DONNY MCCASLIN, I Want More (Edition Records). Saxophonist Donny McCaslin may be best known for his efforts in the jazz realm (to say nothing of he and his band backing David Bowie on Blackstar), but this album leans right into the ambition of its title. Jazz, for the most part, is nowhere to be found. Instead, McCaslin uses electronics, reggae, and other not-quite-fusion foundations as the basis for this collection. The results are most … interesting. Like Miles Davis when he went electric, one only need to listen for McCaslin’s breathy tone to confirm it is, in fact, him playing on this departure from the norm. Or perhaps this is his new norm and it’s up to us to make the necessary adjustments. Once that is accomplished, though, we are taken on a highly stylized musical journey. Push aside what you think you know and dig into what is.
THEY WATCH US FROM THE MOON, Cosmic Chronicles, Act 1: The Ascension (New Heavy Sounds). If the vocalist from ABBA decided to front a prog-metal band, it might sound a little something like this. The siren-like voices of Luna Nemesis and Nova 101001 drift over the crunch brought forth from the rest of the band. It’s quite the sensation, even if there is a small degree of “sameness” to the band’s riffs, which becomes noticeable toward the end of the second track. Fortunately, the band does a quick shift for the next tune before returning to their original form. Cosmic Chronicles won’t make you forget your favorite melodic metal album, but it does offer an interesting departure worth exploring.
VOYAGER, Fearless in Love (Season of Mist). Music from the metal realm may not always be described as “catchy,” but here we are. The combined sound of vintage synthesizers, heavy guitar, and melodic, Duran Duran-ish vocals make for a relatable sound, indeed. Thoughts of bands like Haken may permeate, but it’s justifiable. Nor does it need to be seen as a detriment. It won’t take long to start singing along while banging one’s head. Even at its heaviest (and that’s pretty heavy, indeed), Voyager’s music remains highly accessible. Fearless in Love finds a way to sound modern and vintage at the same time. It’s a nice combination.
https://youtu.be/PNWUquK578o?si=O8Qc2LDfw6pDYjeU
SOFT MACHINE, Other Doors (MoonJune Records). Whether playing composed pieces or improvising, Soft Machine continues to own their place in the musical realm, using a smooth Canterbury meets jazz sound to bring their point across. Guitarist John Etheridge and Theo Travis (saxes and keys) bring a well-controlled fire to their melodies, while Fred Thelonius Baker (bass) and John Marshall (drums) maintain the steady groove. Recently retired bassist Roy Babbington makes a couple of choice cameos, helping the Softs get where they’re trying to go with ease and precision. Fans will appreciate the continued addition to a legendary legacy.
KOPPEL COLLEY BLADE, Perspective (Cowbell Music). Put three top-tier musicians in the same room at the same time and good things are bound the happen. Such is the case with Perspective, a classy recording from a talented trio consisting of Benjamin Koppel, Scott Colley, and Brian Blade on sax, bass, and drums, respectively. Theirs is a relaxed, easygoing chemistry where each player is given more than enough room to do what he does best. Simple but not simplistic, Koppel is more than adept at creating calm but intricate melodies. Colley lays down a nice groove that allows Blade to run inside and outside of it, depending on what he’s feeling. This is one of those bands that makes for an ideal trio. Any more players would just get in the way.
CÉDRIC THEYS, Colour Spectrum (Mad Ducks Records). Don’t judge a book by its cover, they say. Yet the cover of U8 touch guitarist Cédric Theys perfectly captures what lies inside. Open-ended, ethereal grooves support sharp, piercing lead work. The arrangements can seem a bit sparse, but that’s okay … everything else is given room to stand out because of it. The bass clarinet of Elsbeth Williams adds an unexpected but effective layer of melody. The album paces itself nicely, giving us time to take everything in as the music moves past us. No doubt this album is designed for multiple listens, where more can be picked up each time.
