony Hicks had left the band before recording the album and had been replaced by Adrian Tilbrook on drums, but to be fair the sound, overall, did not shift too much due to that change.

In short, this recording very nearly captures the magic of being one of the greatest albums of all time, in my humble opinion, of course. It’s the next best thing to seeing them live, now impossible of course, so therefore if you like great music, solid bass playing, drumming, woodwinds and brass; and if you like great jazz toboot, then this album is the best way to culminate a box-set from the underrated Back Door group.

Sadly, after the release of Activate, the band played less and less together and eventually broke up around 1977.

• REMASTERED LIMITED EDITION 5CD CLAMSHELL BOX SET OF THE ALBUMS & RECORDINGS BY JAZZ-ROCK GROUP BACK DOOR MADE BETWEEN 1971-1976.

• INCLUDES THE ALBUMS ‘BACK DOOR’, ‘8th STREET NIGHTS’, ‘ANOTHER FINE MESS’ & ‘ACTIVATE’, A DISC OF THE BAND’S BBC SESSIONS & THE COMPLETE IMPULSE STUDIOS SESSIONS FROM 1971.

• BOOKLET INCLUDES A NEW ESSAY & PHOTOGRAPHS.

Official Purchase Link

Cinnamon Flower: The Expanded Edition is a reissue of the legendary saxophonist Charlie Rouse’s Brazilian-inspired 1977 album, originally released on Douglas Records.

Nearly 50 years later, Resonance is proud to present this deluxe, definitive edition of Cinnamon Flower, which contains nearly 30 minutes of previously unissued versions of songs from the original release captured by Resonance founder and engineer, George Klabin, at Sound Ideas studio in New York City, plus a track, “Meeting House,” that has never been issued before on any release.

The limited-edition deluxe CD (and 180-gram 2-LP set) was transferred from the original tapes and mastered by Matthew Lutthans at The Mastering Lab, with new liner notes by author James Gavin and an interview statement by Charlie Rouse’s son, Charlie “Chico” Rouse, Jr. The stellar band features jazz greats such as Dom Salvador, Ron Carter, Bernard Purdie and Claudio Roditi.

1. Backwoods Echo (Sertão)
2. Disenchantment (Desencontro)
3. A New Dawn (Alvorada)
4. Quiet Pictures (Natal No Interior)
5. Clover and Cinnamon (Cravo E Canela)
6. Roots (Chão)
7. Waiting On The Corner

Sound Ideas Studio Versions
8. Backwoods (Sertão)
9. Disenchantment (Desencontro)
10. A New Dawn (Alvorada)
11. Quiet Pictures (Natal No Interior)
12. Clove and Cinnamon (Cravo E Canela)
13. Roots (Chão)
14. Waiting On The Corner
15. Meeting House

On what is still a very much underrated and under-valued album of music, in my humble opinion, complete with a couple of very nice, danceable Jazz-Funk gems, one of which was nicely sampled by Kenny Dope, the original album opens on the rhythmically pleasing Backwoods Echo (Sertão) and the elegant Disenchantment (Desencontro) and then we are brought forth the smoothly layered A New Dawn (Alvorada), the playful Quiet Pictures (Natal No Interior), the rousing Clover and Cinnamon (Cravo E Canela), the lovely hipsway of Roots (Chão), the original album closing on the sparkling Waiting On The Corner.

The eight Sound Ideas Studio Versions contains nearly 30 minutes of previously unissued versions of songs from the original release captured by Resonance founder and engineer, George Klabin, at Sound Ideas studio in New York City, plus a bonus track, the elegantly crafted, wholly impassioned Meeting House, that has never been issued before on any release.

• Transferred from the original tape reels recorded by Carlos Melero
• Featuring jazz greats such as Dom Salvador, Ron Carter, Bernard Purdie and Claudio Roditi.
• Includes nearly 30 minutes of previously unissued versions of songs from the original release
• Recorded at Sound Ideas Studio in New York City
• 14-page insert includes rare photos from Raymond Ross and Christian Rose. • Liner notes by author James Gavin plus an interview with Charlie “Chico” Rouse, Jr.
• Full court PR campaign by Ann Braithwaite of Braithwaite & Katz Media

For those unaware, hailed as America’s most intimate composer and improviser, multi-instrumentalist Ned Rothenberg has evolved a singular and deeply personal language on an array of woodwinds - primarily alto saxophone, clarinet, bass clarinet and shakuhachi flute - over the course of four and a half decades of investigatory musicianship.

On his brand new album Looms & legends (due out September 5th,2025 via Pyroclastic Records), his first solo recording since 2012’s clarinet-focused World of Odd Harmonics, Rothenberg once again reveals himself to be a captivating storyteller and an unparalleled sonic architect.

Indeed the album hints in its title at the fundamental elements that make Rothenberg’s unaccompanied excursions so compelling: its deft, multi-hued weaving and the spellbinding eloquence of its unfolding narratives. “I think of those elements as the X and Y axes of my approach”, Rothenberg explains. “In my improvisations, there are the more melodic pieces that have a definite sense of starting at a certain place and taking you along a storyline. Then there are the loom pieces which present the listener a rich and atypical environment in which to weave their own subjective narrative”.

1. Dance Above
2. Denali
3. Resistance Anthem
4. How You Slice It
5. Plun Jah
6. Brief Tall Tale
7. Urgency
8. Flurry
9. Bounding Not Binding
10. Fra Gile
11. Inner Briation
12. Tender Hooks
13. BellKeyBell
14. ’Round Midnight

Rothenberg continues to craft his elegant improvisations from the rich vocabulary that he has honed over the past decades, showcasing them oh-so eloquently here on this new recording, which opens on the transportive fluctuations of Dance Above and then brings us the emotive Denali and the flourishing Resistance Anthem, and they are in turned backed by the stalking nature of How You Slice It, the free-flowing, coursing Plun Jah and the swirling and twirling Brief Tall Tale, before the impassioned Urgency is upon us.

Along next is the cautiously-imbibed Flurry and the gently-hued, quietly playful vibe of Bounding Not Binding, and they are in turn backed seamlessly by the all-embracing Fra Gile, the rhythmically delightful Inner Briation, and then we get the languishing beauty of Tender Hooks, the album rounding out on the furtively sculpted BellKeyBell, coming to a close on an effortlessly humble ’Round Midnight.

Official Purchase Link

www.nedrothenberg.com

For those unaware, when your godfather was legendary bassist Richard Davis and family friends included drummers Max Roach, Michael Carvin, Charles Moffett and Freddie Waits, it’s no surprise that Eric McPherson gravitated towards music.

And if your mentors were saxophonist Jackie McLean and pianist Andrew Hill, McPherson attaining status as one of the preeminent drummers of his generation became almost preordained. McLean, who worked with a host of legends behind the kit, called McPherson his favorite drummer.

Nearly 20 years after his first album and extensive work with peers and masters, McPherson returns as a leader with an ambitious new release. Double Bass Quartet continues the long lineage of multi-bass recordings with two of the best, John Hébert and Ben Street, both of whom have long experience with the leader.

Filling out the group is one of the rising stars of jazz, Cuban pianist David Virelles. Says McPherson: “I’ve known Ben for almost 20 to 30 years now. We have a great rapport. I felt like he and John would complement each other conceptually. And David is one of the few piano players out here today that I have a nice rapport with and his rhythmic sensibility is off the charts, so he’s very comfortable in a number of different settings.”.

Indeed the album hints in its title at the fundamental elements that make Rothenberg’s unaccompanied excursions so compelling: its deft, multi-hued weaving and the spellbinding eloquence of its unfolding narratives. “I think of those elements as the X and Y axes of my approach”, Rothenberg explains. “In my improvisations, there are the more melodic pieces that have a definite sense of starting at a certain place and taking you along a storyline. Then there are the loom pieces which present the listener a rich and atypical environment in which to weave their own subjective narrative”.

1. Ode To You
2. Blind Pig
3. Illusion Suite [Stanley Cowell]
4. Solo Drum
5. Darn That Dream
6. Transmission
7. Ashes
8. Skippy [Thelonious Monk]
9. Cinco Y Quatro [Jaki Byard]

With the music having been recorded with and without an audience at Hunter College’s Ida K. Lang Recital Hall, this quite magnificent new recording opens on the probing hooks and rhythms of Ode to Von and an effortlessly moody Blind Pig before next giving us their swinging rendition of the Stanley Cowell cut Illusion Suite, an expressive drum solo from McPherson and a melodically charged Darn that Dream.

Along next is the veritable dreamscape that is organically created within the simply heavenly Transmission and that is itself backed seamlessly by the airiness of Ashes, the set rounding out on the Thelonious Monk classic Skippy, concluding on the vibrantly rhythmic hipsway of Jaki Byard’s Cinco y Quatro.

Double Bass Quartet is the latest entry in Giant Step’s new series Modern Masters and New Horizons. Specially curated by trumpeter Jason Palmer and drummer Nasheet Waits, the series features artists who have helped shape the modern jazz landscape along with rising voices doing the same for the next generation. Artists currently slated to contribute include saxophonists Neta Raanan and Edward Pérez/Michael Thomas.

Eric McPherson - Artist

For those not in the know, Jennifer Madsen is a working jazz vocalist whose voice feels as comfortable in a smoky ballad as it does riding the groove of a Latin tune. Known for her soulful tone, effortless swing, and honest storytelling, Madsen delivers jazz vocals that are both rooted and relevant.

Her new album, Reimagine, breathes new life into iconic standards—offering fresh arrangements, surprising grooves, and the kind of vocal phrasing that makes you stop and really listen.

Madsen is a nationally recognized jazz vocalist, producer, and educator whose work bridges the worlds of performance and education with vibrancy, depth, and innovation. The project reflects Madsen’s philosophy: honoring the tradition while pushing creative boundaries.

On Reimagine, Madsen is joined by pianist and arranger Brent Edstrom, with an all-star rhythm section featuring Clipper Anderson on bass and Mark Ivester on drums. Grammy-winning guest artists Sean Jones (trumpet) and Howard Levy (harmonica) bring the kind of fire and finesse that elevates every track.

1. Body and Soul [4:49]
2. I Can’t Give You Anything But Love, Baby [3:50]
3. Willow Weep For Me [4:28]
4. Honeysuckle Rose [4:22]
5. Beyond the Sea [4:22]
6. I (Who Have Nothing) [3:46]
7. Gone [4:42]
8. In the Wee Small Hours of the Morning [2:39]
9. You Don’t Know What Love Is [4:36]
10. Mean to Me [4:08]
11. Someone to Watch Over Me [4:49]

A respected voice in the jazz world, Jennifer Madsen opens her new recording on the luxuriant Body and Soul and then we get the impassioned I Can’t Give You Anything But Love, Baby, the low slung Willow Weep For Me the dutifully sprightly Honeysuckle Rose and then a languishing Beyond the Sea is brought forth.

Along next is a wholly heartfelt rendition of I (Who Have Nothing) and the emphatically sung Gone and they are in turn followed by a sumptuously inviting In the Wee Small Hours of the Morning, the emotive You Don’t Know What Love Is, the album rounding out on a simply divine Mean to Me, closing on a veritably shimmering version of Someone to Watch Over Me.

As a working artist, Jennifer performs regularly with big bands, jazz orchestras, trios, and quartets. She currently holds a monthly residency at The Edison House, an exclusive arts club in Salt Lake City, curating jazz-forward performances that connect classic repertoire with contemporary expression.

A passionate educator, Jennifer serves as an adjunct professor at Snow College, where she teaches Jazz Vocals, Commercial Voice, and Singer-Songwriters. Her teaching blends technical mastery with expressive storytelling and integrates the Margolis Method—a movement-based acting technique for a fully embodied performance experience.

She is one of only a handful of certified Level III instructors of the method, and she brings this interdisciplinary approach to her workshops and residencies.

PLAYERS, INSTRUMENT:
Jennifer Madsen: voice
Brent Edstrom: pianist/arranger
Clipper Anderson: bass
Mark Ivester: drums

www.jennifermadsen.com

For those not in the know, the seed of an idea from which Trio of Bloom sprouted was simply three names, and the limitless potential they suggested: keyboardist Craig Taborn, guitarist Nels Cline and drummer Marcus Gilmore.

Three wholly singular artists, but with intrepid spirits in common; musical omnivores, with indelible voices that reject categorization, sharing an indefatigable compulsion to venture into previously undiscovered sonic territory.

On their debut release, out September 26th, 2025 via Pyroclastic Records, Taborn, Cline and Gilmore converge for their first-ever meeting – blossoming, like the flowers that grace the album’s artwork, into a living thing of radiant beauty, startling vibrancy and sultry intensity.

1. Nightwhistlers
2. Unreal Light
3. Breath
4. Queen King
5. Diana
6. Bloomers
7. Eye Shadow Eye
8. Why Canada
9. Forge
10. Bend It
11. Gone Bust

With Trio of Bloom conceptually harkening back nearly four decades to Strange Meeting, the sole album by Power Tools, this one opens on the propulsively fervent, yet rhythmically magical Nightwhistlers and then brings us the stoically ethereal sounds of Unreal Light, the breathlessly airy Breath, the delightfully rhythmical, drum-fed Queen King before the veritably translucent Diana is brought forth.

Along next is the organically driven musical art of Bloomers and the languishing beauty of Eye Shadow Eye, and they are in turn backed supremely by the jaunty juxtaposed sounds of Why Canada, the somewhat sterner fare of Forge, the recording rounding out on the free flowing majesties of Bend It, coming to a close on the cinematically-hued Gone Bust.

The initial inspiration for the album came from producer and poet David Breskin, a longtime collaborator with all three musicians, who imagined sparks would ignite when they met. “I’m always looking for ways to cross-pollinate and to bridge gaps,” Breskin explains. “I like to introduce people that might admire each other from afar but have never rubbed up against each other. I didn’t know what the combination would sound like, which is the most exciting aspect for me.”

PLAYERS, INSTRUMENT:
Craig Taborn - keyboards
Marcus Gilmore - drums and percussion
Nels Cline - 6-string and 12-string guitars, lap steel guitar, bass on tracks 4 and 10

www.craigtaborn.com

www.nelscline.com

Marcus Gilmore @ Facebook

For those not in the know, 1978 (steep) is an immersive song cycle, capturing the essence of intrinsic positivity.

Drawing inspiration from Chris Wabich’s collaborations with poetic lyricists such as Leonard Cohen, Omar Faruk Tekbilek, and Mark Murphy, the album explores intrinsic awakenings and melodic cells springing from tea culture.

The trio’s seamless interplay and dynamic energy reveal a spacious and intimate musical dialogue, reflective of their decades of musical partnership. Each track unfolds organically, from the contemplative melodies of “Ancient Lake” to the rhythmic intricacies of “Ruby On The Old Street/1978.”

1. Jiang [5:30]
2. Ruby on the Old Street/ 1978 [11:01]
3. Oolong [4:16]
4. Magitama (on Slow Shinkansen) [6:57]
5. Ancient Lake [6:27]
6. Graduation [5:50]

With his six originals here being described as an immersive song cycle, capturing the essence of intrinsic positivity, this new recording opens on the sheer refined elegance of Jiang and then we get brought forth the gently impish Ruby on the Old Street/ 1978, the beautifully flourishing Oolong and the veritably shimmering Magitama (on Slow Shinkansen), the set rounding out on the ambient Ancient Lake, closing on the resoundingly emboldened Graduation.

PLAYERS, INSTRUMENT:
Josh Nelson - piano
Dan Lutz - upright bass
Chris Wabich - drums, compositions

Official Chris Wabich Website

www.joshnelsonmusic.com

Dan Lutz @ Facebook

For those not in the know, surrounded by the brilliant musical family who have centered his band for years — bassist Rodney Whitaker, pianist Rick Roe and drummer Quincy Davis — guitarist Randy Napoleon calls back four of his fleet-fingered, virtuoso former guitar students to share the stage and build up something new for this ambitious album, his 10th as a leader, Waking Dream.

Centered on compositions from the prolific Gregg Hill, along with several of his own, he arranged each for this 5-guitar choir of musicians, all connected through years of Napoleon’s mentorship, each fully evolved in their own artistry.

Whether adding other-worldly harmonic density, lush string-like backgrounds, subtle counter melodies or cascading rhythmic intrigue, Waking Dream comes across as a one-of-a-kind sonic experience, while still in the mainstream of modern jazz recordings.

1. Super Moon [7:35]
2. The Speckled Frog [8:29]
3. Waking Dream [7:05]
4. Two Thoughts [7:28]
5. Cafe Brasilia [5:31]
6. The Singer [5:41]
7. 52 Pickup [5:27]
8. Riverside Blossoms [8:07]
9. Jo Jo Jo [7:57]
10. Boom Boom [5:45]

Recorded November 18-19, 2024 and produced by Gregg Hill and Randy Napoleon, the new recording opens on the smooth Super Moon and then brings us the playful The Speckled Frog, the languishing title track Waking Dream, the ornately sculpted Two Thoughts before the gently bustling Cafe Brasilia is brought forth.

Along next is the free flowing The Singer and the upbeat and impassioned 52 Pickup and they are then in turn followed by the low key tones of Riverside Blossoms, the set rounding out on the ambiently-imbibed Jo Jo Jo, coming to an all too soon close on the drum-fed wonderment of Boom Boom.

PLAYERS, INSTRUMENT:
Randy Napoleon - guitar Luke Sittard - guitar Chris Minami - guitar Jocelyn Gould - guitar Ben Turner - guitar Rick Roe - piano Rodney Whitaker - bass Quincy Davis - drums

GUESTS:
Walter Blanding - tenor saxophone (10) Michael Dease - trombone (8) Anthony Stanco - trumpet (2) Langston Kitchen - bass (6,7) Michael J. Reed - drums (6,7) Lynne Brown - guiro (2)

Official Apple Music Purchase Link

www.randynapoleon.com

Randy Napoleon @ Instagram

Randy Napoleon @ Facebook

For those not in the know, in 2012 John McCutcheon released an album honoring Woody Guthrie’s 100th birthday. In 2015 he released an album in memory of the 100th anniversary of labor songwriter Joe Hill’s execution by the state of Utah. Then in 2019 he honored Pete Seeger’s 100th birthday by gathering a boatload of his music friends and putting new twists on Seeger classics.

These recordings were interspersed with albums of songs from his own prolific catalogue. So, it should come as no surprise that this year John McCutcheon has mounted another centenary project entitled Long Journey Home – 100 Years After the 1925 Mountain City Fiddlers Convention, this one remembering an iconic fiddle contest in the small Appalachian town of Mountain City, TN.

The 1925 convention brought together some of the most prominent country musicians of the time. The nascent recording industry stumbled on to old-time fiddling when Fiddlin’ John Carson surprisingly sold a million 78’s in 1923. The recording companies and radio stations signed up fiddlers by the dozens. And many of them showed up in early May of 1925 to compete for a $10 gold piece.

“There’s a famous photograph taken that day that almost every fiddler knows,” McCutcheon said. “It was like the Woodstock of early county music. Seems like everyone was there: Carson, Clarence Ashley, GB Grayson, the Fiddlin’ Powers Family, Uncle Am Stuart, the Hill Billies, Charlie Bowman, Dud Vance, and more. There’s a giant mural of that photograph on the side of the Arts Center.”

One hundred years later, John McCutcheon gathered some of the most well-known and well-loved figures in modern old time and bluegrass music to mark the centenary of that 1925 event. And the collection shows how much has changed in the ensuing century.

The original event, sponsored in part by the KKK, couldn’t be different than this new collection. The tremendous changes in our country, the culture, and music have nearly equal number of men and women featured, Blacks and whites perform together, arrangements are surprising and thrilling. It is a celebration of both continuity and change.

Molly Tuttle, Old Crow Medicine Show, Tim O’Brien, Becky Buller, Stuart Duncan, Bruce Molsky, Sparky Rucker, Cathy & Marcy’s Old Time Coalition, Jake Blount, The Kody Norris Show, Tray Wellington & Victor Furtado, and the Earl White String Band all contributed cuts to this project that celebrates the past, showcases the present, and provides for the future.

1. Cumberland Gap (Stuart Duncan)
2. I’ve Always Been a Rambler (Molly Tuttle w/Ketch Secor)
3. Old Molly Hare (Tim O’Brien)
4. Rocky Road to Dinah’s House (Becky Buller)
5. House Carpenter (Jake Blount)
6. Tennessee Breakdown (Bruce Molsky w/Stash Wyslouch)
7. Tennessee Mountain Fox Chase (Cathy & Marcy’s Old Time Coaltion)
8. What You Gonna Do with the Baby? (Old Crow Medicine Show)
9. Cuckoo (John McCutcheon)
10. Pap’s Billygoat (Kody Norris Show)
11. Don’t Let Your Deal Go Down (Sparky & Rhonda Rucker)
12. Boatin’ Up Sandy (Earl White Stringband)
13. Cluck Old Hen (Tray Wellington and Victor Furtado)
14. Forked Deer (Becky Buller)

On a project about continuity and change, and one that honors the past, but lives and breathes today, this wondrously crafted new recording opens on the vivaciously spirited fare of Cumberland Gap (Stuart Duncan), the emotive I’ve Always Been a Rambler (Molly Tuttle w/ Ketch Secor) and the joyful Old Molly Hare (Tim O’Brien), and then we get brought forth the beautiful Rocky Road to Dinah’s House (Becky Buller), the quietly rhythmic House Carpenter (Jake Blount) and both the profoundly emboldened Tennessee Breakdown (Bruce Molsky w /Stash Wyslouch) and the fiddling masterpiece Tennessee Mountain Fox Chase (Cathy & Marcy’s Old Time Coaltion).

Along next is the harmonically driven, albeit lyrically questionable babysitting tactics, of What You Gonna Do with the Baby? (Old Crow Medicine Show), the organically sumptuous Cuckoo (John McCutcheon) and the rhythmic gem Pap’s Billygoat (Kody Norris Show), and they are in turn followed by the foot-tapping delights of Don’t Let Your Deal Go Down (Sparky & Rhonda Rucker), the fiddletastic Boatin’ Up Sandy (Earl White Stringband), the set rounding out on the beloved folk classic Cluck Old Hen (Tray Wellington and Victor Furtado), closing on the lightning in a bottle of Forked Deer (Becky Buller).

Adds McCutcheon, “It’s astonishing to me that stumbling upon an obscure recording as a teenager would come full circle over fifty years later. It was the joy and the camaraderie of that album that drew me in. Bringing all these musicians together, celebrating the mastery that each of them brings, was another unexpected joy. Who knows what comes next?”

All the artists are donating all profits of this album to the Arts Center in Mountain City, to encourage them to continue celebrating their musical heritage and build on educating young local musicians to learn to play that music.

www.folkmusic.com

John McCutcheon @ Twitter

For those not in the know, The Cowsills’ story is now one of legend. From their beginnings as a pop-vocal group (and the inspiration for The Partridge Family), to their emergence as Alt-rock/Americana heroes, there’s always a surprise in there. The “Cocaine Drain” Album is no exception.

From their acclaimed 2022 release Rhythm Of The World, to the reissue of 1998’s Global in 2024, it has become obvious that the group is more than “The Rain, The Park, And Other Things.” And, how so much music was “lost” when it should have been in everyone’s ears all this time.

In 1978, the band began recording demos with Chuck Plotkin, after an introduction from Jackson Browne, and eventually moved into studios to record a full album. In addition to Bob Cowsill originals, the band recorded songs by John Hall (Orleans), future Grammy-winner Wendy Waldman, and “Buzz” Feiten.

It was all going smoothly until Plotkin moved on to mix Bruce Springsteen’s Darkness On The Edge Of Town. Future multiple Grammy-winner Val Garay (Kim Carnes, James Taylor, The Motels) stepped in to sequence and master the recordings, yet, an expected major-label deal never materialized. The masters disappeared, and (another) great album languished in obscurity—save semi- and unofficial releases of the material.

Finally, The “Cocaine Drain” Album (“named” after Hall’s composition) sees a proper release. Garay’s original sequence sits next to five bonus recordings.

Restored and remastered by multiple Grammy-winning engineer Michael Graves, the album feels as fresh and vital as it would have upon intended release. Liner notes from Bob Cowsill and Brett Milano outline the story of its almost fantastical creation, and what happened after the dust settled.

1. Cocaine Drain
2. Give Me A Chance
3. Thinking Of You
4. Is Your Love Alive?
5. I Will Always
6. Gettin’ Ready
7. Bitter Jest
8. That Particular Way
9. Part Of Me
10. Dance In A Dream
11. You’ve Got A Way [Bonus Track]
12. Couldn’t It Be Love [Bonus Track]
13. The Next In Line [Bonus Track]
14. Say You Love Me [Bonus Track]
15. Fallen For You [Bonus Track]

Their storied 1978 album opens on the all-embracing sounds of Cocaine Drain and then we get the upbeat and free flowing Give Me A Chance, the easy going Thinking Of You, with both the guitar-drive pop-rocker Is Your Love Alive? and the low slung pop sounds of I Will Always along next.

Along next is the guitar rocker Gettin’ Ready which is in turn backed by the emotive Bitter Jest, the melodious rocker That Particular Way, the original collection rounding out on the impassioned Part Of Me, closing on the forthright Dance In A Dream.

This delightfully sculpted newly expanded album continues onward with five bonus tracks in the form of the pop-rock tumbling You’ve Got A Way, the dutifully harmonized Couldn’t It Be Love, the fun pop-rock of The Next In Line, and both the soft rocker Say You Love Me and the propelled guitar-synth rock of Fallen For You.

So, it isn’t a dream anymore. The “Cocaine Drain” Album by The Cowsills makes a triumphant return to the marketplace—even if it’s actually for the first time!

Official Purchase Page

www.cowsill.com

Despite epitomizing the platinum selling Californian soft rock sound that dominated the US airwaves throughout the mid-1970s, both Jim Seals and Darrell “Dash” Crofts originally hailed from Texas. Formed in 1969 in Los Angeles, Seals and Crofts released their self-titled debut the same year, followed by ‘Down Home’ in 1970.

