This page will feature record and concert reviews from our DJs. John Hammel (Mozart To Motörhead) and Jeff From Oxford (The Perfumed Garden) get the ball rolling. Other DJ contributions will be added as they become available.

May Edition

Alison Krauss & Union Station – Arcadia (Down the Road Records)  - Alison Krauss (fiddle, lead vocal), Jerry Douglas (Dobro, lap steel, vocals), Ron Block (banjo, guitar, vocals), Barry Bales (bass, vocals) and Russell Moore – guitar/vocals.

Alison Krauss has one of the most beautifully effulgent voices in any musical genre and the melancholic opening track Looks Like the End of the Road alternately tugs at the your heartstrings & elates the sensibilities. I had to listen to the track twice as I, at first, was distracted by the sheer gorgeousness of her singing. Russell Moore, a new addition to the Union Station line-up gets to showcase his talents immediately and the next tune The Hangman, displays his bright, high lonesome tenor to brilliant effect. Every track is a stunner, and I admire how this band, over time, has evolved into a tightly woven musical ensemble more interested in cohesive musical artistry than ego strutting virtuosity. Although the virtuosity is evident in the strength and mastery of their playing in order to propel each song into the inner depths of your consciousness. (JH)

Shawn E. Okpebholo – Songs in Flight (Cedille Classics) - Shawn E. Okpebholo – composer – Rhiannon Giddins – vocals - Will Liverman – baritone – Reginald Mobley – counter-tenor - Karen Slack – soprano – Paul Sanchez – piano – Julian Velasco – sax.

This superb song cycle by composer Shawn Okpebholo is an exhilarating series of laments of hope, courage and steadfastness. Original text by poets Tsitsi Ella Jaji, Tyehimba Jess and Crystal Simone Smith are exquisitely wedded to the music & stunningly performed by all the soloists. Each number illustrates poignantly the deep connections within the individual and all of suffering humanity. The main cycle ends with four selections from other song cycles by the composer with the added addition of saxophonist Julian Valasco. They leave the listener hungering to hear more from the extraordinary composer. JH

Dave Liebman/Billy Hart/Adam Rudolph – Beingness (Meta Records) - Dave Liebman - soprano saxophone, wood flutes - Billy Hart - drum set - Adam Rudolph - handrumset (kongos, djembe, tarija), piano, thumb pianos, keyboards, gongs, dakha de bello, live electronic processing, percussion. Recorded live at The Stone in NYC March 31^st & April 1^st 2023.

Most of the live sounds from the audience have been engineered out of this exquisitely produced recording. I think exquisite easily applies to the 9 on-the-spot improvisations encapsulated here. Masters of their art and instruments there isn’t much to say, either constructively or critically for these three remarkable creative minds. If you like music that seduces, and challenges your canorous sensibilities, look no further. Adam Rudolph the youngster in the group at 69, along with Billy Hart at 84 and Dave Liebman, aged 78 unravel musical lines and ideas at a pace which would exhaust players decades younger. JH

Anouar Brahem – After the Last Sky (ECM Records) - Anouar Brahem, oud - Anja Lechner, cello , Django Bates, piano, Dave Holland, double bass.

Soul is exemplified by the ability to sing from the heart and stir the emotions of the listener. This is soul(ful) music of the highest order. The title of the album is taken from Palestinian poet Mahmoud Darwish. The poetry and subsequently the music is inspired by the horrifying conditions of the Palestinian people. Deeply felt and evocative. This music does not politicize in any sense. It insists on humanistic depth of feeling. For people. Our shared sense of home, family, love, necessity. There is nothing to be said about the quality of the music. The players are masters of their instruments and craft. In its own serene way this music shames politics, bitterness & hatred; the awful webs that ensnare all peoples and disrupts our quest for basic decency and communality. This album is art that helps point the way out of the morass of venality if we’ll only listen. JH

Dave Mason – A Shade of Blues – (Barham Records) – So you didn’t know that Dave Mason was a bluesman. Neither did I but he pays homage to the genre which spawned everything from jazz to r&b to rock n roll with veteran skill and tasteful reverence. Joe Bonamassa helps Dave get the ball rolling with Use It, or Lose It and sets the stage for enjoyable re-imaginings of blues and rock standards. Low Spark of High-Heeled Boys and Dear Mr. Fantasy as blues songs? I didn’t think so until now but your ears gotta believe what they hear. Great stuff from Dave & co. Not to mention his blues playing is exemplary and his voice has enough grizzle to sizzle and tickle your ears. JH [Trainspotting trivia: Dave turned 79 this month on the exact same day as Donovan and Graham Gouldman!]