WHITE DENIM, Relaxed (Radio Milk). What have we here? An interesting throwback stew of sounds from the 70’s, 80’s, and 90’s, presented with the brevity of recordings from the 60’s. White Denim manages to show you their influences without showing you their influences. It’s relatively easygoing pop/rock with plenty of substance to go with their style. This is one of those records that’s better heard than written about. Nice to find something unique in today’s glut of copycat artists.
LETTUCE, Live in Amsterdam (Lettuce Records). Missing the heady days of groove-oriented, horn-driven bands like the Bar-Kays and Tower of Power? Well, never fear because Lettuce is here! A band best presented playing live is here doing just that, keeping the flash to a minimum, the vibe to the maximum, and reminding us of the importance of being and staying “up on the one,” as Bootsy Collins and Prince would’ve demanded. No one band member stands out above the others, which is exactly what this band requires. Fans are given the opportunity to tap their feet, away rhythmically, or just break out and dance to the band’s deliberate mid-tempo funk-filled beats. This is modern day Stax-Volt, presented for mass consumption half a century after its heyday. But the music isn’t dated. It’s nothing short of groovalicious! Ya dig?
https://youtu.be/EzKh9Uj-DSM?si=9jcyunBxipmX87Qc
DIRT POOR ROBINS, Prelude to Firebird (Dirt Poor Robins). As ambitious as EPs come. Dirt Poor Robins could remind one of Muse with its epic electronic sweeps flowing over Top 40 hooks. Not quite a prog-rock headbanger, but not a simplistic fluff piece, either. If anything, this music strikes an interesting sonic balance. Having a feminine voice out front also helps separate this band from the pack. One can only imagine what this band can and will do with a full LP to work with.
https://youtu.be/3mozne9n0_0?si=iF0wZ8HFqxX7BcAP
THE REFUGEES, California (The Refugees). A Los Angeles-based trio, The Refugees and their lovely three-part harmonies have put together a collection of their favorite covers. Each band they explore hails from … wait for it … California. So, we are treated to songs from The Byrds, The Beach Boys, Sly and the Family Stone, and a host of others. The band’s Americana-based sound makes for interesting arrangements that work, if only because it makes the songs sound that much leaner. All that and the vocals provided by Deborah Holland, Cyndi Bullens, and Wendy Waldman sound like the three of them were born to meet and sing together. If you’re looking for a diversion from heavier sounds, here ya go!
https://youtu.be/JH6xyx4HTGM?si=V7jnD0UOMWBBew36
THE NATIONAL, Laugh Track (4AD). A band like The National making an album called Laugh Track has to have been done ironically, right? This is not a band that comes across as playful or comical. This is The National’s second release in just five months, with these songs coming from the same sessions as First Two Pages of Frankenstein, released earlier this year. The band views Laugh Track as a optimistic breakout from the previous release. Well, as they say, your mileage may vary. To be certain, the band sounds like The National, and that’s not a bad thing. But while things are a bit more uptempo this time, the essence of the band remains the same. Laugh Track is a nice companion piece to Frankenstein, but it’s far from a re-invention of the wheel.
https://youtu.be/MArOLaaXDQ4?si=L2t8ABKJmKbY5o59
OLIVIA PÉREZ-COLLELLMIR, Olivia (Adhyāropa Records). A musician’s recorded efforts are often viewed as the sum of their influences. This talented young pianist/composer’s musical tastes can definitely be heard, but they are blended in such a way that no one style — jazz, classical, flamenco, folk — dominates in any way. The one constant is everything coming from Latin roots, and that makes for good listening. Olivia has the feel of album that was dying to be recorded, with all of its elements floating about waiting to be pulled into a particular composition. The piano is passionate and tasteful as it propels the proceedings along with panache. It’s a solid debut and hopefully there’s more to come.
https://youtu.be/b21kaoeAz9g?si=PL_vc6cVDZnmA9Rz
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I’m currently at work on my second book The Wizard of WOO: The Life and Music of Bernie Worrell
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CirdecSongs 
All sorts of interesting sounds in that selection. And a thoroughly enjoyable tour through multiple genres it was.
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Thanks for taking the time to check them out!
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