Warner Bros. Records were the ideal home for their mellow, acoustic based sound, with whom they signed in 1971 for ‘Year Of Sunday’. Seals and Crofts and Warner Bros. finally struck gold with 1972’s ‘Summer Breeze’, a worldwide smash that year, which was subsequently covered and a global hit for The Isley Brothers.

The title track to 1973’s ‘Diamond Girl’ maintained their upward trajectory with another platinum hit, even if their stance exemplified on 1974’s ‘Unborn Child’ divided their fan base.

By 1974 Seals and Crofts were established enough to hold their own alongside the biggest hitters of the decade - Deep Purple, Black Sabbath, ELP, Eagles - at one of the biggest festivals of the 1970s, the California Jam. By 1978 the influence of disco could be heard in the grooves of the danceable ‘Takin’ It Easy’.

Deciding to call it a day following their final Warner Bros. album in 1980, Seals and Crofts went their separate ways, occasionally reuniting for successful reunion shows.

Although unfairly maligned in the ensuing years, the growth in interest for the smoother sounds and platinum hits of the 1970s, plus the cult success of the Yacht Rock series presented Seals and Crofts to a whole new audience in the 21st Century.

Disc One: SEALS AND CROFTS (1969)
1. See My Life 2. Sea Of Consciousness 3. Seldom’s Sister 4. Not Be Found 5. Birthday Of My Thoughts 6. In Tune 7. Cows Of Gladness 8. Earth 9. Seven Valleys 10. Jekyll And Hyde 11. Ashes In the Snow 12. See My Life (Reprise)

Seals & Crofts have such a great catalog of hits. So much so that most listeners of pop/rock are familiar with them. However, before the string of hits that brought them into the limelight, their real masterpiece, in my opinion, was the self-titled album SEALS & CROFTS.

With beautifully haunting melodies and harmonies, the spiritual lyrics and lovely music evoke a spirit of that late 60’s period of peace, love, and harmony for all.

Fantastic tunes abound here. In Time is a fine piece of Pop music played at a brisk pace and those glorious harmonies put this one right over the top. Was this ever a single? Well, if it wasn’t, it should’ve been one. Cows of Gladness is real gem, and the orchestration fits in well here mixed right alongside the voices and percussion. Sea of Consciousness, still sounds wonderful. The vocals soar here, and it’s all over too soon.

DOWN HOME (1970)
13. Ridin’ Thumb 14. Hand-Me-Down Shoe 15. Purple Hand 16. Robin 17. Hollow Reed 18. Gabriel Go on Home 19. Tin Town 20. Today 21. Cotton Mouth 22. Granny Will Your Dog Bite? 23. Leave

The production values are great here on Down Home. I was very surprised as this was a 1970 album and I was expecting it to sound hissy, fuzzy or scratchy. Not so, it could have been recorded today. Each instrument is clear and clean. I love the variety as few bands use flutes and mandolins the way Seals & Crofts do. And the harmonies and offset voices are pure and distinct.

This early creation showcases their artistry. Their vocal harmonies are like no other. Check out the use of the Hammond organ and Dash Croft’s aforementioned mandolin. It’s a unique combination and worth a listen. Oh, and Jimmy Seals may be the most under-rated musician in music of that time period.

Disc Two: YEARS OF SUNDAY (1971)
1. When I Meet Them 2. ’Cause You Love 3. Antoinette 4. High On a Mountain 5. Year Of Sunday 6. Paper Airplanes 7. Irish Linen 8. Springfield Mill 9. Ancient Of the Old 10. Sudan Village

Off to a brisk start with the minor hit, we first get When I Meet Them, where you will notice that many musical styles jump right out at you. Pop, folk, country and jazz can all be heard present in the span of a single tune.

These instrumental elements added to the finest mesh of the two greatest voices since the mid-sixties heyday of Simon & Garfunkel make this music something really special. For me, Year Of Sunday shows off this duo at the peak of their powers.

SUMMER BREEZE (1972)
11. Hummingbird 12. Funny Little Man 13. Say 14. Summer Breeze 15. East Of Ginger Trees 16. Fiddle In the Sky 17. The Boy Down the Road 18. The Euphrates 19. Advance Guards 20. Yellow Dirt

The songwriting here on Summer Breeze is just terrific. Hummingbird and Summer Breeze deserved to be the hits they were. The Euphrates, Say, and East of the Ginger Trees are as strong as those two songs, and everything else is close to that level.

The playing is superb, the arrangements are gorgeous, and the vocals, particularly the harmonies, are wonderful. There aren’t many soft rock albums from the 70’s that hold up as well as this one, mostly because the whole album is so tastefully executed in every way.

Disc Three: DIAMOND GIRL (1973)
1. Diamond Girl 2. Ruby Jean And Billie Lee 3. Intone My Servant 4. We May Never Pass This Way (Again) 5. Nine Houses 6. Standin’ On a Mountain Top 7. It’s Gonna Come Down (On You) 8. Jessica 9. Dust On My Saddle 10. Wisdom

My brother owned this 8-Track when I was a kid and, like all 8-tracks, it played on an endless loop. Sure it had a couple big hits, the title track and We May Never Pass This Way, Again but also weird mystical hippie cuts (Intone My Servant and Nine Houses), folkie love tunes (Jessica, Rubie Jean & Billie Lee) and even a Marty Robbinseque cowboy tune in Dust On My Saddle.

The final song on the album is an instrumental jazz-rock fusion cut called Wisdom and Seals really cooks here. As a whole, the entire album is worth checking out but Wisdom alone is worth the cover charge.

UNBORN CHILD (1974)
11. Windflowers 12. Desert People 13. Unborn Child 14. The Story of Her Love 15. Dance By the Light of The Moon 16. Rachel 17. King Of Nothing 18. 29 Years from Texas 19. Ledges 20. Follow Me 21. Big Mac

It was 1974 and Seals & Crofts were at their commercial peak. Diamond Girl was their 1973 masterpiece and Summer Breeze was the LP that really jump-started their career. Things were really going their way ... or were they?

I bought this album in late January of 1974 and thought at the time that Unborn Child was somewhat of an odd title for an album. The cover was sort of eerie with those sad, forlorn eyes looking out of a silhouette of blue skies and a odd-shaped rainbow.

I had loved Diamond Girl so much, I couldn’t wait to get this one on the record player. All I can say is that I loved this album too after only one play. Even on the first listen-through, I liked it better than Diamond Girl and much better than Summer Breeze.

Disc Four: I’LL PLAY FOR YOU (1975)
1. I’ll Play for You 2. Golden Rainbow 3. Castles In the Sand 4. Blue Bonnet Nation 5. Ugly City 6. Wayland The Rabbit 7. Freaks Fret 8. Truth Is but A Woman 9. Fire And Vengeance

OK, now this is an amazing album with Philly soul/psychedelic soul/sympho-rock influences. Somewhat Roy Ayers vibes with a gifted songcraft I was really impressed. In truth, I’ll Play for You was, and still is, an underrated mid-1970’s gem. Highlights for me are Golden Rainbow (which has Jeff Porcaro on drums) and the brilliant Wayland the Rabbit.

SUDAN VILLAGE (1976)
10. Sudan Village 11. Advance Guards 12. ’Cause You Love 13. Baby I’ll Give It to You 14. Thunderfoot 15. East Of Ginger Trees 16. Put Your Love in My Hands 17. Arkansas Traveller 18. Eighth Of January

When a voice announces ‘Ladies & Gentlemen Seals and Crofts’ atop an intro of marimba whistles and assorted percussions and the title track commences one perceives they did nail some Afro guitar rhythm and polyrhythmic stuff which will alternate with lush soft-rock passages, that this is a well performed setting and that it could actually have been used as an inspiration by Paul Simon some years later.

And yet they soon go into a saccharine country-Rock ballad, then into a Bee Gees like pool, when they enlist the help of Carolyn Willis to reach the high pitched part of the aural spectrum and finally add that extra Disco emphasis with strings and all, in a sort of Saturday Night Fever preview, glossily arranged but so hollow that it had to be faded out in spite of its “live recorded” condition.

The second half of the album, however, is a breath of fresh air, or should I say a welcomed thunderstorm? The 9 minutes long instrumental only “Thunderfoot” that occupies half of what would be Side B’s length, is an infectious slab of solid fusion, sax and guitars screaming against killer riffs or indulging in searing solos, jazzy Rhodes passages and Moog flights atop rolling and bouncy bass lines and syncopated and punchy drumming.

The ensuing “East of Ginger Trees” is a passable Rock ballad with Progressive aspirations, and “Put Your Love in My Hands” opens up with C.S.& N. styled vocal harmonies and pulsation before going the Disco Soul route (yes, Willis is back on board)and finally into a Santana-esque instrumental and enthusiastic crowd reaction.

Disc Five: GET CLOSER (1976)
1. Sweet Green Fields 2. Get Closer 3. Red Long Ago 4. Goodbye Old Buddies 5. Baby Blue 6. Million Dollar Horse 7. Don’t Fail 8. Passing Thing

For me, Get Closer was one of the best albums I had come across in their catalog thus far back in 1976. Great arrangements with lots of 70’s soft rock songs. The whole album is solid and very consistent. It is just dripping with 1970’s soft rock sugar. To me the soft rock songs and ballads are where they really excel. They kind of lost me when they experimented with heavier rock tracks, but each to their own.

TAKIN’ IT EASY (1978)
9. Takin’ It Easy 10. One More Time 11. Midnight Blue 12. You’re The Love 13. Sunrise 14. Breaking In a Brand New Love 15. Magnolia Moon 16. Nobody Gets Over Lovin’ You 17. Forever Like the Rose 18. A Tribute To ’Abdu’L-Baha’

By the time Takin’ It Easy was finally released, it seems that the record buying public had lost a lot of interest in the duo. Compared to the several gold-selling albums that preceded it, Takin’ It Easy was a commercial disappointment, peaking at (coincidentally enough) number 78 on the Billboard album charts.

One gets the sense that even during the recording of Takin’ It Easy, there was concern of how Seals & Crofts would be received in the midst of the changing musical climate, and there are some clear attempts at keeping up with the times.

The most notorious example is the disco-fied Top 20 hit You’re The Love, which Dash Crofts himself claims that he hated it! I mean, that’s a somewhat understandable, albeit harsh and unfair critique, because it’s not really THAT much of a disco tune, and beyond that, the song is upbeat, insanely catchy, and downright fun.

They also take a half-hearted stab at a New Wave-ish rocker with the album-opening title track. It’s a passable tune, and it was a minor hit in its own right, but the guys don’t sound like their hearts are really in it, and the result feels forced. Note that neither of these two songs were at all written by the duo (You’re The Love was written by David Batteau and their producer Louie Shelton).

Apart from the two aforementioned singles though, Seals & Crofts basically stick with the tasteful soft-rock approach of their ’76 masterpiece album Get Closer, and they offer up a bunch of great songs in the process.

Official Purchase Link

Seals and Crofts – Gold And Rainbows: The Warner Bros. Years 1969–1978 5CD [Trailer]

As I am sure we all know by now, history loves to repeat itself. Popular music revels in this cycle. Classic songs are routinely reborn, captivating new audiences through the skill and imagination of transcendent artists channeling the enduring agency of timeless compositions.

None more so than Gino Amato, whose masterful arranging, passion for Latin music and life-long love for vocalists shape the fascinating perspective behind his remarkable new musical adventure, Latin Crossroads 2, co-produced with four-time Grammy Award winner Oscar Hernández, who was also the album’s musical director.

Following up on the success of his Latin Crossroads album of 2022 comes the sequel, Latin Crossroads 2, which finds Amato utilizing an 11-piece band along with some notable guests. Indeed, I count eight top notch singers, an excellent trumpeter and even an a-cappella group.

1. Me and Julio Down by the Schoolyard (featuring Arnold McCuller and Matt Cusson)
2. I Only Have Eyes for You (featuring Kandace Springs & a Vocal Ensemble)
3. I Fall in Love (featuring Kings Return & Lou Marini on tenor-saxophone)
4. Moonlight in Vermont (featuring Kevin Osborne)
5. Tangerine (Vocal Ensemble)
6. No Moon At All (featuring Janis Siegel)
7. I Love Paris (featuring Veronica Swift)
8. What a Wonderful World (featuring Arnold McCuller & Leonardo Suarez Paz on Volin and Joe Locke as the vibraphonist)
9. Someone To Watch Over Me (featuring Janis Siegel)
10. Windmills of Your Mind (featuring Matt Cusson & Alex Norris on flugelhorn)
11. Scheherazade (featuring Randy Brecker on trumpet)

This wondrously crafted new recording opens on the vibrant Latin-hued hipsway of Me and Julio Down by the Schoolyard (featuring Arnold McCuller and Matt Cusson) and the luxuriant I Only Have Eyes for You (featuring Kandace Springs and a vocal ensemble) and then we get the splendidly harmonized When I Fall in Love (featuring Kings Return and Lou Marini on tenor-saxophone), a velvety Moonlight in Vermont (featuring Kevin Osborne) and the delightful vocal ensemble and piano piece Tangerine.

Up next is the soulful No Moon At All (featuring Janis Siegel) and that is in turn backed seamlessly by the free flowingly grooved I Love Paris (featuring Veronica Swift), the all-embracing, Latin-imbibed What a Wonderful World (featuring Arnold McCuller & Leonardo Suarez Paz on violin and Joe Locke as the vibraphonist), a quite formidable Someone To Watch Over Me (featuring Janis Siegel), the album rounding out on the melodically rhythmic Windmills of Your Mind (featuring Matt Cusson & Alex Norris on flugelhorn), coming to a close on the sheer elegance of the Rimsky-Korsakov instrumental Scheherazade (featuring Randy Brecker on trumpet).

I Only Have Eyes for You (feat. Kandace Springs) - Gino Amato [Official Music Video]

www.latincrossroads.com

Bassist Bryan Beller – widely known for anchoring The Aristocrats (Beller + Guthrie Govan/gtr + Marco Minnemann/dr), Joe Satriani, Dethklok, Steve Vai and Mike Keneally – revisits and reimagines parts of his last solo album before both the birth of The Aristocrats and his seminal work Scenes From The Flood (2019), with the remix EP Calm Before The Storm.

Releasing digitally, it focuses on three compositions that represent the core journey of Beller’s 2008 release Thanks In Advance. Those songs – “Greasy Wheel”, “Cave Dweller” and “Love Terror Adrenaline/Break Through” – also all contain Aristocratic lineage of some kind, which makes for an interesting look back.

The EP also features performances by drummers Joe Travers (Zappa Plays Zappa, Eric Johnson) and Toss Panos (Michael Landau, Larry Carlton); guitarists Rick Musallam (Ben Taylor, Carly Simon) and Griff Peters (John Mayer, Billie Myers); and keyboardist Jeff Babko (Jimmy Kimmel Live, Steely Dan, Sheryl Crow).

1. Greasy Wheel (2025 Remix) (6:28)
2. Cave Dweller (2025 Remix) (7:53)
3. Love Terror Adrenaline/Break Through (2025 Remix) (10:20)

This wondrously crafted remix EP opens on the groove-tastic, funk-hued, screaming guitar-strewn cut Greasy Wheel and then brings us the electrifying guitar work that is oh-so expertly showcased with the propellent Cave Dweller, the final track being a 10 minute opus Love Terror Adrenaline/Break Through, which dances between scintillating lightness, whilst a times dipping into the darkness of low slung chords and melodic progressions.

The Musicians:
“Greasy Wheel” was performed by:
Rick Musallam - Guitars
Jeff Babko - Hammond Organ
Bryan Beller - Bass, Percussion, Hoo-Ha’s
Mark Niemiec - More Hoo-Ha’s
Joe Travers - Drums, Party Time

“Cave Dweller” was performed by:
Griff Peters - Guitars
Bryan Beller - Bass (and one rhythm guitar, right channel)
Toss Panos - Drums

“Love Terror Adrenaline/Break Through” was performed by:
Mike Keneally - Lead Guitars, Keyboards (Vibraphone and Electric Piano)
Bryan Beller - Bass, Acoustic Piano, Synth Pads, Rhythm Guitars, percussion
Rick Musallam - Rhythm Guitars
Marco Minnemann - Drums

www.bryanbeller.com

Bryan Beller @ Facebook

For those unaware, the jazz world welcomes a new landmark with the release of San Francisco 1948, the latest album by the Steve Rosenbloom Big Band.

This expansive, meticulously crafted project reaffirms Rosenbloom’s status as a composer and arranger – with assistance from Chris Smith and Michael Johncsik) who channels the vibrant spirit of the big band tradition while infusing it with contemporary freshness and thoughtful nuance.

A native of Montreal and a committed voice in Canadian jazz, Steve Rosenbloom has long been recognized for his compositional depth and dedication to the big band idiom. With San Francisco 1948, he assembles a stellar 16-piece ensemble to deliver a record that is as much a celebration of history as it is a bold statement of artistic vitality.

1. Samba for Esther (5:48)
2. In a Boppish Sort of Way (4:43)
3. Mosley (5:17)
4. Call from the Orient (7:05)
5. Light and Easy (5:00)
6. Fiesta for Paquito (5:01)
7. San Francisco 1948 (6:00)
8. Mexican Holiday (5:56)
9. Asher’s Song (4:35)

This wondrously crafted new recording opens on the spirited Samba for Esther and then brings us the furtively skilled In a Boppish Sort of Way, the easy going, veritably cinematic, creeping Mosley and then we get the melodiously free-flowing Call from the Orient brought forth.

Up next is the atmospherically charged Light and Easy and the upbeat and joyfully sculpted Fiesta for Paquito and they are in turn backed seamlessly by the languishing beauty found within the titular San Francisco 1948, the set rounding out on the drum and horn-tastic collaboration on Mexican Holiday, coming to a close on the elegantly laid back Asher’s Song.

San Francisco 1948 is a testament to Rosenbloom’s commitment to sustaining and evolving the big band tradition. It embodies the grandeur, complexity, and emotional depth that define the genre, offering a listening experience that appeals to seasoned jazz aficionados and new audiences alike.

This album marks a significant chapter for Rosenbloom and the Montreal jazz scene, highlighting the city’s wealth of talent and the continuing relevance of large ensemble jazz in the 21st century.

Samba for Esther - Steve Rosenbloom Big band [Official Music Video]

For those unaware, today, Walt Disney Records continues to commemorate the Disneyland Resort 70th Celebration today with the release of the “It’s A Small World” (70th Anniversary) [by The Disneyland Children’s Chorus] special edition 7” vinyl single and digital single.

The single features a new verse presented to Bob Iger by songwriter and Disney Legend Richard Sherman in 2023 ahead of celebrating the song’s 60th anniversary in 2024. This iconic tune was originally written by Richard M. Sherman and Robert B. Sherman in 1964 for the attraction of the same name which debuted at the 1964-1965 New York World’s Fair.

The song is performed by The Disneyland Children’s Chorus, executive-produced by Walt Disney Imagineering Global Music Executive Tricia Holloway and produced by Walt Disney Imagineering Executive Creative Director – Music, John Dennis and award-winning music producer Stef Fink.

The new lyrics which are referred to as the “Last Verse” are as follows:

“Mother earth unites us in heart and mind
And the love we give makes us humankind
Through our vast wondrous land
When we stand hand in hand
It’s a small world after all.”

The artwork throughout the single features the face of the “it’s a small world” attraction’s world renown façade and smiling clock. The song featuring the new verse also premiered yesterday in the finale scene of the attractions at both Disneyland Resort and Walt Disney World Resort.

At Disneyland Resort, guests may also visit the Main Street Cinema to watch the three-and-a-half minute film “The Last Verse,” which originally unveiled the new verse.

Side 1:
1. It’s A Small World (70th Anniversary) performed by The Disneyland Children’s Chorus [5:03]

Side 2:
1. It’s A Small World (70th Anniversary) performed by The Disneyland Children’s Chorus [5:03]

As we all know by now, the song “It’s a Small World” is not from a traditional Disney movie rather it was originally created for the “It’s a Small World” attraction at the 1964 New York World’s Fair.

Having become closely associated with Disney theme parks along with now being considered as one of Disney’s most iconic songs and having been recorded in a whole variety of different languages, this delightful ear worm song plays incessantly every day at Disneyland.

Simply put, and having listed to it twice now re: Side A and Side B here on this glorious 7” blue vinyl single, “It’s A Small World” (70th Anniversary) is a timeless classic and aside from being one of the most well-known songs of all time, has a beautiful rhythmical melodicism threaded throughout it that makes you just want to smile.

Walt Disney Records recently released the Music From Disneyland Resort 70th Celebration on streaming services and on the official Disneyland Playlist. The album features songs from Jonas Brothers, Boyz II Men, FITZ from Fitz and The Tantrums, Scott Hoying from Pentatonix, Anthony Gargiula, Grayson Villanueva, Topher Ngo and Flor de Toloache.

www.disneymusicemporium.com

Official Purchase Link

Walt Disney Music @ Facebook

For those not in the know, one of the Mid-Atlantic’s most versatile and sought-after bassists, Phil Ravita leads Ravita Jazz and appears with many other jazz and classical ensembles and orchestras.

He has shared the stage with such jazz greats as Jimmy Heath, Bobby Shew, Claudio Roditi, and Ruby Glover, appearing in countless clubs, concert halls, and festivals. He can be heard on numerous recordings. He won critical acclaim for his work with Grasso-Ravita Jazz Ensemble on the group’s highly praised 2021 recording Jagged Spaces.

In April 2023, he released Oriana with Ravita Jazz and this past May the band released their brand new album Alice Blue. In the liner notes, jazz journalist and author Raul d’Gama Rose writes: “Throughout Alice Blue the poetics of musical tradition are impressively maintained. The balance of melody, harmony and rhythm present in compositions and improvisation make this an album worth adding to your collection.”

1. Broken Light [4:03]
2. From the Start [4:10]
3. Alice Blue [5:34]
4. Almost Blue [5:09]
5. I Can’t Stand the Rain [5:04]
6. Fool in the Rain/Sunny Side of the Street [5:04]
7. Hereafter [5:17]
8. Blackout [4:29]
9. Golden Sky [2:59]
10. Signal & Noise [4:22]

Recorded at Omega Recording Studios in Rockville, Maryland, this vibrantly emotional journey through original compositions and creative reimagining opens on the highly engaging Broken Light and the bossa nova vocal suave of From the Start and then we get the emotively sculpted bossa nova-hued title track Alice Blue, the swirling Almost Blue and a dutifully grooved rendition of the Peebles/Bryant/Miller soul classic I Can’t Stand the Rain.

Along next is the magnificently elegant dualist Fool in the Rain/Sunny Side of the Street (Jones/Page/Plant + Fields/McHugh) which is in turn followed smartly by the atmospheric Hereafter (Greg Small), the low slung and simply divine Blackout, the set rounding out on the gently fervent Golden Sky, coming to an all too soon close on the all-embracing ebb and flow of Signal & Noise (Greg Small).

Musicians:
Mark Leppo - vibraphone & congas
Phil Ravita - acoustic bass and electric 6-string bass
Paul Carr - tenor and soprano saxophone
Greg Small – piano
Nuc Vega - drums
Deirdre Jennings - vocals

Official Website

Ravita Jazz @ Instagram

For those unaware, Passing Fancy: Beauty in a Moment of Chaos, the AVIE debut by leading New York City early music ensemble Sonnambula, traverses’ music by several Renaissance composers who were forced to conceal their identities for social, religious or ethnic reasons.

Yet their music transcended the disorder surrounding them, flourishing in the intersection of beliefs and styles. Disruption and displacement wasn’t uncommon in 16th-and 17th-centuries Europe. During the Reformation, creative individuals, including composers, were often forced to conceal their identities - for reasons social, religious, ethnic, racial or otherwise. Yet despite - or perhaps due to - the disorder, musical styles and forms flourished, earning the era it’s Renaissance designation and thus creating Beauty in a Moment of Chaos.

Sonnambula, an ensemble of New York City-based early music luminaries, bestow beauty on their AVIE debut, traversing an aural intersection of beliefs with northern and southern European styles.

Here is the beauty of William Byrd and Richard Dering, two Catholics composing in Protestant England; of Leonora Duarte, a Portuguese-Jewish woman forced to live as a converso (New Christian), in Antwerp, and Parisian Elisabeth Jacquet de La Guerre, whose lost works have re-emerged with a vengeance in our own time; of the Bolognese Alfonso Ferrabosco the elder who emigrated to England, and Salomone Rossi who unusually set Hebrew texts to Western-style polyphony from his relatively tolerant position in the court of Mantua.

The release of Passing Fancy: Beauty in a Moment of Chaos coincides with Sonnambula’s taking up residency at New York City’s newly-renovated premiere museum, The Frick Collection.

ÉLISABETH JACQUET DE LA GUERRE (1665–1729)
1. Overture to Céphale et Procris (1694) [4.07]

RICHARD DERING (c.1580–1630)
2. Fantasia No.6 (a 5) VdGS No.2 [5.08]

SALOMONE ROSSI (c.1570–1630)
3. Gagliarda detta La Norsina from Il primo libro delle sinfonie et gagliarde (1607) [1.19]

LEONORA DUARTE (1610–1678)
4. Sinfonia No.5 [2.29]

ALFONSO FERRABOSCO I (1543–1588)
5. In Nomine a 5 VdGS No.1 [3.42]

SALOMONE ROSSI 6. Sinfonia a 5 from Il primo libro delle sinfonie et gagliarde [2.23]

WILLIAM BYRD (c.1540–1623)
7. The Bells BK 38 [6.19]

SALOMONE ROSSI 8. Elohim Hashivenu (Psalm 80) [3.02]
James Kennerley, tenor

LEONORA DUARTE 9. Sinfonia No.4 [2.31]

WILLIAM BYRD 10. My Lady Nevell’s Ground BK 57 from My Lady Nevell’s Book of Virginal Music (c.1591) [5.48]

RICHARD DERING 11. Fantasia No.4 (a 5) VdGS No.1 [5.12]

LEONORA DUARTE transcr. keyboard James Kennerley b.1984
12. Sinfonia No.7 [4.16]

SALOMONE ROSSI
13. Sonata undecima detta La Scatola from Il quarto libro de varie sonate, sinfonie, gagliarde, brandi, e correnteper sonar due violini et un chitarrone o altro stromento (1622) [3.39]

ENRIC DE PARIS (‘ENRRIQUE’) (fl. 1460s)
14. Mi querer tanto vos quiere [3.09]
James Kennerley, tenor

Recorded 17th & 18th November 2023, at the Concert Hall at Drew University, Madison, New Jersey, Sonnambula’s sophomore recording opens on DE LA GUERRE’s strident fare that drives Overture to Céphale et Procris, DERING’s aching elegance of Fantasia No.6 (a 5) VdGS No.2 and ROSSI’s flourishing Gagliarda detta La Norsina from Il primo libro delle sinfonie et gagliarde, and then we get brought forth DUARTE’s sophisticated Sinfonia No.5, FERRABOSCO I’s demure In Nomine a 5 VdGS No.1, and both ROSSI’s crystalline Sinfonia a 5 from Il primo libro delle sinfonie et gagliarde and BYRD’s rhythmically staggered The Bells BK 38.