Elton John - Brandi Carlile – Who Believes in Angels (EMI Records) – I’ve read some strange reviews of this record. I read a rave in The Week and then they oddly gave it 3 stars. Rolling Stone gave it 3 stars. The Guardian heralded its sincerity, musicianship, tunefulness and gave it 4 stars. It’s almost as if some folks are afraid/ashamed to admit they love this record. One review likened it to possibly leaning too heavily on Elton’s musical theatre sensibilities as if that were a very bad thing. I love this record. Elton sounds rejuvenated and Brandi like she’s having the time of her life. Elton hasn’t sounded this energetic since the mid-seventies. Did you catch their act on Saturday Night Live a few months back. Gimme some more! The tunes are catchy and well sung and played with a core band including Chad Smith from the Chili Peppers. Did I mention that I love this record. Brandi Carlile is a musical catalyst. First Joni, now Elton. Not quite an accurate or fair comparison but you get my drift. Oh, the lead track, a loving tribute to the great songwriter Laura Nyro is brilliant. Brandi worked on all the songs with longtime EJ lyricist Bernie Taupin. JH

Branford Marsalis Quartet – Belonging (Blue Note Records) - Branford Marsalis (saxes), Joey Calderazzo (piano), Eric Revis (bass), and Justin Faulkner (drums).

A world class quartet performing the music of Keith Jarrett. What could possibly go wrong? Nothing. Absolutely nothing. I’ve always contended that Brandford is the most talented musician in the Marsalis musical universe and there’s nothing here to dispute that. Marsalis tones are lushly centered & confident. He and his jazz henchmen delve into these tunes, dissecting, re-inventing, examining and exulting in the experience of joyous music making in their collective celebration of the genius of Keith Jarrett, thus effectively displaying their own. JH [More trivia: Keith Jarrett turned 80 two days before Mason, Donovan, and Gouldman and lives across town from Jeff from Oxford. Honest!]

Emma Rawicz Gwilym Simcock – Big Visit (ACT Music) - Emma Rawicz (Tenor & Soprano Saxophone), Gwilym Simcock (Piano).

Things get off to a rollicking start with Simcock’s raucous His Great Adventure. The two instruments skirl around each other joyously, setting the tone for an effervescent outing of sharp-tongued originals and two covers, Stevie Wonder’s Optimum Friction and Carl Fischer’s You’re Changed. Both players dig deeply into their psyches to present jubilantly meditative offerings. JH

Keith & Tex – Gun Life (Liquidator Music) – Two rock steady legends, Keith Rowe & Phillip “Tex” Dixon, reunited in the late 90’s and have sporadically released five albums since then in the Jamaican Rocksteady tradition. Forming back in the late sixties they are best revered in Jamaican culture for their 1967 hit Stop That Train. Rock solid rock steady whether singing about God, country life or relationships, these guys haven’t missed a vocal step. They sound and are great exponents of the genre & the tradition. JH

Satoko Fujii’s This Is It! Trio – Message (Libra Records) - Satoko Fujii – piano – Natsuki Tamura – trumpet - Takashi Itani – drums/percussion.

Long time listeners to the Mozart to Motorhead Radio Show know that Satoko Fujii is one of my favorite composer/players in the creative & improvised genre. She never fails to impress with the rigorous intelligence & emotionally soaring aspects of her work. This album is filled with energy, urgency and expertise in which all three startlingly brilliant players sweep you along in these vibrant compositions. Immensely exciting! JH

Nnenna Freelon – Beneath the Skin (Origin Records) - Nnenna Freelon – vocals - Alan Pasqua - piano, keyboards  -   Keith Ganz – guitar - Jonathan Richards – bass - Steve Hass – drums - Evan Roberson - trombone (2,3,6) - Shana Tucker - cello (1,5)

Elegant & sensitive songs and interpretation by Ms. Freelon. She began her career as a middling r & b/light jazz singer but has re-invented herself along the way into a deeply soulful singer who is able to dig her nails into your mind & soul, insistent in her ability to lure you into her sound world & vision. Richly textured compositions and playing teem along this ocean of emotion. JH

Rhiannon Giddens & Justin Robinson – What Did the Blackbird Say to the Crow (Nonesuch Records) - Rhiannon Giddens – banjo/vocals – Justin Robinson – fiddle/vocals.

This is about as down home as it gets. Rhiannon Giddens reunites with her old Carolina Chocolate Drops musical compatriot to engage in 18 jaw dropping renditions of old timey classics archeologically unearthed from the Americana bloodstream. These two bring energy & verve to this treasurable heritage proving in the process their own treasurable talents as well. JH

Felipe Salles – Camera Obscura (Tapestry Records) - Felipe Salles – saxes/compositions/piccolo flute/alto & bass flute/clarinet/bass clarinet, Nando Michelin – piano, Keala Kaumeheiwa – bass, Steve Langone – drums, Cushman Quartet: Laura Arpiainen – violin, Amanda Stenroos – violin, Anton Boutkov – viola,  Karl Knapp – cello.

Felipe Salas is a Brazilian native and it shows and wow. He brings the past, present and future together with an effortless compositional synthesis of fabulous tunes that incorporate jazz, native Brazilian tunes & rhythms, classical and more. A camera obscura projects seemingly realistic images inside a darkened enclosure. Salles has taken that concept and created tunes that work on a number of syncretic levels but no matter the source material he has blended it into a blend of imaginatively enticing miniature works of artistic merit & pleasurable musical enjoyment. JH

Abel Selaocoe – Hymns of Bantu (Warner Classics) – Abel Selaocoe – cello/vocals – Manchester Collective.