Up next is ROSSI’s cultured Elohim Hashivenu (Psalm 80) - featuring James Kennerley, tenor - and DUARTE’s heartfelt Sinfonia No.4 and they are in turn backed seamlessly by BYRD’s forthright, yet embracing My Lady Nevell’s Ground BK 57 from My Lady Nevell’s Book of Virginal Music, DERING’s buoyant Fantasia No.4 (a 5) VdGS No.1, the set rounding out on DUARTE’s preciseness of notes within Sinfonia No.7, ROSSI’s enraptured Sonata undecima detta La Scatola from Il quarto libro de varie sonate, sinfonie, gagliarde, brandi, e correnteper sonar due violini et un chitarrone o altro stromento, closing on DE PARIS’s yearning earnestness within Mi querer tanto vos quiere - James Kennerley, tenor.

Official Purchase Link

www.sonnambula.org

Glam metal band Sea Hags’ sole LP was released by Chrysalis in 1989 but their first live show was May 1st, 1985. When this live show was recorded in 1986, they were already opening for the Dead Kennedys, Social Distortion, Circle Jerks, X, the Flaming Lips, Redd Kross, Suicidal Tendencies, Sonic Youth, Soundgarden, Primus and even Motörhead.

Their first 6 track demo was produced by renown producer/engineer Sylvia Massy and Kirk Hammett and the Metallica guitarist played on two of the tracks and quickly sold out. By September 1986, Sea Hags had played 60 or 70 shows, at least, drummer Greg Langston said, so the band was extremely tight when they scheduled a live recording session with Massy engineering.

The recording at CD Studios is very representative of that period, he adds. In front of an invited audience of about 60 enthusiastic fans, the band charged through its then-current set.

The recording is an authentic and organic document of Sea Hags’ original trio; without the additional studio players whose work figured into earlier - and later - recordings. But the label’s insistence that the lineup change, drummers and add members inevitably changed the dynamic and the band fell apart.

This is Sea Hags at their best ... before the label meddled with the chemistry that made them such a powerful and compelling live band.

Liberation Hall returns to the San Francisco underground with the announcement of Dead & Gone, a previously unreleased 10-song live set from the hard rock band Sea Hags. Dead & Gone arrives in stores September 12th, 2025 on CD & digital from Liberation Hall.

1. Huntin’ For Dad
2. Happy Hours With You
3. Dead And Gone
4. Chicken Boys
5. Ridin’ Out
6. Doghouse
7. Back To The Grind
8. Love Kills
9. King Bee Blues
10. Cock Eyed Crow

This previously unreleased live show opens on the angst-strewn alt-rocker Huntin’ For Dad and the melodic rocker Happy Hours With You, and then we get brought forth the alt-punk title track Dead And Gone, the gritty guitar piece Chicken Boys and the throaty Ridin’ Out.

Along next is the rhythmic rock of Doghouse which is backed by the early Crüe-esque Back To The Grind, the riff-tastic gem Love Kills, the set rounding out on the rock-grunge sound of King Bee Blues, closing on the punk-rooted Cock Eyed Crow.

Musicians:
Ron Yocum: Guitar, Vocals
Chris Schlosshardt: Bass, Background Vocals
Greg Langston: Drums

Sea Hags - Doghouse [Official Music]

Official Purchase Link

www.liberationhall.com

For his tenth Avie release, Daniel-Ben Pienaar flies the flag for the enigmatic French composer Gaspard Le Roux, by re-imagining his only published work – the exquisite “Pièces de clavessin” from 1705 – for its first ever recording on the modern piano.

Daniel-Ben distils the performing possibilities, explaining, “For this first recording of these Suites on piano – in both the do-it-yourself spirit of the score, and also in that of inviting the modern listener to treat Le Roux’s set as ‘art object’ – I have fashioned a version where I conflate Le Roux’s solo harpsichord and trio iterations of the same music, adding some of the extra inner voices or descants from the trios to the keyboard version on repeats, but in such a way that the delicate poise and occasionally elliptical voice-leading of the original keyboard score would still be largely maintained.”

GASPARD LE ROUX (c.1670–c.1706)
COMPLETE KEYBOARD SUITES (Pièces de clavessin – 1705)
(Performed on a modern Steinway model D)

CD 1:
Suite in D Minor
1. I. Prelude
2. II. Allemande la Vauvert
3. III. Courante
4. IV. Sarabande grave
5. V. Menuet
6. VI. Passepied
VII. Courante luthée

Suite in D Major
8. I. Allemande grave
9. II. Courante
10. III. Sarabande gaye
11. IV. Gavotte

Suite in A Minor
12. I. Prelude
13. II. Allemande l’Incomparable
14. III. Courante
15. IV. Sarabande
16. V. Sarabande en Rondeau
17. VI. Gavotte
18. VII. Menuet et Double, Second Menuet

Suite in A Major
19. I. Allemande gaye
20. II. Courante la Venetiene
21. III. Gigue

Suite in F Major
22. I. Prelude
23. II. Allemande grave
24. III. Courante
25. IV. Chacone
26. V. Menuet, Double, Double de la Basse
27. VI. Passepied
28. VII. Allemande

CD 2:
Suite in F Sharp Minor
1. I. Allemande gaye
2. II. Courante et Double
3. III. Sarabande grave en rondeau
4. IV. La Favoritte

Suite in G Minor
5. I. Prelude
6. II. Allemande
7. III. Courante
8. IV. Le Bel-ebat
9. V. La Piece sans titre
10. VI. Gigue
11. VII. Sarabande en 12 Couplets
12. VIII. Menuet

13. Gigue in G Major for 2 harpsichords (arr. for solo piano by Daniel-Ben Pienaar)

Recorded the 5th and 6th of March 2022 at the Concert Hall, Cardiff School of Music, the first CD of this brilliantly pleasing, witty and affecting new recording opens on Suite in D Minor: which itself first reveals the elegant Prelude, the dainty Allemande la Vauvert, the stirring Courante and the simply lovely Sarabande grave and then we get the strident Menuet, the scintillating Passepied, rounding out on the luxuriant Courante luthée.

Along next is Suite in D Major: which itself opens on the flourishing Allemande grave, the lush Courante and then comes the duo of the buoyant Sarabande gaye and the vibrant Gavotte; which are in turn backed by Suite in A Minor: which begins with the flared Prelude, the showy Allemande l’Incomparable and the strident Courante, and then we get brought forth the delicate Sarabande, the confident Sarabande en Rondeau, the perky Gavotte, ending on the dedicated Menuet et Double, Second Menuet.

Up next is Suite in A Major: which opens with the assured Allemande gaye before bringing us the sanguine Courante la Venetiene before quickly closing on the steeped Gigue; and then comes Suite in F Major: which begins with the articulate Prelude and the dulcet Allemande grave before the flowered Courante, the thoughtful Chacone, the flirtatious Menuet, Double, Double de la Basse, and the cheerful Passepied and the queitly sculpted Allemande are upon us.

The second CD opens on Suite in F Sharp Minor: and which begins with the radiant Allemande gaye and then we get the embracing Courante et Double, the agreeable Sarabande grave en rondeau, rounding out on the precise nature within La Favoritte; then comes Suite in G Minor: which itself opens on the assured Prelude, the brisk Allemande, the spry Courante and the bustling Le Bel-ebat and then we get the nimble La Piece sans titre, the adept Gigue, and both the cultured Sarabande en 12 Couplets and the comforting Menuet; the set closing on the energetically robust Gigue in G Major for 2 harpsichords (arr. for solo piano by Daniel-Ben Pienaar).

Official Purchase Link

www.ram.ac.uk

“In the summer of 2024 I had the opportunity to record with the great David Hazeltine, John Webber, and the legendary NEA Jazz Master Louis Hayes. After an all day session on June 25th, we recorded ten selections of original and standard compositions.”

“I’m very grateful for this opportunity to record with these amazing musicians. Thank you very much for listening and I hope you enjoy it!” - Todd Herbert

Todd Herbert has been a major tenor-saxophonist for the past 25 years, performing high-quality music that finds him consistently stretching himself while also paying tribute to the tradition. Herbert can now be heard playing in his prime on Captain Hubs.

Teamed with pianist David Hazeltine, bassist John Weber, and 2023 NEA Jazz Master drummer Louis Hayes, Todd Herbert is in brilliant form throughout his new release.

1. Captain Hubs [5:17 (Todd Herbert)
2. Prophet’s Oracle [6:48 (Todd Herbert)
3. Lou’s Idea [6:36] (Louis Hayes)
4. Look Into The Abyss [5:27] (Todd Herbert)
5. You Go To My Head [6:41] (J. Fred Coots)
6. In the Moment [5:44] (David Hazeltine)
7. Temple Of Silence [6:03] (Todd Herbert)
8. The Mind’s Eye [5:29] (Todd Herbert)
9. Fee-Fi-Fo-Fum [5:51] (Wayne Shorter)
10. Straight Street [6:27] (John Coltrane)

Featuring Todd in some rather dazzling form, inspiring his sidemen, and creating a set of timeless music, this wholly impassioned new recording opens on the sparkling title cut Captain Hubs (written for Freddie Hubbard) and then comes the somber-toned Prophet’s Oracle, the rhythmically staggered Lou’s Idea and both the strident Look Into The Abyss and a resplendent You Go To My Head.

Up next is the fervently charged In the Moment which is itself backed seamlessly by the smoothly cultured Temple Of Silence, the propellent The Mind’s Eye, the set rounding out on the low slung Wayne Shorter track Fee-Fi-Fo-Fum, closing on the upbeat and driven John Coltrane track Straight Street.

Musicians:
TODD HERBERT Tenor Sax
DAVID HAZELTINE Piano
JOHN WEBBER Bass
LOUIS HAYES Drums

Official Purchase Link

www.toddherbert.com

Sylvie Courvoisier @ Facebook

www.wadadaleosmith.com

The French and Italian Renaissance song repertoire, immortalised during the first three decades of the sixteenth century by the printed editions of Pierre Attaingnant in Paris and Ottaviano Petrucci in Venice, invites audiences, and in former times performers, to immerse themselves in a world in which memories of medieval courtly poetry, the austerity (as reimagined in the fifteenth and sixteenth centuries) of ancient lamentations, and a fully polyphonic narrative style, were all collided and superimposed-a certain sense of conversation can remind us also of the French air de cour as well as the early Italian madrigal form.

These chansons and frottole give rise to discrete, almost enigmatic emotions, where music and text unite as one, transparent and restrained.

Guided by the subtle sound of Hopkinson Smith’s lute, the diaphanous voice of German soprano Sophie Klussmann roams over this little-known early Renaissance territory through four sections which take the form of return journeys between France and Italy.

The sly melancholy of songs by Claude de Sermisy (Puisqu’en amours) and other French contemporary figures, some of them settings of poems by Clement Marot, thus collides with more plaintive pieces, by Marchetto Cara (Io non compro piu speranza) and Bartolomeo Tromboncino, whose supplicatory Per dolor me bagno il viso and final, heady Dolermi sempre voglio both attain peaks of intensity, at the same time being two sumptuous examples of the frottola form.

During these sixty minutes, Sophie Klussmann produces exquisitely subtle and precious wisps of sound, recalling that the heart and soul of these snapshots very often remains the matter of love. Her dark gold timbre hints at the eternal in the one piece in the programme whose text is of a religious nature, the sublime, questioning prayer Se mai per maraveglia.

1. 34 Chansons musicales a quatre parties: No. 10, mes ennuyz
2. 37 Chansons musicales a quatre parties: No. 12, Jouissance vous donneray
3. 42 Chansons musicales a troys parties: No. 12, Amy, souffrés
4. 37 Chansons musicales a quatre parties
No. 10, Dont vient cela
No. 37, Tant que vivrai
Intabulatura de lauto: No. 7, Recercar VI
5.Tenori e contrabassi intabulati col sopran in canto: No. 5, Se mai per maraveglia
6. Tenori e contrabassi intabulati col sopran in canto: No. 26, Ostinato vo’ seguire
Tenori e contrabassi intabulati col sopran in canto: No. 48, S’io sedo a l’ombra
8. Intabulatura de lauto: No. 35, Poi che volse la mia stella
9. Cara: Tenori e contrabassi intabulati col sopran in canto: No. 46, Io non compro più speranza
10. Claude de Sermisy: 37 Chansons musicales a quatre parties: No. 14, Il est jour
11. Claude de Sermisy: 31 Chansons musicales a quatre parties: No. 26, Puisqu’en amours
12. anon.: 35 Chansons musicales a quatre parties: No. 24, Le Jaulne et bleu
13. anon.: 42 Chansons musicales a troys parties
No. 7, Le cueur est mien
No. 16, Dolent depart
anon.: 34 Chansons musicales a quatre parties: No. 26, De toy me plaintz
14. Lurano: Libro 9 di frottole: No. 27, Poiché speranza è morta
15. Cara: Tenori e contrabassi intabulati col sopran in canto: No. 8, Per fuggir d’amor le punte
16. Capirola: The Capirola Lutebook: No. 40B, Che farala che dirala
17. Tromboncino: Tenori e contrabassi intabulati col sopran in canto
No. 55, Ala guerra
No. 2, Per dolor me bagno il viso
Zesso: Tenori e contrabassi intabulati col sopran in canto: No. 43, Starala ben cussi?
18. Tromboncino: Tenori e contrabassi intabulati col sopran in canto: No. 41, Dolermi sempre voglio

This quite magnificent new recording from the formidable duo of Hopkinson Smith (soloist) and Sophie Klussmann (voice) opens on the elegance of 34 Chansons musicales a quatre parties: No. 10, mes ennuyz, the smoothly sculpted 37 Chansons musicales a quatre parties: No. 12, Jouissance vous donneray and the amiable 42 Chansons musicales a troys parties: No. 12, Amy, souffrés, and then we get brought forth the three-piece 37 Chansons musicales a quatre parties; which begins with the delicate No. 10 Dont vient cela, the soft No. 37, Tant que vivrai and ends on the structured Intabulatura de lauto: No. 7, Recercar VI.

Along next is the delicate Tenori e contrabassi intabulati col sopran in canto: No. 5, Se mai per maraveglia, the ductile Tenori e contrabassi intabulati col sopran in canto: No. 26, Ostinato vo’ seguire and the rhythmically easeful Tenori e contrabassi intabulati col sopran in canto: No. 48, S’io sedo a l’ombra, and then comes the malleable Intabulatura de lauto: No. 35, Poi che volse la mia stella, the gently emboldened Tenori e contrabassi intabulati col sopran in canto: No. 46, Io non compro più speranza, the unyielding 37 Chansons musicales a quatre parties: No. 14, Il est jour, the rounded 31 Chansons musicales a quatre parties: No. 26, Puisqu’en amours and a captivating 35 Chansons musicales a quatre parties: No. 24, Le Jaulne et bleu.

Up next is the graceful 42 Chansons musicales a troys parties which also features the alluring No. 7, Le cueur est mien, the graceful No. 16, Dolent depart, and the effortlessly ethereal 34 Chansons musicales a quatre parties: No. 26, De toy me plaintz, which are backed seamlessly by the quietly agile Libro 9 di frottole: No. 27, Poiché speranza è morta, the emotive Tenori e contrabassi intabulati col sopran in canto: No. 8, Per fuggir d’amor le punte and the melodious The Capirola Lutebook: No. 40B, Che farala che dirala, the three-piece Tenori e contrabassi intabulati col sopran in canto opening on the joyful No. 55, Ala guerra, the more cautious No. 2, Per dolor me bagno il viso, culminating with the flourishing Tenori e contrabassi intabulati col sopran in canto: No. 43, Starala ben cussi?, the entire set closing on a sober, yet smoothly-engrained Tenori e contrabassi intabulati col sopran in canto: No. 41, Dolermi sempre voglio.

Purchase Link

www.sophieklussmann.de

www.hopkinsonsmith.com

By spreading a five-day festival dedicated to the music of Maurice Ravel across the French capital in March 2025, the Orchestre National de France was celebrating both the 150th anniversary of French composer’s birth and it’s own captivating history.

Whoever the orchestra’s Director might be, whatever changes and evolutions have taken place involving musicians, instruments, or anything else, Ravel’s music remains, like Debussy’s, absolutely central to its repertoire, and has been ever since its founding, in January 1934, by Jean Mistler, the then Minister of Post, Telegraphs and Telephones, and Desire-emile Inghelbrecht (1880-1965), the renowned composer and conductor.

The nearly three hours of music in this lovingly illustrated naïve boxed set offer a vast compendium of the French composer’s orchestral works, missing only the Menuet antique, the Valses nobles et sentimentales and the Sheherazade overture.

Le Tombeau de Couperin, given here in a version that respects the order of the original piano suite and also supplemented by David Molard Soriano’s two unpublished, arresting orchestrations, and the complete ballet score of Daphnis et Chloe, both work all their subtle yet utterly intoxicating magic.

Surely it is impossible not to marvel at this vividly told account of Daphnis et Chloe, at the natural, filigree balance of the ensemble in, for instance, the Introduction et Danse religieuse and the introduction to Pantomime, at those curvaceous phrases in Danse lente et mysterieuse des Nymphes and Lever du jour, or at the rhythm, rigidly maintained without the least hint of aggression in an unforgettable Danse suppliante de Chloe and the final Bacchanale.

The Orchestre National and its former Directors Inghelbrecht, Desormière, up until Martinon at the beginning of the 1970s, created a particular style for Ravel, ethereal, elastic, intelligently balanced, the harmonies always radiant. From the very first concert of this new Ravelian spring, which took place on February 28th, 2025 in Paris’s Philharmonie; the current Director of the orchestra, the Romanian Cristian Macelaru, resurrected this spirit and sustained it until the sublime apotheosis of Ma Mère l’Oye, the final piece of the final concert, on March 13th, 2025.

From Jardin feerique thus emerged subtle yet raw, honest emotions, the very essence of the magic that is Ravel.

CD 1:
Le Tombeau de Couperin, M. 68
I. Prélude - II. Fugue - III. Forlane - IV. Rigaudon - V. Menuet - VI. Toccata
Ma mère l’Oye, M. 62 (Ballet)
Prélude - Danse du rouet et Scène - Pavane de la Belle au bois dormant - Interlude - Les entretiens de la Belle et de la Bête - Interlude - Petit Poucet – Interlude - Laideronnette, impératrice des Pagodes - Interlude - Apothéose. Le jardin féerique
La Valse, M. 72 (Poème chorégraphique)

The first CD opens on Le Tombeau de Couperin, M. 68; and the flourishing Prélude, the considerate Fugue, the resplendent Forlane, and both the resounding Rigaudon and both the diminutive Menuet and the skittish Toccata.

Along next is Ma mère l’Oye, M. 62; of which this ballet opens on the stealthy Prélude and the scurrying Danse du rouet et Scène and then we get the serene Pavane de la Belle au bois dormant, an Interlude, the emotive Les entretiens de la Belle et de la Bête, an Interlude, a quite stirring Petit Poucet, an Interlude, the captivating Laideronnette, impératrice des Pagodes, another Interlude, before the work culminates on the dutifully subtle nuances within Apothéose. Le jardin féerique.

With the affectional La Valse, M. 72 (Poème chorégraphique) rounding the first disc out, it brings with it a rather lovely end to the musical proceedings.

CD 2:
Une barque sur l’océan, M. 43A
Pavane pour une infante défunte, M. 19A
Alborada del gracioso, M. 43B
Rapsodie espagnole, M. 54
I. Prélude à la nuit - II. Malagueña - III. Habanera - IV. Feria
Boléro, M. 81

The second CD opens on Une barque sur l’océan, M. 43A, a grippingly motivated piece, and then comes the sophisticated Pavane pour une infante défunte, the rather prepensely enrapturing M. 19A Alborada del gracioso, M. 43B, and then comes the work Rapsodie espagnole, M. 54; which opens on the decadent swirls and twirls of Prélude à la nuit, the playful, flirtatious even at times, yet delicate one minute, sternly strident at others Malagueña, the exquisite Habanera, the forthright Feria, closing on the well known standalone work, the always-charming to hear Boléro, M. 81.

CD 3:
Daphnis et Chloé, M. 57 (Complete Ballet score)

I. Introduction et Danse religieuse
II. Les jeunes filles attirent Daphnis – Danse Générale
III. Chloe est entrainée dans la danse des jeunes gens
IV. Mais dans un geste brusque Daphnis écarte le bouvier et s’approche
V. Danse grotesque de Dorcon
VI. Danse légère et gracieuse de Daphnis
VII. Daphnis et Chloè enlacès
VIII. Lycéion danse
IX. L’on perçoit des bruits d’armes, des cris de guerre qui se rapprochent
X. Daphnis et Chloé, Tableau I, M. 57 (Nocturne)
XI. Danse lente et mystérieuse des Nymphes
XII. Introduction
XIII. Danse guerriere
XIV. Bryaxis ordonne d’amener la captive
XV. Danse suppliante de chloe
XVI. Soudain l’atmosphére semble chargé d’éléments insolites
XVII. le jour se léve. On perçoit des chants d’oiseaux
XVIII. Le vieux berger Lammon explique
XIX. Pantomime - Daphnis et Chloé miment l’adventure de pan et de Syrinx
XX. Entre en groupe de juenes filles costumées en bacchantes
XXI. Danse generale (bacchanale)

The third CD is the stunning Daphnis et Chloé, M. 57 (Complete Ballet score), a work, moreover a masterpiece of Impressionist orchestration, begins with the glamourous Introduction et Danse religieuse, the cinematic Les jeunes filles attirent Daphnis – Danse Générale and the forcefully glistening Chloe est entrainée dans la danse des jeunes gens and then we are graced by the delightful Mais dans un geste brusque Daphnis écarte le bouvier et s’approche, the emboldened Danse grotesque de Dorcon, the ambient Danse légère et gracieuse de Daphnis, a dutiful growth within the immense Daphnis et Chloè enlacès and the stoically tuneful Lycéion danse and the flirtacious L’on perçoit des bruits d’armes, des cris de guerre qui se rapprochent.

Along next is the captivating Danse lente et mystérieuse des Nymphes, a veritably haunting Introduction, and then we are gifted the starkly actioned of Danse guerriere, the flourishing Bryaxis ordonne d’amener la captive, then comes the organic Danse suppliante de chloe, the heartfelt Soudain l’atmosphére semble chargé d’éléments insolites, the effervescent le jour se léve. On perçoit des chants d’oiseaux, with the recording rounding out on the quietly colorful Le vieux berger Lammon explique, the all-emracing notes of Pantomime - Daphnis et Chloé miment l’adventure de pan et de Syrinx, and both the euphorically charged duo of Entre en groupe de juenes filles costumées en bacchantes and the finale piece Danse generale (bacchanale).

www.macelaru.com

Written for the wedding celebration in Venice of Louis XV and Marie Leszczynska, Vivaldi’s serenade La Gloria e Imeneo offers a marvelous synthesis of Vivaldi’s style in the mid-1720s, championed here by two magical voices, Teresa Iervolino and Carlo Vistoli.

Continuing its exploration of a less popular facet of the Red Priest, the Vivaldi Edition once again ventures into the realm of serenades, entrusting the unloved La Gloria e Imeneo to Andrea Buccarella and his Abchordis Ensemble, who already championed the Serenata a tre published two years ago (OP7901).

Vivaldi: Concerto for Strings in F major, RV 138
I. Allegro
II. Adagio
III. Allegro

Vivaldi: Gloria e Imeneo, RV 687
Recitativo Dall’eccelsa mia reggia (Gloria)
Aria Alle amene, franche arene (Gloria)
Recitativo O del polono cielo (Imeneo)
Aria Tenero fanciulletto (Imeneo)
Recitativo E voi, Grazie ed Amori (Gloria, Imeneo)
Aria Questo nodo e questo strale (Gloria)
Recitativo Dell’inclita regina (Imeneo)
Aria Scherzeran sempre d’intorno (Imeneo)
Recitativo Impaziente il desio (Gloria, Imeneo)
Aria Godi pur ch’il caro sposo (Gloria)
Recitativo Al vezzo, al guardo, al brio (Imeneo, Gloria)
Aria Care pupille (Imeneo)
Recitativo Da innesto così augusto (Gloria, Imeneo)
Aria Al seren d’amica calma (Gloria)
Recitativo Già della regal pompa (Imeneo, Gloria)
Duetto Vedrò sempre la pace (Gloria, Imeneo)
Recitativo Non turbino giammai noiose cure (Imeneo, Gloria)
Aria Se ingrata nube (Imeneo)
Recitativo lnvan potrà la Sorte (Gloria)
Aria Ognor colmi d’estrema dolcezza (Gloria)
Recitativo Delle regali nozze (Imeneo, Gloria)
Duetto In braccio de’ contenti (Gloria, Imeneo)

This beautifully crafted new set opens on Vivaldi: Concerto for Strings in F major, RV 138; and the spirited Allegro, then gives us the ornately yearning Adagio, before coming to a close on the furtively robust Allegro.

The majority of this recording features Vivaldi: Gloria e Imeneo, RV 687; which itself opens on the Recitativo of the emboldened Dall’eccelsa mia reggia, the regal fare of the beautiful Aria Alle amene, franche arene, the sterner fare of the Recitativo O del polono cielo and the robust Aria Tenero fanciulletto and they are in turn backed by the elegant Recitativo E voi, Grazie ed Amori, the colorful Aria Questo nodo e questo strale, the delicate Recitativo Dell’inclita regina, the playful Aria Scherzeran sempre d’intorno, the dutifully fashioned Recitativo Impaziente il desio and the decadent swirls and twirls that form Aria Godi pur ch’il caro sposo.

Along next is the righteous Recitativo Al vezzo, al guardo, al brio, the resplendent Aria Care pupille, the emotive Recitativo Da innesto così augusto, the sculpted Aria Al seren d’amica calma, the determined Recitativo Già della regal pompa, the harmonic Duetto Vedrò sempre la pace, the impassioned Recitativo Non turbino giammai noiose cure, the all-embracing Aria Se ingrata nube, and the rousing Recitativo lnvan potrà la Sorte, the music rounding out on the gleaming Aria Ognor colmi d’estrema dolcezza, the invigorated Recitativo Delle regali nozze, closing on the magnificently glorious Duetto In braccio de’ contenti (Gloria, Imeneo).

Purchase Link

www.teresaiervolino.com

www.abchordisensemble.com

www.carlovistoli.com

www.Andrea Buccarella.com

Originally released as a limited-edition CD in 2008 by Independent Project Records, this new expanded edition will be released on vinyl, CD and digital formats and includes a bonus disc of previously unreleased demos and live tracks.

From Now to OK captures Springhouse exploring a more acoustic, folk rock-indebted sound; still showing their trademark flair for dreamy melodic textures, the ever-Anglophile Springhouse can be heard embracing the late sixties influence of Nick Drake and The Beatles.

This is the very first time that it has ever been released on vinyl! This newly-expanded edition of From Now to OK also now comes with a bonus CD of previously unreleased demos and live recordings.

Preserved in a beautiful custom-cut Unipak-style gatefold LP jacket from master designer Bruce Licher, this is a brilliant Transparent Orange and Black Vinyl release.

The new CD addition has been remastered by Josh Bonati and also includes the second bonus disc of demos and rarities, packaged with a folding insert in an oversized CD pocket folder letterpress-printed by hand at Independent Project Press.

Side A:
1. Passion [2:46]
2. Moving Van [1:46]
3. Time Runs Out [3:11]
4. No More Yesterdays [3:51]
5. Grateful [4:51]
6. Pomegranate Tree [2:30]

Pulling the vinyl record from its plush, expertly crafted sleeve, putting it on the turntable, dropping the needle, we first get to hear the languishing folk beauty of Passion and the impassioned mid-tempo rocker Moving Van and they are backed by the gentle balladry of Time Runs Out, the psych-hued softness of No More Yesterdays, the airy Grateful and some amiable storytelling within Pomegranate Tree.

Side B:
7. Sea and Rain [4:21]
8. Never Impossible [3:23]
9. Mercedes Marxist [3:51]
10. Snapshot [2:57]
11. 10 Count [4:26]
12. Anew [3:21]

Flipping the vinyl LP over and we next get the fluttering rock of Sea and Rain and the acoustic guitar rummage of Never Impossible and they are in turn backed seamlessly by the strident indie rocker Mercedes Marxist, the melodic Snapshot, with the music rounding out on the low slung yearn of 10 Count, closing on the emotive Anew.

Bonus CD of Unreleased Demos & Rarities:
13. Passion (Instrumental) [2:49] 14. Time Runs Out (Instrumental) [3:15] 15. No More Yesterdays (Instrumental) [3:52 16. Sea and Rain (Instrumental) [4:21] 17. Mercedes Marxist (Instrumental) [3:41] 18. Snapshot (Instrumental) [2:58] 19. Passion (Demo) [2:50] 20. Sea and Rain (Demo) [4:16] 21. Rescue Work (Mercedes Marxist - Demo) [3:39] 22. No One Has to Know [2:34] 23. Open Your Eyes (Live) [3:16] 24. Passion (Live) [2:38] 25. Moving Van (Live) [1:40] 26. Enslave Me (Live) [3:13] 27. Alley Park (Live) [4:42].

Official Purchase Link

Springhouse @ Bandcamp

Springhouse @ Instagram

Some forty years after a fan letter from Nebraska resulted in Independent Project Records commencing a decades-long collaboration with post-punk cult favorites turned dream pop visionaries For Against, Piqued is the last album from For Against chief songwriter, lead singer, bass player and only constant member Jeffrey Runnings.

Piqued is a celebration of the artist’s lifelong quest for a sound that, stripped to the bones, is all the more powerful and cathartic for its restraint. Recorded by Runnings at home on an old 8-track cassette machine, the album plays just like a late ‘80s mixtape, lovingly compiled to showcase the beautiful emptiness of post-punk’s more eloquently quiet peaks.

The favorites of a life-time — from Section 25 to The Comsat Angels, from Young Marble Giants to early 4AD singles — are all conjured in Runnings’ final songs. Stark and deadpan on the surface, this is electric guitar music in its most human and vulnerable form.

Piqued is available on vinyl (Black or Transparent Magenta), Special Edition CD and digital, and comes with a 4-track EP of rare recordings from the late 80’s — two of them previously unreleased. This bonus EP comes on Clear Silver 12” for the color vinyl edition and as bonus tracks on the CD.

Side A:
1. Batman Forever
2. Just Before Nothing
3. Threadbare
4. Mayfair
5. Bloom
6. The Courage of Voluntary Trees

Pulling the vinyl record from its luxurious, and expertly crafted sleeve, putting it on the turntable, dropping the needle, this recording - which was finalized shortly before the artist passed away at 61 due to Stage 4 cancer - opens first with the veritably shimmering nuances shown guiding Batman Forever and then we get a joyful indie reverb that propels Just Before Nothing, the Cure-esque Threadbare, a haunting Mayfair, and both the free-flowing musical majesties of Bloom and the emotively cultured The Courage of Voluntary Trees.

Side B:
7. Heretofore
8. Failed Rescue Attempt
9. Glorious Grey
10. Value
11. Elegy

Flipping the vinyl LP over on this lovingly-crafted posthumous release and we next get the 90’s indie rocker sound of Heretofore and the spacial Failed Rescue Attempt, which are in turn followed by the all-embracing Glorious Grey, some jangling, synth-driven rock in the form of Value, the original album coming to a close on the effervescent nature of the luxuriant Elegy.

Bonus EP Track Listing:
1. Follow
2. Light of My Life
3. Watch
4. Demolition Blast

The bonus EP - with tracks recorded in the late 80’s by Jeffrey that he rediscovered the master tape for - opens on the quietly industrial feel of Follow and then we get the shimmering reverb of both instruments and vocals on Light of My Life, the melodically effective Watch, the rambunctious Demolition Blast closing things down.

Since the 1980s, Independent Project Records has released or co-released no less than five full-length albums and one 7” EP with For Against. Within the last decade, labels such as Captured Tracks and Saint Marie Records have released box set compilations featuring portions of the For Against catalog, with Saint Marie releasing Jeffrey’s first solo album, Primitives and Smalls, in 2016.

Official Purchase Link

Springhouse @ Bandcamp

Springhouse @ Instagram

Anthony Wilson has cultivated a diverse body of work shaped by long-standing collaborations with jazz greats like John Clayton, Diana Krall, and Charles Lloyd, as well as by the deep musical influence of his father, legendary bandleader Gerald Wilson.

With his nonet, Wilson crafts lush, harmonically sophisticated arrangements with a reverence for jazz and blues tradition, that balance intricate ensemble interplay while spotlighting his nuanced compositional voice and the expressive artistry of the elite improvisers that comprise his ensemble.

His brand new album is a wonderful double vinyl affair entitled House of the Singing Blossoms (released August 29th, 2025) and is a simply magnificent ensemble of both music and creators.

“I like to be surrounded by people whom I trust for their musicality, but who most of all make me feel inspired by their presence and energy.” - Anthony Wilson.

Side A:
1. Triple Chase [7:08] (Gerald Wilson)
2. In A Silent Way [6:04] (Joe Zawinul)
3. Walk Tall [7:21] (Joe Zawinul)

Recorded live at Sam First on March 21st & 22nd, 2025 and manufactured in the USA at Furnace Record Pressing in Alexandria, VA. pulling it from the lush packaging and putting the first vinyl on the record player, we are first gifted the progressively characterized, slowly harmonically Triple Chase (a track culled from his own father, the composer and bandleader Gerald Wilson), and then comes the transportive jazz fusion cut In A Silent Way and the simply divine, heartfelt, joyous and impassioned Walk Tall (both from one of the masters of the era, Joe Zawinul).

Side B:
4. Bordertown [7:24] (Bennie Wallace)
5. Because [3:32] (John Lennon & Paul McCartney)
6. House of the Singing Blossoms [11:11] (Anthony Wilson)

Flipping the lush vinyl LP over and we next get the Southern Americana-hued Bordertown, a track that richly exemplifies an atmospheric landscape to a tee and that is backed by the harmonically textured brilliance of the Beatles’ Because (which was itself inspired by the First movement of Beethoven’s Op. 27, No. 2 - Moonlight Sonata), rounding out on the opulent original title piece House of the Singing Blossoms.

Side C:
7. Blues For Wandering Angels [12:25] (Anthony Wilson)
8. Introduction & Yaqui Indian Folk Song [4:46] (Keith Jarrett)

Bringing the second vinyl out into the open, dropping the needle on it, up next is the twelve minute melodically layered, organically-imbibed Blues For Wandering Angels with the other track on this side being a sublime rendition of Keith Jarret’s effectively embracing Yaqui Indian Folk Song.

Side D:
9. Le Mistral [10:08] (Keith Jarrett)
10. Simple Song [11:30] (Ben Wendel)

The fourth, and final, side of this wondrous live experience opens on the pleasurably spirited Keith Jarrett track Le Mistral, a cut to this day still has me saying that he was the genius of modern jazz, and that is followed by an emotively strident version of Ben Wendel’s resplendent Simple Song.

Sam First Records is the in-house label for the Westside Los Angeles jazz club, Sam First. A product of the club owner Paul Solomon and musician/artistic director David Robaire, the label is keeping the spirit of jazz moving forward in the 21st century.

Recorded using Sam First’s state-of-the-art analog to digital recording setup, carefully mixed in-house and then mastered by Bernie Grundman. The music is then pressed onto two 180-gram vinyl LPs and packaged in poly-lined paper sleeves with protective lining.

Jacket is thick stock (24pt) gatefold displaying a full-bleed print of the vibrant cover photo taken by Sam First Records owner, Paul Solomon, as well as photos from the recording session by Brian Bixby. Edition of 1,000, each copy displaying its own unique foil-stamped number.

Musicians:
Anthony Wilson (guitar)
CJ Camerieri (trumpet & french horn)
Alan Ferber (trombone)
Nicole McCabe (alto saxophone)
Bob Reynolds (tenor saxophone)
Henry Solomon (baritone saxophone)
Gerald Clayton (piano)
Anna Butterss (acoustic bass)
Mark Ferber (drums)

Official Purchase Link

www.anthonywilsonmusic.com

After making his mark in the late 60s as one of Jamaica’s brightest young instrumentalists, playing drums and guitar on sessions for Studio One operator Coxson Dodd, Filberto ‘Fil’ Phil Calender worked on sessions for many of the island’s leading producers.

He also found time to form The In Crowd, which by the latter half of the 70s provided the primary outlet for his considerable talents as both a musician and songwriter.

In 1978, the septet’s album ‘His Majesty Is Coming’ broke the group in the UK, with the collection swiftly becoming a must-have purchase for all self-respecting British fans of roots reggae. Over the years that immediately followed, Calender and the In Crowd cut a succession of beautifully crafted singles, including ‘We Play Reggae’, ‘Back A Yard’, ‘Born In Ethiopia’, ‘Man From New Guinea’, ‘Marcus Garvey’s Back In Town’, ‘Baby My Love’, and ‘Getting Cozy’, with the popularity of these works prompting a best-selling follow-up LP, ‘Natural Rock ‘n’ Reggae’, released by Creole Records in the early 80s.

The album proved to be their final major work, with The In Crowd disbanding soon after, their break-up in part to Calender deciding to concentrate on gospel material.

Surprisingly, much of the band’s output, including the ‘Natural Rock ‘n’ Reggae’ album have remained unavailable since originally being released on vinyl - an oversight that has finally been remedied with this triple disc set which comprises the entirety of their work from 1977 to 1984.

Disc One:
1. Introducing Little Dread 2. Dedicated To Jah 3. Man From New Guinea 4. Rasta Man No Evil 5. Daughter Child 6. Reggae Groove 7. Love Dance 8. Give Us More Time 9. His Majesty Is Coming 10. Born In Ethiopia 11. Back A Yard 12. We Play Reggae 13. Milk And Honey 14. Power Of The Spirit 15. Slave Ship 16. Baby My Love 17. Getting Cozy

This effective new box-set opens on the smoothly grooved Introducing Little Dread, the blessed vibes of Dedicated To Jah, the rhythmic Man From New Guinea and the feelgood Man From New Guinea and then we get the jaunty bounce of Rasta Man No Evil, the smooth dread of Daughter Child, the pop-flow of Reggae Groove and then both the impassioned Love Dance and the soulful Give Us More Time.

Along next is the majestically natty sounds of His Majesty Is Coming, one of the best reggae tunes ever made Born In Ethiopia, the spiritually rich, Pan African Back A Yard and the gorgeous We Play Reggae, and they are in turn backed seamlessly by the effective Milk And Honey (a classic later redone by the Crown Prince of Reggae), the roots track Power Of The Spirit, the atmospheric Slave Ship, the impassioned Baby My Love, the first disc closing on the harmonically unmatched Getting Cozy.

Disc Two:
1. Beg You A Ten Cent 2. More Employment 3. Let’s Go To The Party 4. A Little Bit Of Reggae 5. You Facey Whitey 6. Riding High 7. Time Is Running Out 8. Marcus Garvey’s Back In Town 9. No Money 10. Island Music 11. It’s Late 12. Sweet Man 13. In My Arms 14. Jah Will See You Through 15. Lady That I Know 16. Gamesta

The second disc opens on the sweetness of Beg You A Ten Cent, the dulcetly toned More Employment and the beautiful reggae sway of Let’s Go To The Party and then we get the gently dup-step bounce of A Little Bit Of Reggae, the quietly strident You Facey Whitey, the vibing Riding High, with the solid tune Time Is Running Out and the melodious Marcus Garvey’s Back In Town along next.

Up next is the rhythmic beauty No Money, the soothing sounds of Island Music and the rootsy vibe of It’s Late and they are in turn neatly followed by the sheer coolness of Sweet Man, the ambient bliss of In My Arms and the simply wonderful Jah Will See You Through, the disc rounding out on the summery Lady That I Know and the full-on dub-hip bounce of Gamesta.

Disc Three:
1. Weep Little Girl 2. Life 3. Rub A Dub Time 4. Add A Little Light 5. Honey Bee 6. Distant Star, Distant Love 7. Would You Like To Be Loved 8. Shoot Up The Town THE INCROWD IN DUB: 9. His Majesty Is Coming (Part 2) 10. Ethiopia aka Born In Ethiopia Version 11. We Play Reggae Part 2 12. A Little Bit Of Reggae Part 2 13. Riding Version aka Riding High Version 14. Yard aka Back A Yard Version 15. Dub In Love aka Would You Like To Be Loved Version 16. Shoot Up The Town Version

The third, and final disc opens on the low slung Weep Little Girl, the emotive Life, the mid-tempo grooves of Rub A Dub Time and the masterpiece Add A Little Light, and then we lovingly get brought forth the soulful Honey Bee, the rhythmic roots of Distant Star, Distant Love, the mid-tempo, coolness personified of Would You Like To Be Loved and the punchy rhythms of Shoot Up The Town; with the final eight tracks being the brilliantly crafted The In Crowd In Dub mixes.

Official 3CD Box Set Purchase Link

Blues Hall of Fame vocalist Jimmy Witherspoon teamed up with guitar hero Robben Ford at Hollywood’s famed Troubadour in March of 1972.

This never-before-released radio broadcast performance features nine tracks, including three Witherspoon originals plus classic songs from Willie Dixon, Sonny Boy Williamson, and Lieber and Stoller.

This is one of the earliest recordings of Ford’s extraordinary career, starting back in 1970 with Charlie Musselwhite and Witherspoon before joining Tom Scott’s L.A. Express. He went on to shred with Steely Dan, Kiss, Yellowjackets, Miles Davis and lead on 25 of his own albums.

Blues vocalist Jimmy Witherspoon and blues guitarist Robben Ford are at the peak of their performing career during this 1972 recording, backed by a young but enthusiastic electric band that Witherspoon had recruited after hearing them open for him in a club the previous year.

With a fresh, young band in tow, one that was designed to capitalize upon the electric blues resurgence that had occurred in those years, Witherspoon delivers a set list that ran the gamut from his early hit single Ain’t Nobody’s Business to a stampeding cover of the Jerry Leiber-Mike Stoller composition Kansas City.

Witherspoon is in a playful mood, frequently speaking to the audience. The set is filled with several other of Witherspoon’s most popular numbers, including Past Forty Blues, My Babe and Spoonful.

1. Don’t Start Me Talkin’
2. Ain’t Nobody’s Business
3. My Babe
4. Spoonful
5. Past Forty Blues
6. Kansas City
7. Nothing’s Changed
8. Around The Clock
9. Goin’ Down Slow

This previously unreleased concert performance opens on the low-slung blues of the catchy Don’t Start Me Talkin’ and then take it down a few notches for the Gospel ballad Ain’t Nobody’s Business, the mid-tempo blues-rock of My Babe and Spoonful, where Robben really rips it up during his solo.

Along next is the vintage, low key yet emotive blues of Past Forty Blues which is in turn by the stridently rhythmic Kansas City, a smooth Nothing’s Changed (another cut where Robben is just playing his heart out), the set rounding out on the melodious Around The Clock, closing all-too-soon on the impassioned balladry of Goin’ Down Slow.

www.liberationhall.com

Immerse yourself in the sound world of Fifth Element, the new project from Jee & Bee. This album deftly fuses punchy rhythms with haunting melodies, offering a musical experience that is both innovative and captivating.

Each track is a bold exploration of emotions and sounds, reflecting the duo’s creativity and complicity. Fifth Element is not just an album, it is an invitation to a sensory journey where each note tells a story.

Released on Jean Pierre Llabador’s record label, Castle Records, this new collection is simply incredible and perfect for fans only now discovering the French guitar legend Bernard Margarit.

1 – Jumping Frog
2 – Ganesha Mantra
3 – SPZ Market
4 – Song For Mom
5 – Fifth Element

This richly-hued, and resoundingly ambient new 5-track, 20-minute mini-album is one that if you are a big fan of World Music, and in particular one served with a sumptuous serving of Indian heritage heart, than this is for sure the recording you have been missing from your 2025.

The first track is the joyful and sunshine-hued Jumping Frog and then come the Indian disco-beats that drive Ganesha Mantra (itself a tribute to the beloved elephant-headed Hindu god of wisdom, new beginnings and luck), the beautiful swirling ambiance of SPZ Market, the set rounding out on the atmospherically-charged, driven Song For Mom, coming to an all-too-soon close on the buoyantly sculpted title track Fifth Element

Musicians:
Bernard Magarit - Guitar
Joyeeta Sanyal - Sitar
Fred Martin - Keyboards, Programation, Recording & Mixing
Christophe Hénault - Mastering
Tania Margarit - Voices on Ganesha Mantra and Fifth Element

Official Purchase Link

Jee & Bee @ Facebook

New Hampshire–based guitarist, multi-instrumentalist, and composer Randy Armstrong earned critical acclaim for his 2017 album, The Conference of the Birds as well as his 2015 collaboration with Volker Nahrmann, Beyond Borders.

Now, in 2025 — after releasing several albums for Kitaro’s DOMO Records — Randy returns with what may be his finest solo work to date Echoes Of Tomorrow.

In contrast to the multi-faceted Conference Of The Birds, which featured numerous guest artists, Echoes of Tomorrow is very much a personal statement — a guitar lover’s dream.

Entirely instrumental, the album blends New Age, Jazz, World Fusion, Americana and Folk, with each track drawing seamlessly from all of these influences.

Echoes of Tomorrow offers heartfelt, restful and meditative music. In addition to mostly original compositions, the album includes two unexpected covers: Keith Jarrett’s “Memories Of Tomorrow” (1975) and a fresh interpretation of an excerpt from Finlandia, composed by Finnish classical icon Jean Sibelius in 1899.

This 11-track CD, LP and DL was released in 2025 on Randy’s own UMP Records (Unu Mondo Productions LLC).

1. Choosing Love
2. Courage
3. Gratitude
4. Forgiveness
5. Compassion
6. Together
7. Memories Of Tomorrow
8. Finlandia – Song Of Peace
9. Ode To Sibelius
10. Light Of Unity
11. Born In Appalachia

This personal statement of a guitar lover’s dream, one much akin to the likes of Pat Metheny, opens on the resplendent Choosing Love and the rhythmical drum-imbibed Courage and then we get the lushly smooth Gratitude, the quietly atmospheric Forgiveness and the dulcetly free-flowing Compassion.

Along next is the window leaning, summer’s breeze of Together which is itself followed in turn by the more pronounced fare of Memories Of Tomorrow, a dutifully embraced Finlandia – Song Of Peace, a stunningly melodious Ode To Sibelius, the set rounding out on the breezy Light Of Unity, closing on the elegantly structured Born In Appalachia.

While Randy Armstrong is often regarded as a global music ambassador — performing on guitars and diverse instruments from around the world — Echoes of Tomorrow takes a more direct, stripped-down approach. Without the sprawling concepts of his earlier albums, his lyrical guitar work shines with clarity.

Crisp melodies, intricate arrangements and emotional depth make this album a must-listen for both longtime fans and instrumental guitar enthusiasts.

Official Purchase Link

www.randyarmstrong.com

For those unaware, Zohar Amar Mokady is a musician, saxophonist, composer and arranger, and experienced music teacher/educator who recently graduated with honors from the new school university for jazz and contemporary music.

Indeed the NYC-based multi-instrumentalist (saxophone and piano) is not only fresh out into the world with his Bachelor’s and Master’s degrees but has just released his brand new 4-track EP entitled Zoheart.

Based in jazz, and yet reflective of a widespan of cultures and compositional travels, Zohar has brought forth a simply magnificent recording that fully deserves all the high praise and accolades that it has already received within the press.

1. All I Want
2. The Blind Man From Kookoorook
3. Alon Benjamini (feat. Ingrid Jensen)
4. Dream Piano (Bonus)

This absolutely beautiful, at times veritable transcendent new recording opens on the shimmeringly summer’s day, window leaning vocalized track All I Want and follows that up with the smooth jazz-centric delights of The Blind Man From Kookoorook, before we are gifted the flourishingly resplendent Alon Benjamini (featuring Canadian jazz trumpeter Ingrid Jensen), the EP closing all-too-soon on the stridently impassioned, short but sweet bonus track Dream Piano.

Official Spotify Purchase Link

For those not in the know, Omnivore Recordings has announced seven Françoise Hardy album reissues taken from the recently released Françoise Hardy Blues: Complete Vogue Recordings 1962-1967, a complete collection of all the recordings Hardy did for Vogue. Each album features exclusive bonus tracks on CD and special colored vinyl.

The albums from the Complete Vogue Recordings collection that will remain exclusive to the box set are the 3-LP Remix Album, Lost And Found – Rare Recordings 1961-1967, as well as the DVD which features more than 55 TV performances.

The set as a whole includes 217 newly remastered tracks, 106 of which are available for the first time since their original ’60s release date, 10 live tracks recorded at L’Olympia in Paris restored as well as a 24-page book featuring rare pictures, documents, and liner notes in English and French.

Françoise Hardy’s Vogue years have marked the history of French and international music. Even today, the five years between 1962–67 remain an exceptional moment in her career, the one when she exploded in the eyes of a generation that was born during or just after World War II, the generation that would be part of the May 1968 Paris protests.

Hardy exploded not only in France alongside her fellow “Yéyés,” but also internationally where she became the symbol of French elegance, talent and charm. From the United States, Japan, United Kingdom, Germany, Italy, and Spain, no one could resist Françoise. She recorded most of her hits in English, Italian, and German.

Tous Les Garçons Et Les Filles (1962)
1. Tous Les Garçons Et Les Filles 2. Ça A Raté 3. La Fille Avec Toi 4. Oh Oh Chéri 5. Le Temps De L’amour 6. Il Est Tout Pour Moi 7. On Se Plaît 8. Ton Meilleur Ami 9. J’ai Jeté Mon Coeur 10. Il Est Parti Un Jour 11. Je Suis D’accord 12. C’est `A L’amour Auquel Je Pense 13. Ça A Raté (Live in Paris 2/3/1963) [Bonus Track] 14. J’ai Jeté Mon Coeur (Live in Paris 2/3/1963) [Bonus Track] 15. J’suis D’accord (Live in Paris 2/3/1963) [Bonus Track] 16. Ton Meilleur Ami (Live in Paris 2/3/1963) [Bonus Track] 17. Présentation Des Musiciens (Live in Paris 2/3/1963) [Bonus Track] 18. Le Temps De L’amour (Live in Paris 2/3/1963) [Bonus Track]

Hardy exploded not only in France alongside her fellow “Yéyés,” but also internationally, where she became the symbol of French elegance, talent and charm. The United States, Japan, United Kingdom, Germany, Italy, Spain—no one could resist Françoise, who recorded most of her hits in English, Italian, and German.

Tous Les Garçons Et Les Filles is an album that combines elements of rockabilly, folk, jazz and blues. Although the album followed the formula of the yé-yé movement—characterized by attractive teenage girls singing innocent pop songs about adolescence—Hardy set herself apart from her peers by writing most of her own material.

For me, Tous les garçons et les filles is the most charming of debuts from the iconic Françoise Hardy, launching her domination of the 1960’s French music scene. Like many of her releases, the album was released with no official title and has since come to be referred to by the title of its most popular song.

I cannot help but find it amusing that Hardy did not name most of her albums and just lets her listeners scramble to describe which of her albums they are referring to. While her debut certainly leans more heavily into mainstream pop sounds of the 1960’s, the vibes of this album are simply impeccable.