How do you classify something so unclassifiable? Wonderful renditions of Bantu folks songs, Bach, Marais & Sollima. South African Selaocoe is out to illustrate how song evolves from traditional modes to more complicated compositional concepts and beyond into improvisational creations, thus opening up new sound worlds. His cello playing is gorgeous and his vocal technique is astonishing encompassing folk, classical and even throat singing. Expressive and inspiring music. JH

The Sure Fire Soul Ensemble – Gemini (Colemine Records) - Bass – Omar Rodriguez-Lopez - Drums – Jake Najor - Guitar – Aquiles “Lito” Magaña - Keyboards – Tim Felten - Percussion – Kiko Cornejo Jr. - Saxophone, Flute – Jesse Audelo - Saxophone, Flute, Bass, Trumpet – Travis Klein - Tambourine, Shaker – Sheryll Felten - Straight outta San Diego the Sure Fire Soul Ensemble percolate a funky stew of instrumentals that allow a different member to shine on each track. Down, dirty, gritty, and smoothly energetic. JH

The Waterboys – Life, Death and Dennis Hopper (Sun Records)  - Four stars. One of the best records released this year. Mike Scott’s homage to one of the most revered & controversial counter-cultural figures in Hollywood history. Staying true to that spirit his song Kansas, the lead off track, is sung by Steve Earle and could easily be lifted from one of Earle’s own records. Mike Scott feels a kinship to this icon and consequently this is an auto-biographical as well as a musical biography of Hopper. Not everything works 100% of the time but it seems timely and consequential in it’s own write. Lots of energy and passion & considering the work’s topic, all is as it should be. The records is liberally sprinkled with notable guest turns here with the likes of Bruce Springsteen & Fiona Apple adding spice to the stew. JH

Soft Hearted Scientists - The Phantom Of Canton (The Hip Replacement) - It took a quarter century, but Nathan Hall and his Welsh wizards have finally succumbed to “concept album” mania with this cornucopia of psychedelic pop tunes with prog leanings (or is it the other way round?) concocted from various keyboards (e.g., a Cathedral organ!), guitars, sound effects and pre-cognitive motifs that pop up further down the yellow brick road. Whimsical flights of fancy from both Beatles and Delirium Lennons, Byrdsy jangle pop, Morricone-inspired soundtrack cues, a touch of Floydian hallucinogenics, a bona fide hit single (‘The Laws Of Physics’), and some Bonzoid tomfoolery to wrap things up are just some of the brain tags Hall tickles as he traverses the musical spectrum from big band and doo wop to psychedelic folk, punk, Berlin-era Bowie electronica, and Elephant 6 quirkiness. Dive in and feed your head with this heady stew of wonderfulness. JFO
 

Jeanines - How Long Can It Last (Skep Wax / Slumberland)

About two minutes! Challenging the Ramones for the “less is more” title Brooklyn trio Jeanines shoehorn a baker’s dozen poptastic ditties into twenty minutes of summertime fun. From C-86 touchstones like Marine Girls and Heavenly to the twee pop of the All Girl Summer Fun Band and early Slumberland signings the Softies and Go Sailor and fragile folk offerings of Vashti Bunyan, there’s a minimalist approach to Alicia Jeanine and Jed Smith’s compositions that occasionally end before we’ve fully absorbed their beauty (only two tracks top two minutes!) ‘What’s Lost’ is heartbreakingly poignant and ‘Satisfied’ and ‘How Long Can It Last’ are full of chin-up encouragement. Smith’s economical arrangements strip away the gloss to focus on the heart of each track, discouraging wayward diversions into extraneous solos and repetitive choruses, allowing the listener to focus on Jeanine’s introspective, melancholic lyrics. JFO

Sun Dial - Never Fade: A Collection Of EPs 1990-1992 - Collecting Gary Ramon’s early Sun Dial discography presents a daunting task for fans, with tracks appearing in different versions across various albums, singles, and EPs so this collection is a welcome catch basin of his early groundbreaking excursions into neo-psychedelia. Much like his contemporary Walthamstow neighbor Nick “Bevis Frond” Saloman, Ramon’s mind-melting guitar jams form the core of Sun Dial’s repertoire, beginning with the withdrawn “Colour Mix” of the heart-stopping fuzz monster ‘Explosions In Your Mind. ’The edited instrumental version of ‘Slow Motion’ is an air guitarist’s delight while several ‘Easy For You’ remixes reflect a Shamenesque excursion into electronica right down to the punny ‘Ebeneezer Goode’ title: ‘E’s Are For You’? ‘Fireball’ has an agreeable Tintern Abbey vibe, ‘Never Fade’ is a heavy-lidded dream, and the previously unreleased full-length ‘Overspill’ seemingly paves the way for Verve’s similarly hallucinogenic early efforts. JFO
 

April Edition

Mozart – Serenade in C Major - A Very Little Night Music (Deutsche Grammophon Records) – Haruna Shinoyama, violin - Neža Klinar, violin  - Philipp Comploi, cello - Florian Birsak, harpsichord.