That being said, while not a black sheep of the French pop scene, Hardy noticeably distances herself from the oftentimes male-gazey image of other female pop artists of her time.

Unlike most of her peers, Hardy wrote most of her own material, allowing for a distinctly feminine perspective on topics that could have otherwise been used to twist her into nothing more than a kitchy girl singing about wanting to be with an older man.

While her music is primarily concerned with love, it is devoid of an older, male influence, giving her discography a more lasting and timeless feel.

While nothing remarkably groundbreaking, the simplicity of the album’s production is impressive; every aspect, from the subtle jazz influences to the minimalist rockabilly motifs, elevates this album above the rest of the more bombastic pop scene. The opening and now title track, “Tous les garçons et les filles,” is now one of the most iconic French songs, embodying everything great about France’s yé-yé era.

Le Premier Bonheur Du Jour (1963)
1. Le Premier Bonheur Du Jour 2. Va Pas Prendre Un Tambour 3. Saurai-je? 4. Toi Je Ne T’oublierai Pas 5. Avant De T’en Aller 6. Comme Tant D’autres 7. J’aurais Voulu 8. Nous Tous 9. L’amour D’un Garçon 10. Le Sais-tu? 11. L’amour Ne Dure Pas Toujours 12. On Dit De Lui 13. L’amour S’en Va [Bonus Track] 14. Je Pense À Lui [Bonus Track] 15. Qui Aime T-il Vraiment [Bonus Track] 16. Bien Longtemps [Bonus Track] 17. Le Temps De L’amour (Alternate Version) [Bonus Track]

On Hardy’s second album she teams with Marcel Hendrix as arranger and producer resulting in an album with a broader and more international feel. While a number of the songs here were composed by outside songwriters, Françoise shows here great songwriting ability on the majority of the album’s songs.

Le premier bonheur du jour has become my personal soundtrack for road trips through the countryside, a laidback warm summer evening, or just takes a seat as a companion when needed. The album is filled with joyous melodies and ballads, just listen to the instrumental on “L’amour ne dure pas toujours” or the ‘wop doo wops’ on “On dit de lui” and try to resist its charm.

Practically every song has its own individual elegance and delicate allure, things start off at an absolute peak in the title track and the experience remains charming and enthralling all the way through to its conclusion in “On dit de lui”. Bob Dylan wrote her love letters after seeing her perform live during this era of her career ... and I don’t blame him.

Mon Amie La Rose (1965)
1. Je Veux Qu’il Revienne 2. Tu N’as Qu’un Mot À Dire 3. Tu Ne Dis Rien 4. Et Même… 5. Pourtant Tu M’aimes 6. Pars 7. Je N’attends Plus Personne 8. La Nuit Est Sur La Ville 9. Pas Gentille 10. Dans Le Monde Entier 11. Nous Étions Amies 12. Mon Amie La Rose 13. Jaloux 14. On Se Quitte Toujours [Bonus Track] 15. C’est La Première Fois [Bonus Track] 16. Et Même… (Single Version) [Bonus Track] 17. Tout Me Ramène À Toi [Bonus Track] 18. C’est Le Passé [Bonus Track] 19. Apprends-le Moi [Bonus Track] 20. La Nuit Est Sur La Ville (Live Paris 8/1/1965) [Bonus Track] 21. Mon Amie La Rose (Live Paris 10/12/1965) [Bonus Track] 22. Dans Le Monde Entier (Live Paris 8/1/1965)

Working with arranger Charles Blackwell, a former protégé of Joe Meek, Françiose wrote the majority of the album’s songs herself. This edition also includes ten bonus tracks, among them three live recordings.

This is one of the best pre-1965 records I have ever heard and comfortably stands alongside the vanguard of what was being produced at the time, especially in the pop sphere. This was made in a world before Rubber Soul, Pet Sounds, and The Velvet Underground, and yet it somehow echoes the innovations that were yet to come. It is tastefully experimental, and in this experimenting, it nailed the direction that popular music would take in the next decade. I listened to tracks such as the opening “Je veux qu’il revienne” with my jaw on the floor. It is quite simply not how music sounded in 1964. I can’t even explain what is happening with the bassline and the percussion -- just so unusual. Another moment that had me nearly on the floor is the electric guitar in “Je n’attends plus personne”. It is easily 5 years ahead of its time. And 5 years in music in 60’s is like a lifetime.

Her career spanned five decades, releasing over 30 studio albums, but here Hardy’s singing is unique and timeless. She effortlessly carries the record and displays a nice variety throughout while keeping her authenticity. “La nuit est sur la ville” is a real highlight, but really she never falters, with charismatic performances from start to finish.

L’amitié (1963)
1. Ce Petit Coeur 2. Il Se Fait Tard 3. Tout Ce Qu’on Dit 4. Tout Ce Qu’on Dit 5. En T’attendant 6. Je T’aime 7. Non Ce N’est Pas Un Rêve 8. Quel Mal Y A-t-il À Ça? 9. Tu Peux Bien 10. Le Temps Des Souvenirs 11. Je Pensais 12. Dis-lui non 13. Tu Es Venu À Moi [Bonus Track] 14. Son Amour S’est Endormi [Bonus Track] 15. J’ai Bien Du Chagrin [Bonus Track] 16. Tu Ne M’attendras Pas [Bonus Track] 17. Bout De Lune [Bonus Track] 18. L’amitié (Live at l’Olympia 31 October 1965) [Bonus Track]

Working with arranger Charles Blackwell, a former protégé of Joe Meek, Françiose and producer Jacques Wolfsohn Françoise writing and status continued to grow with this, her fifth studio album. Now including 6 non-album bonus tracks, including “L’amitié” recorded live in Paris.

Most of the songs teetered on either side of the two-minute mark – the longest being the three-minute Blackwell-penned “Non Ce N’est Pas Un Rêve,” a Spector-like melodrama that Samantha Jones had recorded as “Don’t Come Any Closer.” Elsewhere, fuzzy guitar, probably played by a young Jimmy Page, turned “Tout Ce Qu’on Dit” into a Four Seasons-ish rocker, while “Je T’Aime” nodded to the early English beat sound.

Soft ballads, like the introspective “Je Pensais” and airy “Il Se Fait Tard” rested perfectly alongside the passionate doo-wop of “Dis Lui Non” and folkish title track. It was an absolute masterpiece from beginning to end and now that all the tracks have been fully remastered, new bonus cuts galore added, well, this is an amazing musical experience.

La Maison Ou J’ai Grandi (1966)
1. Je Dhangerais D’avis 2. Si C’est Ça 3. Rendez-vous D’automne 4. Je Serai Là Pour Toi 5. Peut-être Que Je T’aime 6. Il Est Des Choses 7. Comme 8. Mes Jours S’en Vont 9. Qu’ils Sont Heureux 10. Surtout Ne Vous Retournez Pas 11. Tu Es Un Peu À Moi 12. La Maison Où J’ai Grandi 13. Tu Verras [Bonus Track] 14. Je Ne Suis Là Pour Personne [Bonus Track] 15. Laisse-le Moi [Bonus Track] 16. Si C’est Ça (EP Version) [Bonus Track] 17. Les Petits Garçons [Bonus Track] 18. Au Fond Du Rêve Doré [Bonus Track] 19. Si C’est Ça (Live at l’Olympia 28 January 1967) [Bonus Track]

In typical fashion of Françoise in the 60’s - an excellent interpreter of the orchestral heavy songs of the day - here we find 5 of the 12 tracks (from the original tracklisting) inclusive of as other songwriters including Ennio Morricone on the opener Je changerais d’avis based on his track, Se Telefonando and such.

The remaining original 7 tracks are self-penned and include the more restrained yet no less stirring Si C’Est Ça and Tu Es Un Peu À Moi, both of which, and much like the entire album, are a perfect rainy day accompaniment.

Hardy’s strength at the microphone never gets misplaced, and her songs, especially the back-to-back Je serai là pour toi and Peut-être que je t’aime, are total gems. The dips into rock ‘n’ roll, girl group, and soul action are absent but not really missed as La maison où j’ai grandi culminates a particularly fertile stretch of creativity.

This reissue includes 7 non-album bonus tracks, including “Si C’est Ça” recorded live in Paris.

Albums / Release Dates:
September 12th, 2025
Tous Les Garçons Et Les Filles [CD / Opaque Yellow LP]
Le Premier Bonheur Du Jour [CD / Opaque Red LP]
Mon Amie La Rose [CD / Opaque Orange 2-LP]

October 17th, 2025
L’amitié [CD / Opaque Blue LP]
La Maison Où J’ai Grandi [CD / Opaque Brown LP]

December 12:
In Deutschland [CD / Opaque Ivory LP]
Canta Per Voi In Italiano [CD / Opaque Green 2-LP]

Official Omnivore presents Françiose Hardy on colored Vinyl and CD Video

Official Françoise Hardy Albums Purchase Page

The Smashing Pumpkins have just released the long-awaited reissue and reformation of their 2000 masterpiece, Machina/The Machines of God, and its companion album, Machina II/The Friends & Enemies of Modern Music.

This reimagined project, featuring extensive remixing and remastering, is available in multiple formats now via UMe and through Madame Zuzu’s Tea Shop.

Billy Corgan’s Madame Zuzu’s tea shop in Highland Park, IL is exclusively offering an expansive 80-song vinyl box set featuring a 48-track MACHINA plus an additional 32 bonus tracks of demos, outtakes, and live performances, marking the first time these two records will officially be united. This vinyl box set is the only format available to listen to all 80 songs in its entirety.

Additionally, the rock band has released a 16-song reissue of the original Machina/The Machines of God vinyl. UMe will also be releasing various 25th-anniversary remastered formats of Machina/The Machines of God, including a black 180g 2LP vinyl reissue; a 180g limited-edition color 2LP in corona red/black, as well as CD and digital formats, which are all available now.

“It’s taken some 25 years to finally release MACHINA as we in the band had hoped it would be, and with MadameZuzus.com as the only place one can get this expansive, 80-song collection, I personally could not be more proud,” said Corgan “MACHINA was meant as our swan song, and it was truly a labor of love to bring it to fruition, however broken we were back then. But with the band about to embark on a global tour in 2025, as well as my solo tour with The Machines of God, this set stands as a celebration and testament of will, for the songs alone have helped James, Jimmy, and I keep the faith.”

In truth, I feel like this album gets hated on quite a bit, and very unfairly. I men, sure, it does have its share of lesser-than-great songs, but I never found it as bad an album as the noise has claimed it to be over the years.

Overall it is a very solid recording overall. The production is truly excellent and sure, lyrically it has some of Corgan’s worst tendencies to overwrite pretentious, rambling nonsense, but it you give it a few listens, give it time to all sink in, shut out the critical noise, there are wonderfully melodic songs here.

From the beautiful shimmering chorus on The Everlasting Gaze, to the futuristic groove of Raindrops and Sunshowers, going into what is in my opinion one of the most romantic songs ever written Stand Inside Your Love, to the lonely sadness of I of the Mourning, to the quiet serenity of The Sacred and Profane, then into the heartbreak of Try, Try, Try, followed by the distorted and robotic Heavy Metal Machine (friggin awesome riff), to watching everything fall apart on This Time, leading into to the crunch of the Imploding Voice, heading into the prog rock of Glass and the Ghost Children (Jimmy killing it here), then going into the apocalyptic vision of Wound, then into the weirdly menacing Crying Tree of Mercury, followed by the gorgeously hopeful With Every Light, back into another apocalyptic landscape with Blue Skies Bring Tears, and then ending the youthful perseverance of Age of Innocence, Billy was going for something as big as Mellon Collie and even though his vision wasn’t completely realized, what we got was something incredibly special.

And now having listened to it all via an advance copy of the 180g limited-edition color 2LP in corona red/black (which is itself a sight to behold on the turntable), Machina and Shiny and Oh So Bright, Vol. 1 have always seemed like siblings to me. One day I will figure out a way to blend those albums together. The guitar sound is really similar, but that aside, and for me, With Every Light and This Time are the hidden gems on this brilliant album.

Side A:
1. The Everlasting Gaze
2. Raindrops + Sunshowers
3. Stand Inside Your Love
4. I Of The Mourning

Side B:
1. The Sacred And Profane
2. Try, Try, Try
3. Heavy Metal Machine
4. This Time
5. The Imploding Voice

Side C:
1. Glass And The Ghost Children
2. Wound
3. The Crying Tree Of Mercury

Side D:
1. Speed Kills
2. Age Of Innocence
3. With Every Light
4. Blue Skies Bring Tears

www.madamezuzus.com

Official Purchase Links

The Smashing Pumpkins @ Facebook

For those unaware, Margherita Fava, is a pianist, composer, arranger, bandleader, and educator based in Knoxville, Tenn.

She was born into a family of classical musicians in the small village of Follina in northeast Italy. Her parents are baroque specialists, her father a violinist and her mother a cellist and singer.

Fava started piano lessons at 10, picked up the electric bass as a teenager, and at 17 enrolled in a summer jazz program in nearby Venice sponsored by The New School from New York. One day she learned by ear Miles Davis’ solo on “So What” from Kind of Blue. It changed her life. “It was the most exciting thing that has ever happened to me!” she says.

A scholarship to Michigan State brought Fava to East Lansing, where she studied piano with Xavier Davis and came into the orbit of the charismatic bassist Rodney Whitaker. After graduating with a degree in jazz studies, she earned a master’s degree in music at the University of Tennessee, studying piano with Eric Reed and composition with Greg Tardy.

She currently collaborates with the Knoxville Jazz Orchestra on various projects like the concert series “NXT GEN” and the Knoxville Jazz Workshop.

In August 2022 she released her first EP of original music entitled “Okra/Search of the Unknown”, then in March 10th 2023 her debut album “TATATU” was released (featuring Gregory Tardy, Michael Reed and Javier Enrique), and now she brings us her sophomore album Murrina, releasing October 3rd, 2025.

1. No Clue
2. Keep On (feat. Bob Reynolds)
3. Intermezzo, Op. 117, No. 2
4. Murrina
5. Satin Doll
6. Yarn
7. Murrina Reprise
8. Foreshadow
9. Alter Ego (feat. Taber Gable, Jeff Babko)

This beautifully sculpted work of musical art opens on the dulcetly tuned No Clue and then brings us the spirited fervor of Keep On (featuring Bob Reynolds), the beautifully sculpted Intermezzo, Op. 117, No. 2, and then we are graced with the quietly fervent stature of the title track Murrina.

Along next is the free-flowing Satin Doll which is itself backed seamlessly by the more cultured Yarn, the statically-charged, lower registered reprise of the title track, the music rounding out on the late-night elegance of Foreshadow, closing on the funky keyboard work of Jeff Babko and additional piano work from Taber Gable that synth-tastically propels Alter Ego at every delicious turn.

While Randy Armstrong is often regarded as a global music ambassador — performing on guitars and diverse instruments from around the world — Echoes of Tomorrow takes a more direct, stripped-down approach. Without the sprawling concepts of his earlier albums, his lyrical guitar work shines with clarity.

Musicians:
Margherita Fava: piano, compositions, arrangements
Brandon Rose: upright and electric bass
Jonathan Barber: drums
Bob Reynolds: tenor saxophone
Taber Gable: synths
Jef Babko: synths and editing

Official Purchase Link

www.margheritafava.com

For those unaware, Mark Miller is a versatile trombonist, composer, and arranger who has a passion for big band and Latin jazz. Cutting his musical teeth in Wisconsin and Minnesota, Mark began his recording career as a member of the collective jazz composers’ sextet, Motion Poets. They recorded three albums, which garnered critical acclaim.

Soon after, Mark relocated to NYC and made his way there playing creative jazz and performing with many Latin bands. These experiences fostered in him a deep love for Nuyorican salsa.

Mark also developed his career playing Broadway shows. In 2002 he hit the road for a few years of back-to-back tours with “Swing” and the Billy Joel - Twyla Tharp rock ballet, “Movin Out.” Highlight: jamming with Billy to sold-out theatres. Mark also was a featured soloist in the Broadway show “Come Fly Away,” playing the music of Frank Sinatra, for its six-month NYC run and portions of the US tour.

Even while touring, Mark made time to record. “The Return Of Slide Huxtable” was with his Minneapolis quartet. He was also a backing artist on Nicki Denner’s “El Medico De Coqui;” Darren Holden’s “Road Works;” and Trek’s “From the Ivory Tower.” Sometimes these recording sessions happened on the road in the makeshift studio of a hotel room.

Home from the road, Mark returned to playing creative music with several projects. He joined Paul Carlon’s Octet and recorded their Strayhorn tribute, “La Rumba Is A Lovesome Thing,” in 2013. He also joined the big band of Pedro Giraudo and recorded “Cuentos” in 2015. Pedro would later win the 2018 Latin Grammy for Best Tango Album. Mark played and arranged two songs on the 2016 Latin Grammy - nominated “Between Brothers” by Raul Agraz.

Last year Mark also appeared on the Jonas Brothers’ “The Album” with iconic rock saxophonist Richie Cannata. Other notable artists Mark has performed with include Jennifer Hudson, Josh Groban, Idina Menzel, Southside Johnny, Michael Feinstein, Jon Batiste, Cy Coleman, Frank Sinatra Jr, Tito Puente Jr, Lorna Luft, Lucille Arnaz, and amongst other both Gloria Gaynor and Groove Collective.

Mark’s artistic focus for the last dozen years has been playing lead trombone and writing for the Birdland Big Band. 2018’s “Birdland Big Band Live” album features three of Mark’s charts.

The band’s new studio album, releasing August 29th,2 05 is entitled “Storybook: The Music of Mark Miller” and is his biggest project to date and which has also taken years to come to fruition. The ten tracks on the CD include five original pieces and five of Mark’s arrangements. Three songs also features vocalist Nicole Zuraitis, the 2023 winner for Best Vocal Jazz Album.

1. Storybook (feat. Brandon Lee, Kenny Ascher & Nathan Childers) [6:46]
2. Water Lily (feat. Troy Roberts & Kenny Ascher) [6:54]
3. Tenderly (feat. Nicole Zuraitis & Sam Dillon) [4:15]
4. Chorale And Alleluia (feat. Troy Roberts & Kenny Ascher) [7:39]
5. Sail Away (feat. David DeJesus & Glenn Drewes) [5:58]
6. WTF (feat. David DeJesus, Sam Dillon, Chris Smith, James Burton III & Sara Jacovino) [8:03]
7. Close Your Eyes (feat. Nicole Zuraitis, Kenny Ascher & James Borowski) [5:19]
8. Concierto De Aranjuez [1:51]
9. Spain (feat. Brandon Lee, Nathan Childers & Chris Smith) [7:30]
10. The Doubledown (feat Jason Marshall, Ron Wilkins, Noriko Ueda & Mark Miller) [7:26]
11. Nonsense (feat. Nicole Zuraitis & Ron Wilkins) [5:08]

Having performed in 48 states and 18 countries on five continents, and having toured with the likes of Diana Ross and Blood, Sweat & Tears, Mark opens on the luxuriant Storybook (featuring Brandon Lee, Kenny Ascher & Nathan Childers) and the flourishing Water Lily (featuring Troy Roberts & Kenny Ascher) and then brings us the lushly sculpted Tenderly (featuring Nicole Zuraitis & Sam Dillon) and then come both the veritably cinematic Chorale And Alleluia (featuring Troy Roberts & Kenny Ascher) and the sweeping Sail Away (feat David DeJesus & Glenn Drewes).

Along next is the spirited SWTF (feat David DeJesus, Sam Dillon, Chris Smith, James Burton III & Sara Jacovino) and the low slung Close Your Eyes (featuring Nicole Zuraitis, Kenny Ascher & James Borowski) and they are in turn backed by the drum-led Concierto De Aranjuez, the forthright beauty of Spain (featuring Brandon Lee, Nathan Childers & Chris Smith), the buoyant The Doubledown (featuring Jason Marshall, Ron Wilkins, Noriko Ueda & Mark Miller), closing on the rhythmically melodic Nonsense (featuring Nicole Zuraitis & Ron Wilkins).

Musicians:
Musical Director: David DeJesus
Vocalist: Nicole Zuraitis
Alto saxes: Nathan Childers, David DeJesus
Tenor saxes: Troy Roberts, Sam Dillon
Bari Sax: Jason Marshall
Flutes: David DeJesus, Sam Dillon, Nathan Childers
Trumpets: Raul Agraz, John Walsh, Brandon Lee, Glenn Drewes, Max Darché
Trombones: Mark Miller, James Burton III, Ron Wilkins, Sara Jacovino, James Borowski (bass)
Piano: Kenny Ascher, Adam Birnbaum
Bass: Noriko Ueda
Drums: Chris Smith

Official Purchase Link

www.birdbigband.com

For those unaware, The Litteral Truth is a vibrant fusion of jazz, funk, and rock that showcases Paul Litteral’s one-of-a-kind sound and vision.

This record is more than just a collection of songs. It’s a bold reimagining of classic covers, featuring new arrangements straight from the mind of Paul Litteral — a trumpet player known for his soulful tone, inventive phrasing, and genre-blending creativity.

You’ll hear fresh takes on tracks by Steely Dan, Edgar Winter, and a few surprises from lesser-known artists who deserve the spotlight. All delivered with Paul’s signature jazz soloing style and backed by a powerhouse band of musicians.

1. Home At Last
2. Give It Everything You’ve Got
3. Black Cow
4. Ghostown
5. Do It Again
6. New York, By Dreams
7. Use Me
8. Dying To Live
9. Virtual Insanity
10. Follow Me

On what is a funky, smart, and full of attitude jazz album, Paul opens this delightful musical experience on the beautifully smooth Home At Last and the spirited Give It Everything You’ve Got and then we get the summer breeze of Black Cow, an extremely intriguing rendition of The Specials’ Ghostown and a resplendent Do It Again.

Along next is the upbeat and propellant New York, By Dreams and that is backed by the soulful funk of Use Me, the all-embracing Dying To Live, the set rounding out on a simply brilliant cover of Jamiroquai’s Virtual Insanity, closing on the stillness of the elegant Follow Me.

Musicians:
Paul Litteral – Trumpet
Tony Pia – Drums
Ken Rosser - Guitar
Bill Bodine – Bass
Sam Morgan – Sax
Kyle Zimmerman – Alto Sax
Shante Palmer – Trombone
Rocky Davis – Keys
Craig Kupka – Trombone
Colin Kupka – Sax

Official Purchase Link

www.birdbigband.com

For those unaware, today, prolific New York City-based trumpeter/multi-instrumentalist and orchestrater MAC GOLLEHON presents Pistoleros, the newest album from his ever-morphing entourage, MAC GOLLEHON & THE HISPANIC MECHANICS. The record is now streaming everywhere alongside a theatrical trailer featuring actor Vincent Pastore.

MAC GOLLEHON & THE HISPANIC MECHANICS’ Pistoleros boldly challenges traditional genre boundaries, asserting itself as a seminal work in the evolution of modern world fusion. This innovative album simultaneously coalesces and invokes facets of beauty, terror, love, and madness, inviting listeners to explore new musical territories.

Eight original songs encompass a spirited reconstructed influence of Latin Caribbean grooves, intricate layers of cinematic jazz, broad strokes of progressive and electronica. This lamination of genres is a futuristic dialogue between traditional and contemporary, representing World music as a living and breathing entity.

Pistoleros was composed and written by MAC GOLLEHON who performs a wide array of trumpet, trombone, tuba, keys, guitar, and vocal deliveries across the album. He’s joined by percussionists Anthony Carrillo – known for his work with Batacumbele, Eddie Palmieri, Hilton Ruiz, Yambawa, Giovanni Hidalgo, Gonzalo Rubalcaba, Harry Belafonte, Paul Simon, and many more – and Cuban ballet/dance and percussion master Elvis Ferrara, with additional drums and bass provided by Greg Meisenberg (A Fucking Elephant, Dead Register), and synth/noise/efx from David Brenner (Gridfailure, Diminishing).

The album was recorded and mixed by David Maurice (Jay-Z, Psychedelic Furs, 007: Quantum Of Solace), who also co-composed “Sign It,” and completed with photos and video Modern Day Auteur.

1. Pistoleros
2. Stud Poker
3. Sign It
4. MAC Attack
5. Vinny “Bay Parkway Snake”
6. Killer Joe “Zillionario”
7. Atiba “SideEye” Powers
8. Stacked Deck

World renowned trumpet assassin Mac Gollehon opens this brilliant new recording on the funk-driven, electronically pulsating title track Pistoleros and then we get the transportive Stud Poker, the effortlessly spacial Sign It and the electronica hipsway of MAC Attack.

Along next is the veritably cinematic in scope Vinny “Bay Parkway Snake” which is itself backed seamlessly by the emotively-charged Killer Joe “Zillionario,” the set rounding out on the effectively staggered Atiba “SideEye” Powers, closing on the jagged freneticism of Stacked Deck.

In the filmic trailer, we see “Mac Attack,” played by GOLLEHON, recklessly betting his entire career and record contract on a hand of Blackjack with a ruthless mob boss and cast of underworld characters, each of whom has a signature theme song on the album. The boss, Vinny the “Bay Parkway Snake,” is played by Vincent Pastore – best known as Salvatore "Big Pussy" Bonpensiero in HBO’s The Sopranos, as well as films including Gotti, Shark Tale, Goodfellas, Carlito’s Way, Money Train, Mickey Blue Eyes, and many others. Jazz club owner Atiba Powers appears as Atiba “Side Eye” Powers. “Killer Joe Zillionario” is played by Joe Ferraro, a character actor and New York Blues Hall of Fame frontman of the Killer Joe Band.

Official Purchase Links

Mac Gollehon & The Hispanic Mechanics - PISTOLEROS (Theatrical Trailer)

For those unaware, Lily Vakili is aa lifelong observer, chronicler, and creative force, who has spent decades gathering fragments of the world – memories, landscapes, voices, losses, joys – and transforming them into urgent, electric songs.

It was on her most recent solo tour, while driving through the continental US with one of her brothers (a former submariner) as roadie, that Vakili found the inspiration for what would ultimately become a new album and a new era for her artistry, signaled by a return to using her own name, Lily Vakili (rather than Vakili Band), for her musical explorations.

On her new album , Vakili offers her most intimate, collaborative, and expansive work yet: A collection shaped by lived experience, artistic risk, and restless curiosity. It’s music born not of image or pretense, but of will – a record that embraces improvisation, vulnerability, and the raw pleasure of creation.

The album’s title is both literal and metaphorical – a nod to the prehistoric inland sea that once covered the Great Plains, and to Vakili’s own understanding of life as layered, shifting, and filled with fossils of memory.

An overnight stop on tour led Vakili to the Sternberg Museum of Natural History in Hays, Kansas. Standing before the spectacular remnants of that ancient ocean, Vakili felt the weight and wonder of time collapse: “I understood something,” she reflects. “that I am the archivist, the archaeologist, of my own life.”

The album draws on that revelation, honoring what’s been unearthed, what’s been lost, and what’s still surfacing. As Vakili puts it, “Everything is fleeting, everything is here.”

1. Okoboji
2. Hold On They Say
3. I’ve Been Hiding
4. Maybe It’s All Over
5. Photograph
6. One Human Being
7. April Fools
8. Rocket
9. Tannersville
10. I’ve Been Hiding (Radio Edit)

On what is a brilliant cultivated, seamlessly crafted new recording, Lily opens on the rhythmically melodic Okoboji and then we get the easy going, summers breeze of Hold On They Say, the gentler, bluesy grit of I’ve Been Hiding, the veritably translucent Maybe It’s All Over and then we get brought forth the low slung, Americana-hued Photograph.
Along next are the all-embracing rhythms that flow within One Human Being which is itself backed by the atmospherically airy April Fools, the gorgeously Americana-Folk imbibed Rocket, the set rounding out on the guitar-fed rocker Tannersville, closing on a radio edit of I’ve Been Hiding.

Okoboji (Official Audio Video)

Lily Vakili @ Facebook

For those unaware, Toronto-born saxophonist Pete Mills delivers a soulful, high-energy session with For The Record, his latest release and a love letter to the timeless sound of the tenor saxophone and Hammond B3 organ quartet.

With deep roots now planted in the Midwest, Mills draws from the rich legacy of Columbus, Ohio—a city long known for its hard-swinging tenor/B3 traditions. This new album channels that energy, and history, following in the footsteps of legendary pairings like Stanley Turrentine and Jimmy Smith or Rusty Bryant and Hank Marr and is Mills’ second fore into the classic B3/tenor pairing, having recorded the acclaimed Fresh Spin (Chicken Coup/Summit) with B3 virtuoso Tony Monaco. Pete’s discography also includes releases on Cellar Live (Sweet Shadow) and Summit, (Art and Architecture).

For The Record features a working band of nearly ten years: Jon Eshelman on Hammond B3, Tom Davis on guitar, and Zach Compston on drums. Each not only contributes their individual artistry, but also brings original compositions to the album, resulting in a project that’s cohesive, soulful, and brimming with personality. The chemistry among the group is unmistakable, cultivated over years of live performances and shared musical language.

1. For The Record
2. The Kid
3. Bird Lives
4. Kenny, Ken
5. Z Is For Zadie
6. Jammy Git
7. The Visitor
8. Step On It
9. Baby Simon

The native Canadian opens his scintillating new recording on the gently sinuous title track For The Record and then we get the fluent The Kid the spirited Bird Lives and the nifty Kenny, Ken.

Along next is the luxuriant Z is for Zadie which is in turn backed seamlessly by the playfully perky Jammy Git, the languishingly elegant The Visitor, the set rounding out on the rambunctiously rhythmic Step On It, closing on a low slung radio edit of Baby Simon.

Pete Mills - For The Record [Official Musical Sneak Speak] Official Website

Pete Mills @ Facebook

For those unaware, Meredith Moon announces the release of her new studio album From Here To The Sea. Moon’s third album, and first for Compass Records, finds the Canadian-born songwriter and instrumentalist taking a slight detour from the Appalachian old-time roots of the album’s predecessor, Constellations.

Produced and recorded in Ontario and Nashville by Colin Linden (Lucinda Williams, T-Bone Burnett, Bruce Cockburn) and featuring Rebecca Lovell (Larkin Poe), Lillie Mae Rische & Dominic Davis (Jack White), Julian Taylor, George Receli (Bob Dylan), and Jerry Douglas, among others, the album explores avenues of blues, folk, and folk-rock, and even incorporates elements of old-time jazz.

1. East City Blues
2. Poseidon
3. No Closing Time
4. Lulu Gal
5. Six Strings
6. Category Five
7. Sapphire Blue
8. Louisiana Trees
9. The Willow
10. I’ll Remember You In The Summer
11. Freight Train

With Moon having been described as a ‘gem’ in both the old-time and contemporary folk music scenes for her unusual expression of the genres, she opens her stunningly ambient new recording on the atmospherically charged modern day folk/blues of East City Blues and the impassioned smoothness of Poseidon, the gently rolled No Closing Time, the traditional, banjo-fueled Lulu Gal, before the luxuriant Six Strings is brought forth.

Along next is the lushly comfortable feel to Category Five which is itself backed by the acoustic-based grooves that drive Sapphire Blue, the languishing beauty of Louisiana Trees and the heartfelt The Willow, the set rounding out on the hauntingly resilient I’ll Remember You In The Summer, closing on the gentle sundown twang of Freight Train

Meredith Moon - East City Blues (Official Audio) Official Purchase Link

Official Website

Meredith Moon @ Facebook

For those unaware, Robbie Fulks is a fiercely independent voice in American music, blending the raw spirit of punk with the storytelling tradition of country and Americana.

Variety Magazine calls him one of the best singer-songwriters in American roots music over the last 25 years — and “one of the best writers in America, period.”

On his new release, Now Then, Fulks offers an introspective look at his life’s journey, from his Appalachian upbringing through the experiences that brought him to Los Angeles, where he has lived since 2018. Fulks said: “These songs came out of my feelings about the specific environment of Los Angeles and, more generally, the outlook of older age. I moved to L.A. when I was fifty-five and soon fell in with new musicians and friends. I excitedly imagined how these folks would sound on the songs and tried to musicalize and shape the oddments of my mind as they emerged — anxieties, amusements, dread, scenes of family life, and childhood. Listening back to it now, I’d say it reveals my present psychological profile to be 70% pensive, 20% droll, and 10% angry.”

Fulks produced the album, recorded at Jackson Browne’s Santa Monica studio, Groove Masters, by Sheldon Gomberg. Tucker Martine (Roseanne Cash, My Morning Jacket, The Decemberists) mixed. The musicians on the project include Pete Thomas (Elvis Costello) and Jay Bellerose on drums, Jenny Scheinman on fiddle, Kevin Barry and Duke Levine (Bonnie Raitt) on guitar, Paul Bryan (Aimee Mann) and Kimon Kirke on bass, and Wayne Horvitz on keys.

1. Workin’ No More Blues [3:04]
2. Ocean City [5:47]
3. Now Now Now Now Now [3:32]
4. There’s A Man [3:18]
5. That Was Juarez, This Is Alpine [4:54]
6. Savannah Is A Devilish Girl [3:31]
7. Your Tormentors [4:12]
8. My Heart, Your Hands [3:34]
9. The Thirty-Year Marriage [3:47]
10. Poor And Sharp Witted [3:56]
11. Ol’ Folks [4:15]
12. Nobody Cares [2:43]

Having gained national recognition as a key artist in the alt-country scene during the 1990s, Fulks opens his authentically heartfelt new recording on the impassioned Workin’ No More Blues and the pleasing Ocean City and then we get the gentle guitar rocker Now Now Now Now Now, the free flowing There’s A Man, before we are gifted the acoustically mellow That Was Juarez, This Is Alpine and the banjo-hued joy of Savannah Is A Devilish Girl.

Along next is the atmospherically-charged Your Tormentors and the quietly moving My Heart, Your Hands and they are in turn backed by the dulcet storytelling of The Thirty-Year Marriage, the optimistically buoyant Poor And Sharp Witted, the set rounding out on a lonesome yearn that drives Ol’ Folks, coming to a close on the smoothly crafted easiness of Nobody Cares.

Official Purchase Link

Official Website

Robbie Fulks @ Facebook

For those unaware, Heather McKay is a Berklee College of Music graduate who is equally comfortable performing, composing and teaching, though her true passion is composition.

Heather has played just about every style of music—from jazz, pop, rock, and funk to Persian, Caribbean, Afro-Cuban, gospel, and blues. Her love of Latin jazz came from her best friend and bass player, Adri Galler Lastra.

She and Adri would sit for hours playing Latin tunes from the real book or jamming on salsa and other Afro-Cuban grooves. Adri introduced Heather to Maestro Afredo Mohica. Heather joined Mohica’s Latin jazz band, where she contributed a couple of her own compositions.

Heather also fell in love with Brazilian rhythms by listening to and playing with another bass player and good friend, Leonardo Lucini. Leonardo would go on to become an integral part of her first CD, Life Got In The Way.

1. You Make Me Smile [5:36]
2. Boo [4:43]
3. Narraguagus Bay [7:33]
4. Eleven Reasons Why [6:29]
5. The Playground (Sammy, Elle and G) [5:23]
6. Run [5:29]
7. Things That Were Said [5:56]
8. Kenyan Moon [5:49]
9. Lucini In The Park [5:27]

Having played guitar for original music and cover bands throughout the Washington/Baltimore area, McKay opens her impassioned recording on the spirited You Make Me Smile and the drum-fed rhythmic gem Boo, the sumptuously shimmering Narraguagus Bay and then comes the funkily grooved beauty Eleven Reasons Why.

Along next is the charismatically grooved-fueled The Playground (Sammy, Elle and G) which is itself backed by the atmospherically-charged Run, the smoothly soulful Things That Were Said, the set rounding out on the elegance of Kenyan Moon, coming to a close on a melodious hipsway that drives Lucini In The Park.

After 25 years of playing gigs in various bands, Heather decided to take all she had absorbed through playing all styles of music and focus on composing. She wanted to create a CD with a Latin jazz flair that grooved as hard in different meters as it did in 4/4.

This project was years in the making, with the tunes evolving along the way. Heather has had the privilege of working with many of the DC area’s top musicians. She feels very fortunate to have a few of them be part of the Heather McKay Project, both on the CD and in performances.

Official Purchase Link

Official Website

When pianist-composer Satoko Fujii and trumpeter-composer Natsuki Tamura make music together, the results are always extraordinary. Their deep musical intuition and fearless creativity have shaped one of the most distinctive duos in modern jazz.

On September 19th, 2025, they will release Ki (Libra Records), their tenth duo album—a work that proves restraint can be just as daring as explosive virtuosity.

Unlike past projects filled with fiery improvisations, Ki thrives on quiet intensity. The album features seven new Tamura compositions, each named after a species of tree, alongside one Fujii original.

The entire program unfolds at a meditative, slow tempo—yet the performances remain endlessly fascinating thanks to the duo’s command of tone, silence, and emotional depth.

1. Keyaki [9:39]
2. Sugi [6:56]
3. Hinoki [9:48]
4. Kusunoki [10:00]
5. Arakashi [6:49]
6. Icho [6:34]
7. Kunugi [7:56]
8. Dan’s Oceanside Listening Post [4:52]

With seven of the eight tunes here being Tamura originals, she opens her impassioned recording on the starkly bare Keyaki and then we get the more rounded, softer edged Sugi, a quiet confidence of Hinoki, and yet a distinctively trepidatious Kusunoki follows.

Along next is a hopeful yearn within Arakashi and that is in turn backed seamlessly by the deeply encouraging Icho with the recording rounding out on the soulfully somber Kunugi, closing on the deeply succinct Dan’s Oceanside Listening Post.

Official Purchase Link

www.satokofujii.com

When it comes to his upcoming album, In the Shadow of the Mountain, 25-year-old singer-songwriter Cole Chaney is pretty candid and blunt about who he is and what kind of music he wants to make — the result of which, this stunning offering from an artist wise beyond his age.

“There’s a yin to every yang,” Chaney says. “I want nothing more than for people to be creatively fulfilled, and to do what they want. But, for me to preach that? I have to practice it.”

That attitude resides at the core of the record, where the trajectory of the songs seemingly — more so purposely — shoot off in the opposite direction of many of his contemporaries in the Americana, country and folk music scenes. In truth? Chaney is summoning his rock roots.

“I’m not concerned with being labeled as ‘country.’ There’s not a lot of music being released right now that is doing much for me — I want to make something I want to listen to.”

Pointing to his lifelong admiration for 1990s rock — specifically Soundgarden, Alice in Chains and Stone Temple Pilots — as a vital influence on the sonic landscape of the album, Chaney aimed to find a melodic balance between that raw and real rock sound and the bluegrass and folk music of his native Kentucky.

“I wanted to make something that sounded like Ralph Stanley went in and got backed up by Soundgarden,” Chaney notes. “I write what I listen to. And whatever I listen to is going to come out in my music.”

1. Into
2. The Shadow of the Mountain
3. Grind
4. Spirit
5. The Unsatisfied
6. Charlene
7. Let The Love Die
8. Feels Like Rain
9. Alone?

Having had this album captured by famed producer Duane Lundy at his legendary studio in Lexington, Kentucky, and drawing from his lifelong admiration for 1990’s rock, he opens his stunningly crafted new recording on the atmospheric Into and the engagingly emphatic title cut The Shadow of the Mountain and them we get given the rhythmically crafted storytelling within Grind and the willfully embodied Spirit.

Along next is the melodious The Unsatisfied which is in turn backed seamlessly by the gently all-embracing Charlene, the emboldened mid-tempo rocker Let The Love Die, the set rounding out on the warmly rounded Feels Like Rain, coming to a close on the intensely stirring Alone?

Official Purchase Links

Cole Chaney @ Spotify

Cole Chaney @ Facebook

For those unaware, assembling nearly two decades of smashes, Diamond-certified and GRAMMY® Award-nominated pop rock band OneRepublic unveil their first-ever career-spanning album entitled OneRepublic: The Collection today, via UMe.

It is available digitally on all streaming platforms as well as various physical configurations, including CD, a 1LP black vinyl pressing, a limited-edition 1LP “Fruit Punch” color vinyl, and an exclusive 1LP Zoetrope vinyl pressing, only available online through the group’s official D2C store, uDiscover and Sound of Vinyl.

With 16 tracks, The Collection collates some of the band’s biggest hits on one body of work for the very first time. Among many highlights, it features the generational hit “Counting Stars.” Originally a staple from their 2013 album Native, the latter has only continued to gain popularity over the years, earning a rare Diamond certification from the RIAA and gathering a staggering 3 billion Spotify streams, standing out as one of the “Top 100 Most-Streamed Songs on the Platform.”

Additionally, it reached #2 on the Billboard Hot 100. Plus, this set includes “I Ain’t Worried.” Originally penned for the blockbuster Top Gun: Maverick Original Motion Picture Soundtrack, the 4x-Platinum song figured prominently in the film, playing during the volleyball sequence. Of course, The Collection also houses OneRepublic’s signature breakout “Apologize.”

Certified 4x-Platinum by the RIAA, the latter vaulted to #2 on the Hot 100 and garnered a GRAMMY® nomination in the category of “Best Pop Performance by a Duo or Group with Vocal.” The Collection also showcases collaborations such as “If I Lose Myself” and “I Don’t Wanna Wait”. Speaking to the band’s quiet, yet prevalent influence, they regularly average over 53 million monthly listeners on Spotify, a testament to quality songwriting and musicianship.

Side A:
1. I Ain’t Worried 2. Counting Stars 3. Run 4. I Lived 5. Runaway 6. Secrets 7. Apologize (Timbaland Mix) 8. Sunshine

Slipping the vinyl record out of its sleeve, marveling at the beautiful zoetrope aspects of its limited edition design as the sun glints admiringly upon it, I placed it onto the record player, gently dropped the needle and sat back to enjoy the first side.

Up first is the whistling perfection of the poptastic I Ain’t Worried, the timeless nostalgia brought forth listening to Counting Stars and the catchy Run, along next is the affecting I Lived, the propellent drive of Runaway, the touching Secrets, the side rounding out on the emotional chartbuster Apologize (Timbaland Mix) and the vibetastic Sunshine.

Side B:
1. Love Runs Out 2. Wherever I Go 3. Rescue Me 4. If I Lose Myself 5. Good Life 6. Stop And Stare 7. All The Right Moves 8. I Don’t Wanna Wait

Flipping the vinyl over, and this quite wonderous new collection of sounds continues onward with the powerful masterpiece Love Runs Out, the sentimentally unrated Wherever I Go and the amazingly expansive Rescue Me and they are in turn backed seamlessly by the uplifting If I Lose Myself, the Don’t cry because it’s over. Smile because it happened inducement of Good Life, the simply amazing Stop And Stare, the set coming to a close on the melodiously harmonized All The Right Moves and the vibe-banger I Don’t Wanna Wait.

Available on this limited-edition 1LP zoetrope, OneRepublic: The Collection is a must-have for fans of the band and of great music, in general.

Colin Hay - Blue For You (Official Audio)

Official Zoetrope Purchase Link

Official OneRepublic Website

OneRepublic @ Facebook

For those unaware, Mobile Fidelity presents the 1975 funk milestone in Audiophile Sound for its 50th Anniversary: 180g 45rpm 2LP plays with Intoxicating Definition, Immediacy, and Clarity.

“Do not attempt to adjust your radio.”

The instruction that begins Parliament’s Mothership Connection prepares you for an ecstatic journey and establishes the setting for a cosmic trip into galaxies populated with galactic grooves, joyous vibes, cheeky humor, streetwise slang. This is nearly 39 minutes of some of the best, sweatiest, most enthusiastic funk devised — all laid down by an all-star band responsible for what Rolling Stone named the 363rd Greatest Album of All Time.

Sourced from the original analog master tapes, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180g 45RPM 2LP presents Mothership Connection in audiophile sound for the first time.

Making its debut on 45rpm, Parliament’s benchmark benefits from the wide groove space by playing with tauter bass, enhanced definition, and more realistic presence than prior editions. Everything from the brassiness of the horns to the crisp slap of the snare to the fleshy snap of handclaps comes across in full-range perspective.

This collectible 50th anniversary reissue of the 1975 set exhibits a combination of transparency, solidity, and imaging that brings into clear view every note Parliament committed to tape at United Sound in Detroit and Hollywood Sound in California.

On this pressing, the dynamics, hooks, and hip-shaking verve of Mothership Connection practically explode. Important facets such as the bountiful depth of the bass lines to the brassy purity of the horns to the distinctive textures of the various keyboards comes across with immersive realism.

Side One:
1. P. Funk (Wants to Get Funked Up)

Side Two:
2. Mothership Connection (Star Child)
3. Unfunky UFO

Side Three: 4. Supergroovalisticprosifunkstication
5. Handcuffs

Side Four:
6. Give up the Funk (Tear the Roof Off the Sucker)
7. Night of the Thumpasorus Peoples

The seminal 1975 P-funk release, Mothership Connection, was the first George Clinton album to feature Maceo Parker and Fred Wesley, who had recently left James Brown’s backing band, The J.B.’s.

Widely regarded as one of Parliament’s best, Mothership Connection was the first P-Funk mythology concept album, introducing fictional characters and themes which would remain central to George Clinton’s work over the next decade.

Personally I think Mothership stands high in the critical and mainstream world because it was the first to deliver that definitive P-Funk sound of Moog synth, Sci-fi concept, Mu-Tron bass, Horny Horns, etc. and which seemed so unique and groundbreaking at the time.

In fact, the album was influential in shaping the sound of P-Funk, and indeed Hip Hop, with Dr Dre sampling both Mothership Connection (Star Child) and P Funk (Wants to Get Funked Up) on his legendary 1992 album, The Chronic.

As we all now know, George Clinton made a type of funk that is explicitly a character of the genre. It is exaggerated compared to the likes of Curtis Mayfield and Sly & The Family Stone. Parliament brings phatter beats, wonkier bass, and an explosive personality to the vocals. It is just so good!

Of course, we have to pay respect to Bootsy Collins in the band for bringing awesome bass skills to this funk. This carries over from his significant work with James Brown, making for a truly funky sound.

I can hear everything from the Commodores to Bruno Mars in this album. A little too decadent at times but some cool stuff. I found myself laughing at the storyline and personas within P-Funk (like listening to the Ladies Man narrate a song). But sometimes that got annoying later in the album.

The underlying beats on both Mothership Connection and Unfunky UFO are super cool. Sometimes it felt like the album blended together too much, but I wonder if he/they were going for seamless transition of tracks in the first place.

Thump, thump, thump. A whole lotta rhythm goin’ ‘round, indeed.

Record One, Sides One/Two: 1/4” 30 IPS analog master to DSD 256 to analog console
Record Two, Sides Three/Four: 1/4” 15 IPS analog master to DSD 256 to analog console

Official Purchase Link

For those unaware, the King of Pop’s 1991 studio album is presented in Audiophile Sound for the first time: Sourced from the Original Masters, Mobile Fidelity’s Numbered-Edition 180g 33rpm 2LP set plays with Superb Clarity, Detail, and Presence.

Dangerous saw Michael Jackson go in a new direction. The strategy paid off when the 1991 release debuted at No. 1 on the Billboard 200 and sold over 25 million copies worldwide by September 1994. Global sales now near 40 million.

Sourced from the original masters, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180g 33rpm 2LP set presents Dangerous in audiophile-quality sound for the first time.

Jackson’s signature vocals come across with incredible transparency and presence, along with the fullness of his range and the soaring heights of his falsetto. You’ll also enjoy expansive soundstages, ample instrumental separation, black backgrounds, and broad dynamics.

Featuring 14 songs, Dangerous includes hits like “Black or White,” “In the Closet,” “Remember the Time,” “Jam,” and “Heal the World.” Each of the album’s nine singles was supported by a unique Michael Jackson short film, later compiled in Dangerous: The Short Films (1993).

Side One:
1. Jam
2. Why You Wanna Trip on Me
3. In the Closet

Side Two:
4. She Drives Me Wild
5. Remember the Time
6. Can’t Let Her Get Away
7. Heal the World

Side Three:
8. Black or White
9. Who Is It
10. Give in to Me

Side Four:
11. Will You Be There
12. Keep the Faith
13. Gone Too Soon
14. Dangerous

Dangerous along with Off The Wall, HIStory and Invincible have virtually been ignored by the estate even though the majority of fans have been begging for a Dangerous anniversary album for years now. But the estate have instead focused on the Bad and Thriller anniversary albums. It seems that they have forgotten about the album that debuted Michael into a new decade, and the era that catapulted him into Legend status.

It was the fastest selling album in the beginning of 1992 and apparently was selling faster than Thriller did when Thriller first released. The short film premiere of Black or White was watched by over 500 Million people on TV in 28 different countries (which was a groundbreaking record). Many fans make the claim that Dangerous would’ve sold more and would be more appreciated had it not been for the allegations, but that is another story for another day.

This was Michael’s first solo album without producer Quincy Jones and instead was replaced with Teddy Riley who along with MJ created New Jack Swing, a popular genre that became a signature sound within the Dangerous album.

With the help of Teddy Riley and other musicians Michael Jackson managed to reinvent himself for the new decade and prove to the world that the King of Pop could keep up with the times and keep up with the music industry.

In closing, Dangerous was an extremely important album for MJs career and gave life to a new genre and era ... and yet it still seems to be under appreciated (but not by me).

PROVENANCE INFO:
“Jam,” “Why You Wanna Trip on Me,” “In the Closet,” “She Drives Me Wild,” “Remember the Time,” “Can’t Let Her Get Away,” and “Dangerous”: ½” / 30 IPS analog master with Dolby SR noise reduction to DSD 256 to analog console to lathe.
“Heal the World” and “Keep the Faith”: Mitsubishi X-86 HS ¼” 48kHz 16-bit digital format to DSD 256 to analog console to lathe.
“Black or White,” “Who Is It,”and “Give in to Me”: ½” / 30 IPS analog master to DSD 256 to analog console to lathe.
“Will You Be There” and “Gone Too Soon”: ¼” / 30 IPS analog master with Dolby SR noise reduction to DSD 256 to analog console to lathe.

Official Purchase Link

For those unaware, this brilliant, ground-breaking 1995 record is now presented in Audiophile Sound for the first time for its 30th Anniversary: Mobile Fidelity’s UltraDisc One-Step 180g 45rpm 2LP Box-Set is strictly limited to 4,000 numbered copies.

When Alanis Morissette took direct aim at an ex who wronged her on the eviscerating “You Oughta Know” in 1995, everything about the Top 10 song communicated it wasn’t the usual narrative about love gone south. Or the typical wounded singer wallowing in self pity.

Morissette, and both the lead single from and her entire American major-label debut — the profoundly personal Jagged Little Pill — represented a sea change. They kickstarted a movement, one whose impact continues to echo throughout the mainstream three decades later.

Ranked the 69th Greatest Album of All Time by Rolling Stone, included on the Rock and Roll Hall of Fame’s list of 200 Definitive Albums, and featured in several books about essential albums, Jagged Little Pill remains more than a blockbuster that has sold more than 17 million copies in the U.S. and 33 million units worldwide. It’s a statement, an attitude, a soundtrack for anyone seeking inspiration, an outlet, or permission to be themselves.

Sourced from the original master tapes, pressed at Fidelity Record Pressing on MoFi SuperVinyl, and strictly limited to 4,000 numbered copies, Mobile Fidelity’s UltraDisc One-Step 180g 45RPM 2LP box set of Jagged Little Pill presents the landmark effort in audiophile-grade sound for the first time.

A key part of the record’s appeal and accessibility — Glen Ballard’s smooth production, touches that help Morissette’s exposed-nerve fare seem more accessible and melodic — comes through on this special 30th anniversary edition with an openness, presence, and dynamic explosiveness that make the vocalist’s songs that much more real and visceral.

Side One:
1. All I Really Want
2. You Oughta Know
3. Perfect

Side Two:
4. Hand in My Pocket
5. Right Through You
6. Forgiven

Side Three:
7. You Learn
8. Head over Feet
9. Mary Jane

Side Four:
10. Ironic
11. Not the Doctor
12. Wake Up

Just two years after Madonna co-founded the Maverick record label back in 1992, the company signed a then relatively unknown 20-year-old Morissette. Just over a year later and her debut album for the label had been released and proved to be the smash record the label had envisioned.