Over 200 years after his death who thought we would be finding new Mozart works. Discovered in September 2024 this “new” work by Herr Mozart was authenticated, given a new Köchel number KV 648 and quickly recorded by the artists above. Written in his teens this music, in seven short movements, and in a bright sunny key, shows influences from his contemporaries at the time and less of the soon to be mature Mozart the world has come to revere. This work is dissimilar to other compositions from this period of Mozart’s life in which he was primarily focused on arias, symphonies and pianistic compositions. This is a vivacious recording, full of energy and daring, with Mozart’s signature melodic flair and harmonic integrity. A welcome addition to the catalog! (JH)

Muneses – Printup - Pag-Ibig Ko Vol. 1 (Irabbagast Records) - Matthew Muneses – saxophones – Riza Printup – harp

What a gorgeous recording! This is a meditation record. One to sit up and pay attention to or play as background and allow the beautiful sound to unravel and wrap itself around your soul. Both Matthew & Riza are American born musicians with Filipino roots and they expertly explore those roots with some of the most harmonically luscious music I’ve heard this side of John Coltrane’s Ballads album. They dive deep into the rich Filipino song heritage of kundiman, a balladic tradition of love songs, usually sung in Tagalog, with predominantly romantic themes. There are no sung parts in this duet album but that borders on factiousness as the performances by these two mind melding musicians are nothing short of fantastic. The music may be minimalistic in structure but it is maximalist in effect on the listener. (JH)

Pitch Rhythm and Consciousness – Sextet (Reva Records) - PR&C was co-founded by Charlie Burnham, violin - Tony Jones, tenor saxophone who expand the duo format to a sextet with the addition of Kenny Wollesen, drums & percussion - Marika Hughes, cello, Jessica Jones, tenor saxophone & Rashaan Carter, bass. This is huge music in the sense that they encompass so much within the time parameters of this release. Things begin with a reading from psalms on the tune "I Shall Not Want", which is deeply rooted in the spiritual tradition of African-American Music and then things meander like a river through myriad forms of creative styles both of music and liturgy, e.g., "Psalm for a Shared Tomorrow" takes its theme from a Jewish liturgical melody and then expands it’s horizons exponentially. This album delves into various religious and musical backgrounds but remains firmly rooted in it’s humanistic theme of expressing your inner being in the pursuit of shared commonality & longing for harmony in nature and life. Masterful musicality. (JH)

The Bad Plus – Complex Emotions (Mack Avenue Records) - Reid Anderson, acoustic bass + synthesizer - Dave King, drums + synthesizer - Ben Monder, guitar - Chris Speed, tenor saxophone.

I can’t believe it’s been twenty years of The Bad Plus forcing folks to reevaluate their perceptions about what a trio or in this case quintet version of the band, can and/or should be able to do. Alternately inhabiting dreamscapes, rockish puckishness, balladic grace or avant-garde tendencies, this record and configuration frame everything with over-arching melodic tension & release and richly harmonic layers. This music is absolutely everything fusion should be. I’m particularly struck by Ben Monder’s ability to shred or gently cajole the listener into his sound world. Or perhaps soul world is more apropos. This music is exploratory and enveloping, sometimes all at once. (JH)

Phil Hayes & Ben Monder – Transition(s) – Corner Store Jazz Records - Phil Hayes – drums – Ben Monder – guitar.

Well what’s to say here. Two masters of their instruments and improvisations. All compositions are credited to the two with the exception of John Coltrane’s "Transition" and Styne & Cahn’s "I Fall in Love too Easily", in which Hayes and Monder take those two classics for a ride down their uniquely creative paths. The music on this album is ingenious and pleasant in the best possible sound-scaping manner without breaking out into any richly melodic journeying. A great album to put on while you’re playing a game of chess. It might inspire you but it won’t draw your attention away from the tasks at hand. (JH) 

Santana – Sentient (Candid Records) – Carlos Santana can play and adapt his playing to anyone and any style of music. Carlos Santana is a prodigious talent with a unique gift of morphing seamlessly with his musical compadres. He displays those gifts on this compilation record, if you will, culled from his personal archives. In interviews he has described the album title as “…..someone who’s evolved and has graduated from the animal…towards gratitude, patience, humility, generosity, and consideration.” This album will envelop the emotions with collaborations ranging from Darryl McDaniels to Narada Michale Walden and his small group live in NYC, to Michael Jackson, Miles Davis, Smokey Robinson, his amazingly talented wife Cindy Blackman Santana to a vocal from Gregg Walker, one of the most talented singers in his many band incarnations, from the Moonflower album. A + record. (JH)

Ambrose Akinmusire – Honey from a Winter Stone (Nonesuch Records) - Ambrose Akinmusire, trumpet - Kokayi, vocals (1, 3-5) - Sam Harris, piano - Chiquitamagic, synthesizers - Justin Brown, drums - Mivos Quartet.

A beautiful blending of trance, modal jazz, poetry, hip-hop, EDM and classical chamber music. You may ask yourself whether this is your beautiful house but you will not be able to deny this is beautiful music making. Three beautiful(s) in two sentences and worth the hyperbole. Something rare and wonderful. (JH)

Brian Eno – AURUM (Opal Records) – Another aurally immersive deep listening experience from the Godfather of ambient music. His 30^th solo release is another exercise in his constant questioning of the world around him. Our place in it and today, increasingly, AI’s place in it and in our lives. He was recently quoted in an interview as having ambivalent feelings about AI. “The biggest problem for me about AI is not intrinsic to AI. It’s to do with the fact that it’s owned by the same few people, and I have less and less interest in what those people think, and more and more criticisms of what the effect of their work has been…” This goes hand in hand with concerns about AI and it’s “masters/owners” manipulation of creativity and artists. The album is gorgeously constructed to flow from one track into the next and can be enjoyed in that manner for it’s full 79 or so minutes or you can stop and go, and/or move the tracks around to create your own questing ambient soundtrack. Imagine your own answers to intriguing titles like "The Dawn of Everything"; "Lamented Jazz"; "Friendly Reactor Near Menacing Forest" and the album closer, "Dark Harbour." (JH)

Bryan Ferry – Amelia Barratt – Loose Talk (Dene Jesmond Records) – Okay not quite the collaboration some fans might wish for but a compelling record nevertheless. Bryan met Barratt at an art gallery and apparently hit it off. The poems and recitations are all Amelia Barratt with the music provided by Ferry from unreleased demos and updated with the addition of added musicians. Intriguing stuff and well worth the listener’s time although this is not Bryan’s solo project. If you want to hear his distinctive voice you’ll have to wait a bit longer. A solid B project. (JH)

Vijay Iyer & Wadada Leo Smith – Defiant Life (ECM Records) – Vijay Iyer – piano/Fender Rhodes/electronics – Wadada Leo Smith – trumpet.

Hope and compassion are at the soul of these compositions and creative inspirations from two of the most lauded and accomplished musicians of the past 60 years. Smith is 83 years old and still at the top of his game as a player & composer. Iyer his junior by 30 years has been one of the most astonishing talents in jazz history. With degrees in mathematics and physics, it is no wonder that his works embrace human and philosophical questions & conditions so luminously. Rigor, passion and elegance define both of these musicians work throughout the years and certainly on this magnificent album. The work begins with "Prelude: Survival" and ends with "Procession: Defiant Life" and along the way we are reminded through their music that nothing in life is easy; the path is rife with thorns and brambles; but the manner in which we handle the journey defines who we are individually and collectively. (JH)

Edwyn Collins – Nation Shall Speak Unto Nation (AED Records) – Collins is a Scottish singer/songwriter of great depth and splendid emotion. Lead singer for the post-punk band Orange Juice, he embarked on a solo career in 1985 and had a worldwide hit with "A Girl Like You" in 1994. Since then he has released seven more solo records, each showing signs of growth from the previous. In 2005 he suffered two cerebral strokes which resulted in aphasia. Two years later he was able to resume his career. Not unexpectedly this is a richly sculpted record with beautiful coloristic touches. Collins will use whatever he needs to create atmosphere, whether a splash of vibraphone here or a gently single note tinkling piano there to enhance his tales of human vulnerability and his quest(s) for personal peace and harmony. An effective and affecting album. (JH)

Jason Isbell – Foxes in the Snow (Southeastern Records) - Jason Isbell -  vocals & guitar. A true solo effort with Jason ditching the 400 Unit to make his most personal statement in years. Beautiful sound-scape’s of humanistic soul mapping by one of my favorite singer/songwriters out there. Whether it’s loneliness, alienation or drowning your sorrows with alcoholic self-medication, Jason Isabell cuts to the core of what is important to us all. Family, love, kindness and sharing those innermost feelings with others. A gorgeously poignant Americana album. (JH) 

Nels Cline – Consentrik Quartet (Blue Note Records) - Nels Cline: electric & acoustic guitars, effects - Ingrid Laubrock: tenor & soprano saxophones - Chris Lightcap: acoustic bass, effects - Tom Rainey: drums.

Nels Cline has nothing to prove in regards to the versatility of his musical tastes and proclivities. When he joined Wilco over 20 years ago there were some who worried that he would steer the band beyond Jeff Tweedy’s worst instincts but that didn’t happen at all as he slid in between the lines and did nothing more than further their already genre bending boundaries. In essence, the genius of Nels Cline was enhancing the Wilco ethos. The new band premiering here is comprised of some of the most adventurous creative musicians working in a jazz-oriented genre today. What comes out of the pot is a stew of ideas that show off their collective virtuosity and creativity to the utmost. Some have gently criticized this new ensemble for being a bit too eclectic for their own good, i.e., not forging a singularly sturdy identity but for me, that only makes them that much more attractive. Music that never gets too abstract and pulls you into their soul/sound world while not pushing you away. Genius stuff. (JH)