With total sales now in excess of 33 million units globally, the album not only cemented Morissette’s star status, but went 16x platinum in the US, became the best-selling debut album of all time and garnered the singer five out of the nine GRAMMY Awards she was nominated for in 1996, not to mention taking out the number one spot in a staggering 14 charts around the world.

But this album is about so much more than just groundbreaking statistics — it’s a powerful album about personal experiences. Jagged Little Pill surfaced at a time when grunge was at its peak and although Morissette presented a strong, multifaceted woman, open and honest, she hadn’t ridden the same wave that her feminist peers like Courtney Love and Ani Di Franco had done. Instead, she had received success with her first two pop albums in her native Canada.

A total of six singles were released from the album, with all of these songs (except “All I Really Want”) entering the top ten in various charts around the world and “Ironic” taking out the #4 spot on the Billboard Hot 100, her highest charting single in the US. But it was “You Oughta Know” that set the tone for the album and gave license to a type of female sexuality and unabashed raw anger not seen on a commercial scale.

Morissette delivered an opus of immeasurable beauty on Jagged Little Pill, a beauty entrenched in her psyche, her anger, her lovelorn heart and her hope. She created a fluidity and slickness within this album rare for a twenty-one-year-old novice artist. She kept her words raw and articulated emotions and feelings that many women had felt too ashamed to even acknowledge, let alone put out there for the whole world to hear.

Ironic? Anything but. Jagged Little Pill transcends generations, gender, and trends. As Morissette sings on the opening “All I Really Want,”, the album represents “deliverance” — “a place to find common ground.”

1/2" / 30 IPS analog master to DSD 256 to analog console to lathe.

Official Purchase Link

For those unaware, this is Miles Davis’ final collaboration with arranger Gil Evans and yields watershed innovations: Flamenco-themed Sketches of Spain spins graceful webs of Sound and Emotion.

Miles Davis and Gil Evans bridged styles and collaborated on high-concept projects three different times during their celebrated careers. For their final act, they created Sketches of Spain, a peak moment in each luminary’s legacy.

The transformative album weds Spanish themes, lush orchestrations, romantic timbres, and Davis’ lyrical methods in a tender ceremony that resonates more than six decades after its original release.

Part of Mobile Fidelity’s Miles Davis restoration series, this 1960 landmark has been afforded the ultimate white-gloves treatment for its 65th anniversary. Sourced from the original master tapes, strictly limited to 5,000 numbered copies, and pressed at Fidelity Record Pressing, this UltraDisc One-Step 33rpm 180g LP set dramatically expands the soundstages and eradicates a dryness that many critics found inhibitive to the record’s enjoyment.

You can now hear the full-range responsiveness of the woodwinds, strings, and percussion, all of which come alive with superior definition and detail.

The beautiful presentation of this UD1S set befits the record’s historical importance. Housed in a deluxe slipcase, it features a special foil-stamped jacket and faithful-to-the-original graphics that illuminate the splendor of the 1960 LP.

This reissue is made for discerning listeners who desire to fully immerse themselves with the album. And who wouldn’t want to go deep with Sketches of Spain?

Side One:
1, Concierto de Aranjuez
2. Will O’ the Wisp

Side Two:
3. The Pan Piper
4. Saeta
5. Solea

Gil Evans’ style of writing is very unique in my opinion. I’m actually surprised that no one else has recorded Sketches of Spain in its entirety. It’s sometimes played at colleges but never professionally. I’d love to hear a newer recording of it, without all the cuts and mistakes, because even though it’s brilliant, it is not wholly perfect.

As different for Miles as Kind of Blue and Bitches Brew, Sketches of Spain brings Davis into the realm of Spanish classical music. The album’s piece de resistance is its opening track, Joaquin Rodrigo’s Concierto de Aranjuez, originally written for Spanish guitar and orchestra (original scoring can be heard on The Romero’s 1967 album for Mercury’s Living Presence Series).

It is a beautifully melodic piece in B minor which Davis plays on muted flugelhorn, with an orchestra arrangement by Gil Evans. The rest of the album is also outstanding, but for those whose experience with Miles Davis’ other albums may find this one somewhere out in left field. This is a jazz musician playing something totally outside his usual genre and he does it superbly.

Ranked #358 on Rolling Stone’s 500 Greatest Albums of All Time, deemed a work of unparalleled grace and lyricism by noted scribe J.D. Considine, bestowed a five-star review from DownBeat, and noted by Q to have taken jazz in a new direction, the Grammy Award-winning effort has never been better.

1/4" / 15 IPS analog master to DSD 64 to analog console to lathe.

Official Purchase Link

A Modicum Of Blues finds tenor saxophonist Ivo Perelman in dialogue with some of today’s most inventive improvisers: Nate Wooley (trumpet), Matt Moran (vibes), Mark Helias (bass), and Tom Rainey (drums).

Rather than a direct dive into blues forms, the album refracts blues gestures through free improvisation—shaped by holler-and-response patterns, playful interludes, and lyrical exchanges.

Perelman reins in his characteristic ferocity, creating space for delicate textures, room for solos, and layered group conversations. The result is a set of five expansive pieces balancing sensitivity, energy, and joy in spontaneous creation.

1. A Modicum Of Blues - Part 1 [13:38]
2. A Modicum Of Blues - Part 2 [4:57]
3. A Modicum Of Blues - Part 3 [10:26]
4. A Modicum Of Blues - Part 4 [7:32]
5. A Modicum Of Blues - Part 5 [10:01]

With Perelman at the helm, meaning he ensures each and every track tells its own story, paints its own vicarious soundscape, the group open their highly impassioned new recording on the jauntily adventurous Part 1 and then we get brought forth the melodious free-range joy of Part 2, the lonesome yearn, at first, latterly a scattered array of playfully mischievous beats within Part 3, the set rounding out on the late night, sculky dark city streets of Part 4, coming to a close on a quite beautiful interaction of musicians that come to the fore on Part 5.

Musicians:
Ivo Perelman, sax
Nate Wooley, trumpet
Mark Helias, bass
Tom Rainey, drums

Official Purchase Link

Ivo Perelman @ Facebook

“It’s a highway, filled with deep, exotic colors and beautiful delicate things as well as the perils that come from moving so fast,” says Dar Williams, describing modern life.

On her 13th album, Hummingbird Highway, out September 12th, 2025 on Righteous Babe Records, Williams celebrates the colors she glimpses from her vantage as a touring musician. “I was a kid from the suburbs who listened when her hippie teachers said to get out in the world,” Williams muses.

Hummingbird Highway is the latest chapter in a richly unfolding story. Drawing on her experience as a playwright, Williams populates her latest album with nuanced characters that come alive in the space of a few minutes.

Since 2013, Williams has been leading songwriting workshops where she teaches students to let songs find their own trajectories. The musician, author (What I Found in a Thousand Towns, How To Write A Song That Matters) and mentor will start her Hummingbird Highway 2026 tour in New Jersey in early February and conclude it with a week long stint in the UK. Many notable towns and cites will be visited in between, including Chicago, Nashville, Seattle, Los Angeles, Boulder and NYC.

1. Hummingbird Highway [3:56]
2. All is Come Undone [4:42]
3. Tu Sais Le Printemps [3:48]
4. The Way I Go [4:37]
5. I Want to See the Bright Lights Tonight [3:20]
6. Sacred Mountain [4:32]
7. Maryland, Maryland [3:32]
8. Put the Coins on His Eyes [4:06]
9. What Bird Did You See [3:59]
10. Olive Tree [4:49]

As hummingbirds and folk singers fly, they gain perspective and not just distance, and so with this in mind, Dar opens her new album on the lightly-spirited title track Hummingbird Highway and the harmonious lush All is Come Undone, the Parisian-smooth, bossa nova imbibed Tu Sais Le Printemps, and then we get the strength of The Way I Go and the rambunctious countrified gem I Want to See the Bright Lights Tonight.

Along next is the generously impassioned Sacred Mountain which is itself backed by the spirited rumble of Maryland, Maryland, the melodious Celtic-imbibed boatman lore within Put the Coins on His Eyes, the set rounding out on the dulcetly breathy, beautifully sculpted balladry of What Bird Did You See, closing all-too-soon on the effortlessly dreamy hipsway that comes threaded throughout Olive Tree.

Official Purchase Link

Dar Williams - Tu Sais Le Printemps (Official Lyric Video)

Simply put, The Bells is a delightful, swinging, jazzy Christmas song!

In writing the poetry/lyrics to this most sparkling, most all-embracing of a rather delightful holiday ditty, Margee was inspired by the 1848 Edgar Allan Poe poem, The Bells, changing Poe’s words to make song more joyful, magical & Christmas-like! Zach Brock adds whimsy gypsy jazz with his violin making the song even more fanciful and intriguing!

1. The Bells [6:42]

Margee Minier-Tubbs, composer & lyricist, multi-faceted artist with a diverse international and music background, a degree in Fashion Design from FIT in N.Y., and La Sorbonne, Paris, studied piano and dance, lived and worked in 21 countries, worked as a translator in the Music Industry at MIDEM in Cannes & taught children French though music & art, is married to multi-instrumentalist Premik Russell Tubbs.

Official Purchase Link

www.margetoile.com

www.margetoilerecords.com

Fans of the New York Yankees might already be familiar with Americana artist Eric Harrison, whose tune “Opening Day” has been an annual spring training staple on YES, the team’s official broadcast network.

Today, after teasing listeners with dynamic singles such as “Accidental Poetry” and “Bleecker Street,” the New Jersey-based singer and songwriter releases his eighth studio album “Bittersweet.”

Boasting 12 tracks, “Bittersweet” is the culmination of a lifetime of admiration for great thinkers and artists, musical and otherwise. Harrison draws on the musical and philosophical frameworks of Cole Porter, Bob Dylan, Marcus Aurelius, and others, confronting head-on his arguments with desire, deprivation - and, finally, acceptance - to provide nostalgia-fueled commentary on life, love, and . . . New Jersey.

1. Laughing at the Guillotine
2. One Day
3. Oblivion
4. Dominique #2
5. Sing What I Can’t Say
6. Bleecker Street
7. Love You Less
8. Mary Full of Grace
9. Accidental Poetry
10. When the Fever’s Broken
11. Sal’s Place
12. Diner

A trial attorney by day, Harrison has been making music for three decades, and continues to on this wholly impassioned new recording which opens on the rhythmic rocker Laughing at the Guillotine, the strident guitar rock of One Day and the melodiously harmonic storytelling within Oblivion, and then we get the mid-tempo Dominique #2, the balladry of Sing What I Can’t Say and the free-wheeling Bleecker Street.

Up next is the Americana/folk-hued Love You Less, the easy going Mary Full of Grace and the enjoyable Accidental Poetry and they are in turn followed by the gratifying flow of When the Fever’s Broken, the gritty rocker Sal’s Place, the set closing on some genial grooves that drive Diner.

“The 12 tracks on my new record ‘Bittersweet’ are the shiniest musical tokens to spill out over the three years since my last album ‘No Defenses.’ I’m cautiously optimistic that there will be at least a few more gems down the chute before I’m done.”

“Bittersweet” is a continuation of Harrison’s decade-long collaboration with producer Kevin Salem and is now available on all streaming platforms. The album will also be available on limited edition CD and vinyl, with the track list split between two sides titled “Appetite” and “Equanimity,” aptly reflecting the lyrical themes throughout.

Official Apple Purchase Link

www.ericharrisonmusic.com

Eric Harrison @ Facebook

For those unaware, legendary vibraphonist Joe Locke reunites with pianist Phil Markowitz for Smoke and Mirrors, a deeply personal live duo recording that celebrates four decades of friendship and musical partnership.

The seven-track collection features six original compositions alongside a stunning interpretation of ‘Soul Eyes’ (by Mal Waldron). Locke contributes four pieces including the title track, ‘Dawning Dance’, and ‘Broken Toy’, whilst Markowitz offers three works: ‘Seven’, ‘Sno’ Peas’, and ‘Ambushed’. Together, these compositions showcase the remarkable telepathic understanding that defines their musical dialogue.

Recorded live at East Stroudsburg University, the collection reflects their extraordinary musical symbiosis developed since their first meeting when Locke was just 13.

This remarkable spontaneous recording documents not only their accumulated wisdom but their enduring joy in collaborative music-making.

1. Smoke And Mirrors
2. Seven
3. Dawning Dance
4. Soul Eyes
5. Sno’ Peas
6. Broken Toy
7. Ambushed

Smoke and Mirrors, which stands as a testament to the power of sustained musical friendship, offering listeners an intimate glimpse into the creative process of two master musicians at the peak of their collaborative artistry, opens on the refreshingly vibrant Smoke And Mirrors and the flourishing, at first, poignantly peaked latterly Seven and then we get the free flowing musical majesties sewn within Dawning Dance, the delightfully decadent Soul Eyes, the sparkling Sno’ Peas, the set rounding out on the lavishly opulent Broken Toy, coming to a close on the grandeur of Ambushed.

“History. If I’ve got it with anyone, I’ve got it with Phil Markowitz,” reflects Locke. “This recording is a meaningful document for me not only because it reflects the amount of dedication, life experience and learning accumulated since those early days, but also because it’s a testament to the joy of music making and an enduring friendship.”

For Markowitz, the duo format represents the ultimate test of musical communication. “The duo is the most intimate musical improvisational environment. You must have absolute trust and communication, or the music fails. Joe Locke and I have that sympatico, and that is reflected in these selections.”

www.joelocke.com

www.philmarkowitzjazz.com

Celebrating the 50th Anniversary of the special, LMFP is thrilled to present the premiere release of Vince Guaraldi’s soundtrack for 1975’s You’re a Good Sport, Charlie Brown.

This 45 RPM 12-inch LP includes the complete 14 track score plus never before heard music - also celebrating 75 years of Peanuts®. The vinyl is made out of recycled record materials.

The classic special was written and created by Charles Schulz, directed by Phil Roman, and produced by Bill Melendez and Lee Mendelson. Guaraldi’s score is finally available on CD, vinyl and digital.

The record was mixed and mastered for audiophiles, jazz lovers, and Peanuts fans everywhere from the original 2-inch session tapes to a 192kHz/24bit master. Beyond the composer’s playing, Seward McCain plays electric bass, Mark Rosengarden plays drums, and John Scott Trotter supervised the music.

And there is also a magnificent first time ever moment here as this is the very first time that Peanuts animation has appeared on a Zoetrope album. Meaning when the record plays at 45RPM, scenes from the special come to life! The action from the cartoon plays right along with the music on your turntable!

The record includes fresh takes on Peppermint Patty, and Linus and Lucy, and adds a special bonus track, You’re a Good Sport, Charlie Brown (Unused Opening Cues) (performances left out of the special, that now start the B-side).

Motocross is the featured theme, and there are four additional bonus tracks from (1973 LMFP project) Bicycles Are Beautiful scored by Guaraldi, who is joined by McCain on bass and Glenn Cronkhite on drums for those tracks.

Side A:
1. Motocross
2. Peppermint Patty
3. You’re a Good Sport, Charlie Brown (Centercourt)
4. Fanfare / Fanfare (Alternate Take) / Hospital Scene / Hospital Scene (Bonus)
5. Bass Blues
6. Linus and Lucy
7. Motocross (Reprise)

Slipping the vinyl record out of its sleeve, marveling at the beautiful 45 RPM eco-black vinyl aspects of this release, I placed it onto the record player, gently dropped the needle and sat back to enjoy the first side.

Up first is the counted in, spirted Motocross, the free flowing majesties of Peppermint Patty and the bluesy You’re a Good Sport, Charlie Brown (Centercourt), the royally-imbued, at first, latterly just lovely tones of Fanfare / Fanfare (Alternate Take) / Hospital Scene / Hospital Scene (Bonus), the short but emphatic Bass Blues, the side rounding out on the smoothness of Linus and Lucy and the funky Motocross (Reprise).

Side B:
1. You’re a Good Sport, Charlie Brown (Unused Opening Cues)
2. The Great Pumpkin Waltz
3. Motocross (2nd Reprise)
4. Motocross (3rd Reprise)
5. Motocross (4th Reprise)
6. Motocross (5th Reprise Extended with Additional Piano)
7. Lunch Theme / Motocross (6th Reprise)
8. You’re a Good Sport, Charlie Brown (Reprise)
9. Bicycles are Beautiful (Reprise)
10. Bicycle Ballad (Medley)
11. Bicycle Bounce (and Reprise)
12. Bicycle Wizard (and Reprise)

Flipping the vinyl over, and this quite wonderous soundtrack continues onward with the easy listening of You’re a Good Sport, Charlie Brown (Unused Opening Cues), a crisper rendition of the famous The Great Pumpkin Waltz, and then come the quartet of Motocross themes: the synthtastic Motocross (2nd Reprise), the lushly orchestrated Motocross (3rd Reprise), the Christopher Cross-esque beauty of Motocross (4th Reprise), and the pulsing Motocross (5th Reprise Extended with Additional Piano).

Then we are gifted the smooth elegance of Lunch Theme / Motocross (6th Reprise), a reprise of You’re a Good Sport, Charlie Brown, and finally the four bonus Bicycles cuts: the ragtime fare of Bicycles are Beautiful (Reprise), the low slung beauty of Bicycle Ballad (Medley), the playful Bicycle Bounce (and Reprise), the set coming to a close on the spirited Bicycle Wizard (and Reprise).

50+ years in the making, Clark Germain mixed the album at WonderWorld Studio, Vinson Hudson restored and mastered the record, and it was produced by Sean and Jason Mendelson.

The vinyl includes a 4-page insert with art from the special, liner notes that give a track-by-track analysis by producer Sean Mendelson, and notes by producer Jason Mendelson and Derrick Bang (author of Vince Guaraldi at the Piano) along with an essay by Craig Schulz.

Watch The ZOETROPE In Action (with over 825k views!)

Official Purchase Link

www.mvdshop.com

Brazilian guitarist and composer, Roberto Montero resides in Los Angeles, where he works on live and studio music production.

His work credits include: singer & guitarist with Grammy Award winner Sergio Mendes at the Blue Note in Tokyo, Japan, in Morocco, and across the United States, singer & guitarist on the soundtrack of Century Fox Films movie “Rio 2”, Walt Disney “Mickey Mouse Goes to Carnaval”, guitar consultation/recording for ABC’s “Grey’s Anatomy”, animated films “Papito” & “The Golden Hour”, performances at ”John Pisano’s Guitar Night”, “Honorary Oscars – Governor’s Award” (house band/2017 – present), and appearances with additional artists on NBC’s “The Tonight Show”, NBC’s “The Voice”, “Le Zenith Paris” (FR) and other venues.

Also teaching guitar at LACM – Los Angeles College of Music for over 20 years, his brand new album is entitled Todos os Tempos and is releasing October 17th, 2025.

1. Igarapé (Caminho de Canoa) / River Stream (Way of the Canoe)
2. Valsa do Tempo Parado / Static Time Waltz
3. Vila Rica
4. Born Balaio / Hamper Box
5. Luz Da Lua / Light of the Moon
6. Chorando de Rir / Laughing ’Till It Hurts
7. Nem Tempo New Distância / Neither Time Nor Distance
8. De Duas, Uma / One Out of Two
9. Aquele Mar / The Sea Over There
10. Vou Mas Fico / Gone But Still Here

The Brazilian musician, composer and producer opens his album with the sumptuously combination of the elegant Igarapé (Caminho de Canoa) and the all-embracing rhythms within River Stream (Way of the Canoe), and then we get the demure finesse of Valsa do Tempo Parado / Static Time Waltz, the smooth Vila Rica, the harmonically melodious Born Balaio / Hamper Box and the lightly grooved Luz Da Lua / Light of the Moon.

Along next is the late night embrace of Chorando de Rir / Laughing ’Till It Hurts and the dulcet Nem Tempo New Distância / Neither Time Nor Distance and they are in turn backed by the guitar-driven De Duas, Uma / One Out of Two, the graceful Aquele Mar / The Sea Over There, the set coming to a close on the opulently lithe Vou Mas Fico / Gone But Still Here.

Multi-instrumentalist and composer Nicholas Payton assembles a trio of visionaries with bassist/vocalist esperanza spalding and drummer Karriem Riggins on the album, TRIUNE, which also features guest appearances by Ivan Neville, Erica Falls, Nikki Glaspie, and Otis McDonald.

There is no shortage of remarkable trios in the musical landscape, but few, besides the pathbreaking trumpet player, keyboardist, and composer Nicholas Payton, could bring together three true visionaries and synergize them into one singular creative voice.

That’s just what Payton has done with TRIUNE, his exhilarating new album for Smoke Sessions Records, on which he’s joined by bassist and vocalist Esperanza Spalding and drummer Karriem Riggins.

“TRIUNE means ‘three in one,’ which is exactly how this trio functions,” Payton explains. “Each of us is a leader in our own right, but together we combine to form a unified sound.”

1. Unconditional Love [8:15]
2. Ultraviolet [6:59]
3. Jazz Is a Four-Letter Word [4:54]
4. Let It Ride [7:52]
5. Gold Dust Black Magic [7:20]
6. #bamisforthechildren [5:55]
7. Feed the Fire [7:49]

With Nicholas Payton, Esperanza Spalding, and Karriem Riggins being three of the most distinctive and innovative minds in modern creative music, this brilliantly sculpted new recording opens with the glowing Unconditional Love and then we get brought forth the structured smoothness of Ultraviolet, and the luxuriant Jazz Is a Four-Letter Word.

Along next is the easy grooved funk vibe of Let It Ride which is in turn backed seamlessly by the elegantly silky Gold Dust Black Magic, the euphorically-chanted #bamisforthechildren, the set coming to a close on the fervently rhythmical Feed the Fire.

Musicians:
Nicholas Payton - trumpet, flugelhorn, piano, Fender Rhodes, Clavinet, vocals, tambourine, and handclaps
esperanza spalding - bass and vocals
Karriem Riggins - drums
Nikki Glaspie - vocals on “Ultraviolet”
Ivan Neville - vocals, organ, and Clavinet on #bamisforthechildren
Erica Falls - vocals on #bamisforthechildren
Otis McDonald - vocals on #bamisforthechildren

Official Purchase Link

With sayr: salt | thirst, the first release in his new series of recordings for solo string instrument, Finnish-born guitarist, Arabic oud player and composer Jussi Reijonen offers an intimate, meditative counterpoint to the ambitious 5-movement suite heard on his acclaimed 2022 large ensemble work Three Seconds | Kolme Toista.

sayr: salt | thirst is an exploration of the small, the simple and the sparse; the rugged earthy; the gnarly unpretty; and most of all, of memories of roots and branches; of bare feet in soil; and of paths less – or differently – predetermined.

Rooted in a metaphorical reframing of the concept of “sayr” as found in Arabic music — a musical pathway or unfolding, literally “course” or “motion” —, this solo improvisation becomes a spontaneous exploration through an acoustemological memory palace: a pathway of memory recalled and reimagined through music.

1. salt [16:59]
2. thirst [23:01]
3. salt: sarvi [5:57]
4. thirst: koto [6:18]

Using a set of pre-composed musical gestures as loci or touchstones — like rooms in a memory palace — Reijonen opens this 4-track album on the austere, yet cannily cultivated, organically sewn 17 minute salt and then we get the elegantly humble, masterfully sculpted 23 minute opus thirst, before we are brought forth some thoughtful musical intricacies shown to the fore within salt: sarvi, the work coming to a close on the gently fervent, at times, artfully appealing and rhythmically intriguing at others, thirst: koto.

Official Purchase Link

The age-old spirit of the composer-performer lies at the heart of the 10-year collaboration between cellist-composer Christoph Croisé and composer-saxophonist Daniel Schnyder (pronounced SHNEE-der).

This resulting album (out October 3rd, 2025 via AVIE Records) features two of Daniel’s concertos, both commissioned by Christoph, alongside numerous world premieres of solo and chamber works. Christoph shines in the Concerto for Cello, Percussion and String Orchestra, whilst the two Swiss compatriots share the limelight in Concerto Populaire for soprano saxophone, cello, percussion and string orchestra, both backed by members of Christoph’s hand-picked Beyond Modern Orchestra, an ensemble dedicated to the creation and performance of new music.

Christoph brings in other close collaborators, including Alexander Panfilov for Jazz Sonata for Cello & Piano, harpsichordist Peter Gorobets for Cello BLU – another Christoph commission that explores the unique timbral relationship between the two instruments – and an octet of leading European cellists for Cubac – a fusion of Cuban rhythms and Bachian-counterpoint.

Throughout, Daniel’s compositions seamlessly fuse a melting pot of musical styles, including classical, jazz, Middle Eastern, African and Latin American. Christoph, who himself is rapidly gaining renown as a composer, says, “There is no more fitting way to celebrate contemporary music than by performing it alongside the composer himself.”

DANIEL SCHNYDER (b. 1961)
Concerto for Cello, Percussion & String Orchestra*
1. I. [7.18]
2. II. [7.44]
3. III. [7.22]
with Ruven Ruppik, percussion
Beyond Modern Orchestra

Concerto Populaire*
for Soprano Saxophone, Cello, Percussion & String Orchestra
4. I. [9.40]
5. II. [6.36]
6. III. [7.17]
with Daniel Schnyder, soprano saxophone · Ruven Ruppik, percussion
Beyond Modern Orchestra

7. Ad Aeternam* [5.34]
8. Jazz Sonata for Cello & Piano [6.20]
with Alexander Panfilov, piano

9. Cello BLU* [6.10]
with Peter Gorobets, harpsichord

10. CUBAC [6.03]
version for 8 Cellos*
Swiss Cello Octet

11. Karachi [3.14]
Nay Concerto: VI., adapted for Cello, Soprano Saxophone, Percussion & String Orchestra*
with Daniel Schnyder, soprano saxophone · Ruven Ruppik, percussion
Beyond Modern Orchestra

* World Premiere Recordings

This beautifully crafted new recording opens on Concerto for Cello, Percussion & String Orchestra and the strident fare of I which is followed by the stoically driven II and the forcefully fluid III; and then we get brought forth Concerto Populaire, which begins with the playful I and the ornately beautiful II, rounding out on the affecting III.

Along next is the forlorn, at times, yet melodically opulent at others Ad Aeternam, which is backed by the symmetrically emboldened Jazz Sonata for Cello & Piano, the set rounding out on the scintillating Cello BLU, the passionately charged CUBAC, closing on the Eastern-imbibed musical decadence crafted within Karachi.

Official Purchase Link

Daniel Schnyder, Cello Concerto, Christoph Croisé, Cello, Beyond Modern Orchestra [Official Video]

www.danielschnyder.com

www.christophcroise.ch

Composer-pianist Bruce Wolosoff describes the essence of his new album, Blue Mantra, as an engagement in multiple dialogues – between music and visual art, between the blues and chamber music, and between various moments in his creative life.

The title track was inspired by a painting of the same name by his artist-wife Margaret Garrett. Similarly, Matisse Fantasies arose from seeing a charcoal drawing by the celebrated French impressionist.

Blues for the New Millennium, commissioned by the Smithsonian Institution to commemorate the turn of the century, expresses a “before” and “after”, and marked a turning point in Bruce’s compositional style as he embraced a more directly lyrical, melodic compositional voice.

All three works are scored for clarinet, piano and varied strings, and revel in bluesy lyricism. Alongside Bruce’s formidable pianism is the virtuosity of his collaborators: clarinettist Narek Arutyunian, violinists Deborah Buck and Michelle Ross, and cellist Clarice Jensen.

Matisse Fantasies
1. I. Femme assise en robe longue [7.24]
2. II. La Violoniste à la fenêtre [8.08]
3. III. La Danse [7.00]
Narek Arutyunian, clarinet · Michelle Ross, violin · Clarice Jensen, cello
Bruce Wolosoff, piano

4. Blues for the New Millennium [16.41]
5. Blue Mantra [8.43]

With all three works having been scored for clarinet, piano and varied strings, Wolosoff opens on Matisse Fantasies, and the veritably shimmering Femme assise en robe longue, the playfully flirtatious La Violoniste à la fenêtre and the affectively ambient, at times sternly atmospheric La Danse; and then we get the stridently sculpted, all embracing Blues for the New Millennium, the set rounding out on a stoically dulcet nature drawn from within the title track Blue Mantra.

Musicians:
Narek Arutyunian, clarinet · Deborah Buck, violin
Bruce Wolosoff, piano

Official Purchase Link

Bruce Wolosoff- Matisse Fantasy #3 “La Danse” [Official Video]

www.brucewolosoff.com

Paris Amour is not an album about Paris, but it is very much an album of Paris. For singer, songwriter, composer and producer Keren Ann, every song that she writes represents a chapter of her life and takes on an identity deeply entwined with the place in which it was created.

Very often one album can contain snapshots from several continents, reflecting her homes in France and New York City and her travels across the globe. Paris Amour, performed in French, is unique in having been crafted entirely in her home in Paris’ Montmartre neighborhood.

“After years of writing songs,” Keren Ann says, “I find that the environment in which you write tends to become a big part of the project. Many of the songs on this album have nothing to do with Paris – many of them travel to the seaside – but all of them feel like horizons viewed from my living room.”

Out September 12th, 2025 via her own Bring Back Music label, Paris Amour is Keren Ann’s tenth solo album, a stunningly diverse and deeply personal collection of songs that captures a range of emotions with the vibrancy and nuance of a film score, produced by the composer herself.

1. La Sublime Solitude [Sublime Solitude]
2. Paris Amour [Paris Love]
3. Les Désirs Fatigués Des Navires d’Argent [The Tired Desires of Silver Ships]
4. Comme Si La Mer Se Divisait [As if the sea were dividing]
5. La Musique À Fond [Loud music]
6. L’Expérience Étrange De L’Inégal [The Strange Experience of the Unequal]
7. Les Remparts De Saint Malo [The ramparts of Saint Malo]
8. Que La Vie Est Belle [How good life is]
9. L’Écho Des Tirs [The Echo of Shots]

Fully flush with reminiscent reverbs from the adorable sixties and the lushly vivacious seventies, expertly veined with electro-pop pulses, this quite exquisite new recording opens on the smoothly airy La Sublime Solitude [Sublime Solitude] and then we get an effortless grace that flows through the dreamy title track Paris Amour [Paris Love], the dutifully alluring Les Désirs Fatigués Des Navires d’Argent [The Tired Desires of Silver Ships] and then we get the orchestrally humbling beauty of Comme Si La Mer Se Divisait [As if the sea were dividing] brought forth.

Along next is the upbeat and electro-poppy La Musique À Fond [Loud music] and the gently driven, swirling nature of L’Expérience Étrange De L’Inégal [The Strange Experience of the Unequal] and they are backed seamlessly by the warmly poem-esque Les Remparts De Saint Malo [The ramparts of Saint Malo], the set rounding out on the beautifully woven rhythmic sounds and beats of Que La Vie Est Belle [How good life is], coming to a close on the fervently sculptured electro-pop fare of L’Écho Des Tirs [The Echo of Shots].

“Some of the subjects that I speak about can be very dark,” Keren Ann admits. “But for me, there is something very luminous about this record.”

Indeed, Paris Amour contains joy and mourning, sensuality and yearning, passion and loneliness, amour and musique – all the emotions and sensations that thrive in a city with the richness and pulse of Paris.

Official Purchase Link

Keren Ann - “Paris Amour” (Official Lyrics Video)

www.kerenann.com

Nina Simone burst into the world with 1959’s Little Girl Blue, and music would never be the same. For over five decades, Nina entertained, enthralled, and educated listeners across her extraordinary recording and performance career.

After a triumphant concert at New York’s Carnegie Hall in 1992, Nina was approached by Elektra A&R executive Michael Alago (whose previous work at the label included Tracy Chapman and Metallica). When asked if Nina was ready to record again, she replied, “Get me the money… then we can talk!”

Modeled around two of Simone’s favorites, Frank Sinatra’s A Man Alone (The Words And Music Of Rod McKuen) and Billie Holidays’ Lady In Satin—with the common element that both were recorded with full orchestral accompaniment, the sessions began.

Backed by a 50-piece orchestra, Simone recorded the material that would comprise A Single Woman with producer Andre Fischer (Natalie Cole’s then-husband and former drummer for the band Rufus).

The ten tracks chosen from the sessions were revelatory, weaving songs about love in the style only Nina Simone could conceive and deliver. Simone recorded more material during the sessions, including covers of Bob Dylan, Prince, The Beatles, and Bob Marley, pointing to a potential follow up, but sadly, A Single Woman would be her final studio album before her passing in 2003.

1. A Single Woman
2. Lonesome Cities
3. If I Should Lose You
4. The Folks Who Live On The Hill
5. Love’s Been Good To Me
6. Papa, Can You Hear Me?
7. Il N’y a Pas D’Amour Heureux
8. Just Say I Love Him
9. The More I See You
10. Marry Me

Bonus Tracks:
11. The Long And Winding Road 12. The Times They Are A-Changin’ 13. Sign ‘O’ The Times 14. Baseball Boogie 15. I’m Gonna Sit Right Down And Write Myself A Letter 16. Do I Move You? (Take 2) 17. The Times They Are A-Changin’ (Alternate Take) 18. No Woman, No Cry 19. Do I Move You? (Take 1) 20. I’m Gonna Sit Right Down And Write Myself A Letter (Alternate Take) 21. Baseball Boogie (Instrumental)

Tracks 17, 19–21 previously unissued

Nina Simone in her prime recorded some fantastic stuff, even when she was a little off-key, so to speak. This original 1993 record is not the great lady in her prime though, I think we can all agree. Her voice had understandably lost its upper range and with the material chosen being so-so, her usual vocal verve for melodies and notes just did not have their usual channels to envelope.

Also, to my mind, the production is just a bit too heavy on strings and her wonderful piano playing seems absent - or at the very best sometimes buried in the mix, which is a great shame.

That said, as this is still Nina Simone after all, her deeply penetrating voice, combined with an absolutely careful pacing and all brought forth through the dramatic delivery she could always summon, does keep most of the songs from becoming overly sappy and/or lost album filler overall.

For here the High Priestess of Jazz-Soul herself harnesses the fear of loneliness and the sagely wisdom of one who has experienced love and will have it again, into an overall beautiful, again albeit somewhat over produced recording.

Oh, and for the record, and to my mind/ear, the title track, Single Woman rivals Billie Holiday’s The End of A Love Affair as one of those prophetic songs that will go on haunting you forever.

Now also included are a bonus of some 11 tracks that enhance the original album perfectly, with four of them never having been issued ever before.

They begin with the soulfully emboldened The Long And Winding Road and a beautifully reverberating cover of The Times They Are A-Changin’ and then we get a quite extraordinary reworked rendition of Prince’s Sign ‘O’ The Times, the fervently-charged Baseball Boogie, and the joyfully free flowing I’m Gonna Sit Right Down And Write Myself A Letter.

Along next is the bluesy brilliance of Do I Move You? (Take 2), an alternate take of The Times They Are A-Changin’ and they are in turn followed by a dutiful reggae bounce found with her version No Woman, No Cry, a first take of Do I Move You?, the set rounding out on an alternate take of I’m Gonna Sit Right Down And Write Myself A Letter, closing on a vivacious instrumental version of Baseball Boogie (Instrumental).

A Single Woman was reissued in 2006, adding seven of those performances left behind. Now, four more previously unissued recordings from those sessions have been added to create A Single Woman: The Complete Elektra Recordings — 21 tracks on CD and double-LP.

Newly remastered, this collection also contains new liner notes from the British Ambassador of Soul, David Nathan, outlining both the recording of the album, but also recounting his nearly three-decade relationship with Dr. Simone — beginning when he formed the UK Nina Simone Appreciation Society in 1965.

Experience this icon’s final studio recordings in the most comprehensive way with A Single Woman: The Complete Elektra Recordings.

Official Purchase Link

A neighbor on death’s door. A small town where people still say “hello.” Friends in a barn attic, making music late into the night. These are the real-life stories that thread through Slow Cooker, the new full-length from Say ZuZu co-founder Jon Nolan.

Rooted in community and recorded mostly live in the upstairs room of Newmarket, NH’s Stone Church Music Club, the album feels handmade - woven from intimate jam sessions, spontaneous connection, and a shared love of storytelling.

It began as a “just for fun” project among longtime friends and grew into something deeper: an ode to slowing down, paying attention, and creating together. The result is a warm, welcoming collection for fans of folk-rock authenticity. Think front-porch honesty with the crackle of a lived-in LP.

Slow Cooker is set for release on September 19th, 2025 via Strolling Bones Records.

1. Someone’s in the Driveway [4:20]
2. On My Own [3:03]
3. Sea Glass [3:38]
4. Frozen Man [4:24]
5. Hidden Glances [3:36]
6. A Bird That Sings [3:09]
7. Mad at Me [3:59]
8. Dust, Sweat & Blood [4:19]
9. Echoes of Borderline [4:49]
10. Goodbye for Now [2:58]

The internationally touring musician and record producer - and who lives in the historic milltown of Newmarket, NH - opens up his dutifully impassioned new recording on the effortlessly smooth Someone’s in the Driveway and the warm countrified twang of On My Own and then we get brought forth the more contemplative aura of Sea Glass, an emboldened Frozen Man, with the gently upbeat, late night porch soiree of Hidden Glances along next.

Up next is the guitar driven, country-blues-rock of A Bird That Sings which is in turn backed by the resolute guitar work of the more stridently cultured ballad Mad at Me, the low slung, troubadour-hued, gritty guitar rocker Dust, Sweat & Blood, the set rounding out on a languishing ache found driving Echoes of Borderline, coming to an all too soon close on the gently acoustic, early morning sounds of Goodbye for Now.

Official Purchase Link

Jon Nolan & Good Co. - Sea Glass (Official Video)

www.jonnolan.net

Jon Nolan @ Bandcamp

For those unaware, recorded at Papis Konaté’s bustling studio in Dakar, Senegal, Tree to Tree is Ashley Maher’s eighth album — and her most intimate and layered to date.

It weaves together fiery Senegalese mbalax, jazz, and West Coast storytelling into a richly rhythmic, globally-rooted sound. Featuring top-tier musicians from Senegal, Benin, Gabon, Congo, and Côte d’Ivoire, the album pulses with lyrical clarity, percussive brilliance, and emotional depth.

Maher’s own musical journey began with her first two albums on Virgin UK during London’s glorious African music heyday of the ’90s. Since returning to Los Angeles, she has continued building bridges with West African (specifically Senegalese) music.

On one hand, her music lives in a parallel space to Alune Wade, Hervé Samb, Cheikh Lô, and Youssou N’Dour. On the other hand, it would sit on the shelf next to Paul Simon, Sting, Peter Gabriel, and Ry Cooder as Western,-but-crossing over.

After recording albums 5–8 in Dakar, she is especially excited about this one. It ranges from acoustic to ferocious mbalax (featuring Youssou Ndour’s bassist and drummer), to songs recorded with an extraordinary current crew of Dakar-based jazz musicians from Benin, Gabon, Congo, and Côte d’Ivoire.

1. Music [4:53]
2. Salt and Pepper [4:02]
3. American in Dakar [4:26]
4. Till the Day [5:00]
5. Galon de Leche [4:11]
6. Dangerous [3:51]
7. Reading the Rings [3:57]
8. Ever Given [3:56]
9. Nenam [3:21]

On what is a vibrant dialogue between cultures — an album forged from decades of collaboration, trust, groove, and joy - it opens on the harmoniously free flowing Music and the rhythmically joyful Salt and Pepper and then we get a delightfully reworked/reworded Sting classic American in Dakar and the translucently emboldened Till the Day.

Along next are the all-embracing melodies found driving Galon de Leche and they are in turn backed seamlessly by the mellifluous Dangerous, the cheerfully honeyed Reading the Rings, the set rounding out on the vibrantly happy Ever Given, coming to a close on the atmospheric, globally rooted cultural sounds of Nenam.

MUSICIANS:
JEAN MERMOSE (Jj Mozart) - keys
PAPIS KONATE - keys
AMADY SIDIBÉ - guitar
THIERNO SARR - bass
ABDOULAYE LO - drums
BABACAR SECK - sabar
SAMBA NDOKH MBAYE - tama
WILLY BOUSSET - bass
ALIOUNE SECK - sabar
MILDAH (PELJACEREL MIAMBANZILA) - trumpet
SILVAIN BOCO - trombone
ASHLEY MAHER - vocals

www.ashleymaher.com

Ashley Maher @ Facebook

For those unaware, Russian-born pianist and composer Arina Oludina proudly announces the release of her debut album Through Different Worlds, recorded in New York City with a stellar ensemble.

The recording documents Oludina’s journey from a classical foundation to a deeply personal voice in jazz, balancing structural elegance, harmonic sophistication, and a modern improvisational sensibility.

Trained from the age of five, Oludina grew up immersed in classical repertoire, performing widely across Russia and Europe before deciding to follow her growing urge to compose and improvise. That pursuit led her to Jazzcampus Basel, where she studied under Brad Mehldau, Aaron Parks, Jorge Rossy, and Larry Grenadier, and where her compositional voice took form — rooted in classical tradition yet open to jazz’s freedom and vitality.

Through Different Worlds begins with “Brooklyn Anytime,” a melancholic jazz waltz composed in Brooklyn and recorded in trio with bassist Charlie Lincoln and drummer David Sirkis. Here, Oludina captures the mingled lyricism and restless pulse of New York, setting the tone for an album in which place and memory continually inform the music.

From there, the mood shifts with “Waterfall,” composed during her studies in Basel. Featuring Azat Bayazitov on saxophone, the piece flows with a sense of inevitability, its cascading lines echoing the imagery of its title while opening the album’s sonic palette.

1. Brooklyn Anytime
2. Waterfall
3. Prelude
4. Shadows
5. When You See The Ocean
6. I Trust You
7. Where Is My Home
8. At the Old Orchard

With Oludina, here on Through Different Worlds, making a confident and eloquent statement, one that also establishes her as a singular new voice on the international jazz scene, she opens on the playfully flirtatious Brooklyn Anytime and the atmospherically charged Waterfall, and then we get brought forth the decadent swirls and twirls that drive Prelude (composed during her studies in Basel and featuring a friend of Exclusive Magazine, the supremely talented Azat Bayazitov on saxophone) and the sheer elegance of Shadows.

Along next is the flourishingly resonant When You See The Ocean which is in turn backed seamlessly by an aching yearn that threads throughout the absorbent, once again saxophone-fed I Trust You, the set rounding out on the sumptuous Where Is My Home, coming to a close on the exquisitely refined At the Old Orchard.

Arina Oludina - Brooklyn Anytime (feat. Сharlie Lincoln and David Sirkis) [Official Video]

Arina Oludina @ YouTube

For those unaware, the duo of tenor saxophonist Ivo Perelman and trumpeter Nate Wooley will release Polarity 4, a pathbreaking document of their long-running musical partnership, November 7th, 2025 on Burning Ambulance Music.

Each volume in the Polarity series has been different from the others, and different from anything else in Ivo Perelman’s vast discography.

Polarity 4 is no exception, as its nine tracks include the first-ever example of overdubbing in his catalog; the opening “(one)” features two Perelman’s and two Wooley’s improvising over and around each other.

Ivo Perelman has released well over 125 albums on labels like Enja, Clean Feed, Leo, Homestead, Cadence, ESP-Disk’ and more. A tireless improviser constantly in search of new sonic vistas and new opportunities to play with others, he is also a visual artist and jewelry designer.

Nate Wooley is a trumpeter, composer and improviser dedicated to sonic exploration and experimental music. In addition to composing and performing, he edited the magazine Sound American for 30 issues over 10 years, and his writing has been published in The Nation, the New York Review of Books, and elsewhere.

Polarity was one of the first two releases on Burning Ambulance Music in 2021, and subsequent volumes arrived in 2023 and 2024. Each installment has received rave reviews from outlets like The Wire, DownBeat, and the Free Jazz Blog.

Polarity 4 will be released on November 7th, 2025 digitally and as a limited edition of 500 CDs in heavy-duty gatefold mini-LP sleeves printed on textured paper, with artwork by Burning Ambulance Music co-founder I.A. Freeman.

1. (one)
2. (two)
3. (three)
4. (four)
5. (five)
6. (six)
7. (seven)
8. (eight)
9. (nine)

With Ivo Perelman and Nate Wooley once again pushing each other to peak performances, and since their peaks are high, so is the level of improvisation, they open on the effectively charged (one) and then brings us a flourishing static within (two), the playfully ambivalent (three) and then the skittish, yet emboldened (four) comes forth.

Along next is the sidewinding, one minute, cautious and pensive the next (five) which is in turn backed by the confidently interspaced (six), the veritably spacial in its makeup (seven), the new set rounding out on the strident fare of (eight), coming to a close on the lightly honed, cautiously-imbibed (nine).

Official Purchase Link

Ivo Perelman @ Facebook

For those unaware, Franck Amsallem is an acclaimed international jazz pianist, playing, recording, and composing for over 40 years. A multi-talented musician, Franck is also much in demand as a composer/arranger, singer, and educator.

Franck has recorded ten CDs under his name and a major collaboration, New York Stories, with Joshua Redman, Roy Hargrove, and Danny Gatton on Blue Note USA. While living in New York City, Franck played as a sideman with Gerry Mulligan, Charles Lloyd, Jerry Bergonzi, Joe Chambers, Maria Schneider, Kevin Mahogany and Harry Belafonte as well as Gary Bartz, Bobby Watson, Rick Margitza, Tim Ries, and Blood Sweat and Tears.

Franck is the recipient of major awards (NEA composition fellowship, Great American Jazz Piano Competition, ASCAP award, Fondation de la Vocation, FACE cultural exchange) in both the U.S. and France.

Just released in 2025 on the Continuo label, The Summer Knows (un été 42) is a trio recording featuring bassist David Wong and drummer Kush Abadey.

1. Blue Gardenia [5:14]
2. La Chanson d’Helene [4:13]
3. Unforgettable [6:08]
4. You Won’t Forget Me [6:28]
5. The Summer Knows (un été 42) [7:16]
6. Agrigento [7:16]
7. Cotton Trails [5:33]
8. It Never Was You [4:27]
9. Morning Star [7:29]
10. Disclosure [3:54]

The pianist/composer/arranger/singer, who has lived his entire life between NY and Paris, opens his divine new album on the deliciously sumptuous Blue Gardenia and the low lying piano balladry of La Chanson d’Helene and then we get brought forth the melodiously upbeat Unforgettable, the sparklingly fluid You Won’t Forget Me and the decadent The Summer Knows (un été 42).

Along next is a strident confidence shown within the driven Agrigento which is in turn backed seamlessly by the spirited Cotton Trails, the gracefully elegant It Never Was You, the set rounding out on the lovingly spirited Morning Star, coming to a close on the regally impassioned Disclosure.

The Summer Knows (un été 42) M. Legrand [Official Video]

Official Purchase Link

www.amsallem.com

For those unaware, Aerostation is a band exploring new boundaries of rock through a contamination of genres and styles: alternative rock, crossover prog, hard rock, electronic music, fine pop, ambient.

It’s a power trio without a guitarist. Liquid keys and strong and powerful guitar-like edited sounds are melted together in an original way and played by Alex Carpani through his custom keytar, while Gigi Cavalli Cocchi’s personal and recognizable touch on drums brings forth a strength within energy.

Alex takes care of the lead and backing vocals whilst Gigi and Alex are accompanied by Jacopo Rossi on bass. Jacopo is a well-known musician from the international metal scene (Dark Lunacy, Nerve, Antropophagus).

Aerostation’s new album is called Rethink and was released worldwide on September 19th, 2025 via Alex’s own label Independent Artist Records. The album consists of 11 songs sung in English and musically speaking is a mix of crossover-prog / hard-prog / alt-rock /electronic-rock with a clear propensity to be combined with visuals, being a suggestive, descriptive and evocative music.

1. The Dive [00:57]
2. A Distant Cry [3:47]
3. Life Is Calling [4:20]
4. Meet Me At The End Of The World [4:06]
5. The Wait Is Over [3:37]
6. Drive My Soul [4:36]
7. Life Is Too Short [3:05]
8. Fly Over Me [4:15]
9. Soulshine [5:47]
10. Run As The Sun Goes Down [4:37]
11. Messiah [5:22]

With Rethink being a starting over period, after life has forced us to change, shed our skin, and take a new direction, Alex opens his brilliant new album on a quietly spacial growth within the short The Dive and then we get brought forth the propellant guitar rocker Distant Cry, the drum-led AOR of Life Is Calling, the rhythmic prog of Meet Me At The End Of The World and the atmospherically-charged The Wait Is Over.

Along next is an emboldened Drive My Soul and the mid-tempo, indie-alt sounds of Life Is Too Short and they are in turn backed seamlessly by the rising rock balladry within Fly Over Me, the melodiously grooved Soulshine, the set rounding out on the synth-driven beauty Run As The Sun Goes Down, coming to a close on the expansive Messiah.

Musicians:
Alex Carpani – lead and back vocals, keyboards, all virtual guitars
Gigi Cavalli Cocchi – drums
Additional musician: Jacopo Rossi – bass

Official Purchase Link

www.alexcarpani.com

For those unaware, Tenor saxophonist Ivo Perelman and trombonist Ray Anderson distill their proven chemistry heard in the quartet album Molten Gold (FSR 03|2023), here on their latest album 12 Stages of Spiritual Alchemy.

What they bring forth are twelve concise, alchemy-titled improvisations, which feature Perelman’s elastic lines and altissimo edge intertwining with Anderson’s plunger color, slide glissandi, and buoyant phrasing to forge vividly conversational miniatures of texture, tension, and release.

1. Separation [3:10]
2. Calcination [3:59]
3. Putrefaction [0:57]
4. Dissolution [3:07]
5. Coagulation [4:51]
6. Conjunction [5:45]
7. Sublimation [8:05]
8. Exaltation [7:53]
9. Projection [9:42]
10. Multiplication [1:28]
11. Fermentation [2:55]
12. Cibation [3:29]

A rare, high-caliber duo of tenor sax and trombone, this new recording opens on the jauntily staggered Separation and the Gothically-imbibed Calcination and they are backed by the charged, albeit short Putrefaction, the engaging Dissolution, and then we are brought forth both the expressive Coagulation and the organically fluent Conjunction.

Along next is the joyfully melodious, laughing-hued Sublimation and the fulfilling rhythms that drive Exaltation and they are backed seamlessly by the subtle, more rounded notes of Projection, the controlled, yet inquisitively fluid Multiplication, the set rounding out on the playfully flirtatious Fermentation, coming to a close on the divaricate Cibation.

Musicians:
Ivo Perelman, tenor sax
Ray Anderson, trombone

Official Purchase Link

Ivo Perelman @ Facebook

For those unaware, Melodic Meltdown is back after a 20-year vacation. These four tracks on their brand new EP entitled Touching Eternity show the old Danish band in a brand-new line-up and with new energy. This time around the line-up includes English drummer and producer Joe Clancy from the legendary Vardis.

“Retirement sucks”, Ozzy said back in the 90´s, and he was right… so here we are – stronger than ever. The band is now: Joe Clancy (Vardis, ex- Adrian Smith Blues band), Michael Søbygge, Lasse W. Wehner (Fears Unfolding) and Jacob Froberg (Guppyfish).

The four tracks on this EP are two songs and two instrumental tracks, which once again tells the old story of the band. The music is a bit of both worlds.

The genre is rock/metal as our mums used to cook it. The virtue is melody and balance, a steady groove, pounding drums, wailing guitars and a powerful voice, which leaves the listeners in a state of euphoria.

1. Touching Eternity
2. The Lie
3. Warlock (instrumental)
4. City (instrumental)

Incorporating a distinctly unique musical style that utilizes sophisticated classical, modern rock, blues, prog and even heavy metal, Meldodic Meltdown open this new EP on an ageless prog-rocker title track Touching Eternity and then brings forth the driven AOR of The Lie, with the EP rounding out on two instrumentals: in the form of the free-flowing Warlock and the sidewinding, guitar driven beast City.

Official Joe Clancy Website

Official Melodic Meltdown Website