Pantomime Horses - Forever Polyester (Self-released) Former Portsmouth bandmates in mid-90s pop band Candystash Tony Laming, Nigel Kirkby, and Rob Silber reconnected via e-mail and began the long-distance assemblage of bits and pieces of songs they created at home (Lincoln, Portsmouth, and Barcelona!) on a computer over a five-year period until Forever Polyester was deemed fit for public consumption. The album is amazingly cohesive and boasts influences from a musical map of the last 60 years with hints of Portishead, The Jam, The Church, Blur, Strawberry Alarm Clock, et. al. - literally something for every taste! ‘YLF’ is a schizophrenic pop collage with Elephant 6 undertones (cf. Olivia Tremor Control) and ‘Paris Garden’ has such an engaging riff that it manages to lift a song with lyrics about sunken ships and suicide into a perfectly delightful pop tune! ‘Morning Star’ is one of the best earwigs we’ve heard in years - the obvious single if they still did such things. I hear more than a passing resemblance to Peter Gabriel in ‘Two Ice Cream Cones” and ‘Dressed Like Elvis’ cleverly nicks a lyric from ‘Wichita Lineman’ to good effect. We end floating in the cosmic debris of ‘Kryptonite’, meandering through outer galaxies that seemingly intercepted an eerie transmission from a shortwave numbers station a la The Conet Project.(JFO)

Meiko Kaji - Yadokari (Wewantsounds) The first vinyl reissue of Kaji’s fourth album (third in 1973!) comes in its original gatefold sleeve with an OBI and bonus 7” featuring the theme from her cult film Lady Snowblood (Shura No Hana) which inspired and was used in Tarentino’s Kill Bill Vol. 2. As with her previous releases it combines sweeping cinematic orchestrations, weeping ballads, and melancholic pop. The playful ‘Arijigoku’ (‘Ant Lion’) benefits from a jazzy trumpet motif and the lilting flute and tender guitar solo throughout ‘Kakioki’ (‘A Note Left Behind’) underscore Kaji’s mournful vocal. The funky ‘Hagure Bushi’ (‘Stray’s Song’) from her contemporary Sengoku Rock Hagure Kiba TV show will excite fans of crime show composers John Barry and Laurie Johnson and the jazzy blues swagger of ‘Kiba no Ballad’ (‘Fang’s Ballad’ from the same series) highlights her sultry vocal stylings. [JFO]

The Primitives - Let’s Go Round Again: Second Wave Singles And Rarities (2011-2025) (Elefant) The Primitives’ resurgence following a twenty-year hiatus has witnessed a deluge of singles, albums, EPs, radio sessions, compilation appearances and more. This mouthwatering collection gathers 28 selections from their “second wave” singles catalogue, including the complete ‘”Never Kill A Secret” relaunch EP featuring the title track’s delicate pop and garagey ‘Rattle My Cage.’ The “New Thrills’ EP includes some of their most infectious material with ‘I’ll Trust The Wind’ rekindling past glories. ‘Don’t Know Where To Start’ is a clap-happy banger, ‘Up So High’ is fuzzy psychedelia, last year’s frothy ‘I Won’t Care’ continues their trademark jangly sound, and recent single ‘Sweet Sister Sorrow’ may be their most deliciously frothy offering yet! Add a Christmas earworm, radio session, and Modular synthpop tribute and you have perfect pop for now people from the brilliant-yet-underappreciated pen of guitarist P.J. Court. [JFO]

March Edition

Satoko Fujii Tokyo Trio – Dream a Dream (Libra) - Satoko Fujii – piano/compositions – Takashi Sugawa – bass - Ittetsu Takemura – drums

Satoko Fujii begins her new trio record with a solo piano exposition that starts with an ominous basso profundo chord that quickly transform into rolling arpeggios captivating the inquisitive ear. This lasts for over two and a half minutes before she drops out to allow her young bassist Takashi Sugawa to pluck and pirouette around the foundation she has established. She comes back in with supporting block chords and then they trade ideas at a furious level until Ittetsu Takemura announces his solo arrival on percussion. Amazingly tasteful and eclectic stuff. After a minute or so, piano & bass tentatively join the conversation and we’re off to the creative races. Wow. This establishes the entirety of this marvelous record. Ideas and thoughts are pronounced, and then creativity soars as the three engage each other in improvisational puzzle cubes and modalities that play out with intelligence, wit and top-level musical virtuosity. [JH]

FKA Twigs – Eusexua (Young) –  FKA Twigs a.k.a. Tahliah Debrett Barnett, coined the word eusexua “…for girls who find their true selves under a hard metal silver stiletto on the damp rave floor.” She has gone on in interviews to describe eusexua as a “flow state…right before a surge of inspiration….or the moment before orgasm.” Pretty apt I’d say. She uses melodic pop tropes coupled with the booming thud of techno and dance as well as inspirational uses of electronics and looping to get her points across. Are you familiar with drum ‘n’ bass, trip hop, electronica, techno, dance et al? If not, then FKA Twigs is a perfect entry level as her avant-garde pop interweavings of these genres will entrance you and possibly entice you to wander down those unfamiliar corridors. One of the things I’ve found fascinating about her artistry is how she allows distortions of her facial features to adorn her album covers. I’m not sure what her modus operandi is but I admire the bravery behind these types of decisions. [JH]

Sasami – Blood on the Silver Screen (Domino) – A classically trained French Horn player who plays multi-instruments and electronics on her own albums, Sasami Ashworth deals in layered, complex emotions with a blending of stylistic and emotional influences drawing from her life and background. Raised in California in the Unification Church, which she has referred to as a cult, she uses this perspective as fertile soil for her daring lyrics, i.e., opener 'Slugger', in which she refers to getting herself together only to be informed she could be better and then calling herself a cancer. The production is powerful and fully complements the stories about the various guises of love and finding oneself on the crazy path of life we all have to forge. This is a richly textured album musically and emotionally. [JH]

Archer – Sudden Dusk (Aerophonic) – Whoa ah. A dream band of improvisers for the cognoscenti. Dave Rempis, a stalwart saxophonist of the Chicago avant-garde scene, with his ability to play both melodically or with the ferocity of the late, great Peter Brötzmann; Terri Ex, ex of the great improvising Dutch punk band The Ex; and a Norwegian duo on bass, Jon Rune Strom & drums, Tollef Østvang, combine to make one of the most exciting creatively improvising albums of the year. Three tracks, one mind bending excursion through modality and melodiousness. [JH]

Ringo – Look Up (Lost Highway) – Ringo’s back! To the country that is. What a welcome return. Ringo plays drums and sings lead on all tracks featuring a plethora of who’s who in the country and Americana camps. T-Bone Burnett wrote most of the tracks and produced this record and there are some who might suggest this is in all effect a T-Bone record but……………but, but, but if your front man can’t pull it off then it’ll land as flat as a dud on the 4^th of July at a small town rodeo barbecue. Ringo’s inherent sincerity and good-natured musicianship ensures that this record exceeds where most other star-studded efforts fail to cross the finish line. And what guests! Alison Krauss, Micky Raphael, Joe Walsh, Billy Strings, Molly Tuttle, et al. Most critics like this record but don’t give it the highest rating. Although I might agree, I find myself coming back to it for repeated listens. What does that mean? [JH]

Cymande – Renascence (BMG U.K.) – This has to be some sort of a record not just for longevity, of a kind, but for comebacks coupled with quality. Frustrated with the music business and lack of home town appreciation, Cymande, the great, great British funk, jazz, r&b group broke up in 1974. They did attain some notoriety as the first British group to headline Harlem’s legendary Apollo Theater. They were formed out of the Afro-Caribbean diaspora in London, originating from Guyana, Jamaica & Saint Vincent. Their original singer and percussionist was the great Ray King. Several members have passed on but six of the original line-up survive and incredibly re-united 50 years later to release this record in late 2024. With several additional newcomers and some guest spots by the likes of vocalist Celeste & British DJ Jazzie B, this new record soars on the nucleus of their core sound with today’s modern production techniques. I defy anyone to find a funkier album from 2024. These elders rock like there’s no past or tomorrow. Renascence indeed! [JH]

Neil Young – Oceanside Countyside (Reprise) – Neil Young is apparently on a quest to release everything he ever recorded. Thank goodness for us most of his archival releases are of a relatively high quality. This record is no exception. The album was recorded between May & December 1977 but was shelved when Neil decided on a different tack and instead released Comes a Time in the Fall of 1978. Three songs on this “new” record share space with Comes a Time: 'Going Back', 'Human Highway', and 'Field of Opportunity,' although the versions here are more stark and consequently, to my ears, more heartfelt. Neil is joined by close musical cohorts Ben Keith on steel; Rufus Thibodeaux on fiddle; Karl T. Himmel on drums & Joe Osborne on bass. On the epic 'The Old Homestead,' Tim Drummond is on bass and the inestimable Levon Helm plays drums. All of the songs on this album were on other records by Neil with the exception of 'It Might Have Been,' a short pithy tune performed to perfection in Neil’s wistfully best manner. This album’s tunes fit together well and offer poetic takes on the human condition and as far as I’m concerned, it shares space & comparison in the pantheon of great Neil records with Comes a Time. [JH]

Benmont Tench – The Melancholy Season (Dark Horse) – Humanistic, heartfelt and eloquent. Americana from a master. I kept hearing some of the great vocalists from The Band singing some of these songs. Yeah, they’re that good. Coulda come from the pen of Robbie Robertson or any of the other Band-mates. This is high quality songwriting and performances on this sophomore release by Benmont Montmorency Tench III. I think my favorite line is the profound “Jesus ain’t the only one who weeps at the sight of human unkindness……” How utterly appropriate in this unfettered selfish age we’re living in. The musicians on this release are top notch with Benmont being joined by Sebastian Steinberg on bass; Jonathan Wilson on drums, percussion, and guitars; Jenny O on vocals and guitar; Taylor Goldsmith on guitars; and Sara Watkins on vocal harmonies. [JH]

Jethro Tull – Curious Ruminant (InsideOut Music) – Delicate piano chords and single notes open this record and w/o much ado, we get the fully charged folky prog rockin’ Jethro Tull sound many of us have grown to love over the decades. The mix on this record is full & up front, most noticeably on Ian Anderson’s vocals. It should be noted that although Anderson has lost some range, he has lost none of his emotive abilities and works any limitations superbly. Although he may have lost a few of his higher tones, he amply makes up for that with some of his best flute playing in years. The title track is magnificently constructed and can stand alongside any of J.T.’s classic from their golden age. The most recent iteration of the band performs together excellently. 4 out of five stars. No filler and no resting on one’s well deserved laurels. [JH]

Lady Gaga – Mayhem (Interscope) – This is an intriguing record on multiple levels. "Mayhem" would be associated by most people with external forces pressing in upon us, individually and societally, but this offering by Gaga is more concerned with the pressure and dichotomy within. Dealing with the tensions and contradictions inside us all. Of course, an artist can only validly interpret their own tiny universe within. Art comes in the effort of making universality out of the personal emotions we all harbor. Gaga doesn’t offer a full-blown new direction musically but instead opts for a synthesis of sounds she has explored before. This production gives her a powerful outlet for the complexities she is revealing on this record. I will come back to this one again just for some of the sonic delights alone.

As a side note I saw her fairly recent hosting on SNL and her musical performances blew me away, as she seemed to be channeling both David Bowie & Kate Bush simultaneously. At age 38 Lady Gaga continues to be an artist who likes to push boundaries and explore all aspects of her personality. [JH]

Lamp Of The Universe - Echo In Light (Sound Effect) - This remastered reissue of legendary New Zealand guitarist Craig Williamson’s 2002 sophomore effort comes complete with “cleaned up” artwork to enhance Franz Landl’s mesmerizing psychedelic cover, a fitting tribute to the headswirling, spiritual listening experience within. Each song begins slowly, gently drawing you into Williamson’s hypnotic vocals and gently strummed guitar, but soon you find yourself lost in another world of tablas, sitars, trippy organs, and trance-inducing synth effects. What seems like an hour has only been five or six minutes of blissful relaxation. ‘Our Celestial Flow’ is wah-wah heaven in the style of Eddie Hazel and the 17-minute ‘Dream Sequence’ fondly recalls Nick Saloman’s early Bevis Frond jamfests, but the real prize is the 19-minute sidelong bonus track with sitar, acoustic guitar, tambourine, flute, and assorted percussives merging to form the hypnotic ‘Theories of Purified Psycho-Spiritual Unity.’ [JFO]

The Rishis - The Rishis (Cloud Recordings) - The Rishis' sophomore effort revolves around the songwriting duo of Ranjan Avasthi and Sofie Lute. Expanding to a full band, the pair are accompanied by members of the Elephant 6 Collective (Neutral Milk Hotel, Olivia Tremor Control, Elf Power). ‘Coloring’ starts things off with a rousing, countrified toe-tapper, featuring a twisty solo, barrelhouse piano, and brass pronouncements. We don’t hear enough Glockenspiel anymore, so Craig Landry’s subtle tinkling adds a spark to ‘Nite’, while ‘Criminal Activities’ kicks up the rock quotient for a stomping good time with blazing feedback and soloing from Chris Byron and Mac McCaughan ensuring the neighbours won’t be falling asleep anytime soon! Haunting Eastern inflections permeate ‘Dharamsala’ with bells, harmonium, tuba, pedal steel, Tanpura box, and Avasthi’s throat singing making this a true East-meets-West musical collaboration with a soothing, hallucinogenic vibe. The almost spiritual vibe hovering over instrumental closer ‘Rishikesh’ will fill your head with relaxing sensations, fuzzy visions, and a physical numbness to match your over-sensitised brain waves. Just don’t forget to get off the floor to turn the record over and start the experience all over again! [JFO]

Shapes Like People - Ticking Haze (Jangleshop) - The Shop Window frontman Carl Mann corralled wife Kat into adding vocals to his demos in the style of female-fronted projects like Sundays, Cocteaus, and Mazzy Star. The final results run the gamut from perky pop (‘Ambition Is Your Friend,’ ‘The Ship Is Soon To Sail’) to the glorious harmonies and tinkling vibes of ‘A New Crown.’ A dreampop delight from start to finish, there’s an occasional melancholic weeper to tug the heartstrings (‘Weathering’, ‘Server Of The Mind’, the string-drenched ‘Cry’), but you’ll be whistling along to the countryish spark of ‘Head Spun’, toe-tapping your way through ‘When The Radio Plays’, and smiling sweetly through 45 minutes of pure pop bliss. Not too stylistically different from Shop Window (see below), Kat’s vocals embellish the emotional impact of the exquisitely arranged and produced material, making this our favourite album of the new year. [JFO]

The Shop Window - Daysdream (Jangleshop) - The awkward title of this quintet’s third album represents both sides of the same musical coin: “Days” showcases their jangly pop personas whilst the “Dream” disc delivers a psychedelic shoegazing experience. Singer/songwriter/producer Carl Mann (also in Shapes Like People, above) wears his influences on his sleeve from The Smiths and Felt to Slowdive, Spiritualized, and Asteroid No. 4 and remnants of these and many others filtered into the recordings. ’I Run’ is earworm city and the fun continues throughout. Cosmic Rough Riders hover over ‘Lady Luck’, Cracker Van Beethoven [sic] frolic through ‘It’s A High’, and ‘Lost & Alone’ oozes Blue Rodeo and Asteroid No. 4’s cosmic cowboy pop. The “Dream” sequence starts with the shimmering pseudo-Cure ‘Miracles’, a marshmallow overcoat envelops ‘Blues’, and the band’s heady cornucopia of floating psychedelia, vibrating waterfalls of glistening guitars, and cotton-mouthed harmonies wrap up this stunning achievement with head-nodding illegal smiles ‘Made In Heaven’ for us mortals to enjoy. [JFO]