Like many a listener, Resonance founder George Klabin was bewitched when he heard Milton Nascimento’s singing voice for the first time. Introduced to him by Airto and Flora Purim when they were playing at a small NYC club, Klabin learned that the young man was in town to record at Rudy Van Gelder’s legendary New Jersey studio. Issued in 1969 on CTI Records, the resultant album was Courage, a classic-in-the-making (Klabin’s all-time favourite, in fact) featuring Herbie Hancock and orchestral arrangements by Eumir Deodato. Now, fifty-six years after its release, renowned clarinetist Eddie Daniels offers a fresh re-take of Courage, his third tribute album to a Brazilian music icon after earlier ones focusing on Egberto Gismonti and Ivan Lins.
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Just when you think you’ve discovered all the greats from the heyday of Turkish psych, along comes a rare nugget like this. Çetin Bükey was a saxophonist/flautist known for composing film scores, who also played on Barış Manço’s 1974 single ‘Bir Bahar Akşamı’.
Two years before that, and going by the name Chettini, he cut this ebullient slab of psychedelic soul-jazz with a heavy Turkish flavour.
Though only clocking in at a slim 26 minutes, its eight tracks ping with enough energy to get any party started. Bükey plays an exquisitely expressive clarinet, with a weeping intonation closer to a ney, across a selection of originals and traditional tunes. Bükey’s arrangements of the latter transform folk dances into jumping soul-jazz…
Chavela Vargas, the great Costa Rican-Mexican ranchera singer, once asked, “¿Cómo será de bella la muerte que nadie ha vuelto de allá?” (“How beautiful must death be that no one has returned from it?”) At a 2024 residency at the home of Vargas, one of the greatest musicians ever to speak on the subject, Silvana Estrada watched interviews with the late singer and wrote to understand her own grief.
For a musician so thoughtful about her words — and Estrada’s signature songwriting is, as ever, full of thoughtful words — the Mexican singer-songwriter’s latest album, Vendrán Suaves Lluvias, is often searching for them, doubling back, or abandoning them altogether. On 2022’s Marchita, Estrada introduced herself…
A band that has drawn on a variety of ’90s alternative inspirations (grungy alt-rock, winding math rock, tuneful pop-punk, shoegaze, and more), Cusp find their way to something still varied but more streamlined on their second album, What I Want Doesn’t Want Me Back.
Some of its relative consistency may well be due to how it was recorded: it was tracked almost entirely live at Electrical Audio in Chicago by a newly expanded five-piece edition of the group (with returning engineer Scoops Dardaris). This is not to say that the album suffers from sameyness; on the contrary, it was written during a period of transition as the project moved from Rochester, New York, to the Windy City, and is rooted in anxiety and the examination of forces like…
From playing shows alongside Amyl & the Sniffers and Sleater-Kinney, through to being signed by Jack White’s Third Man Records, it’s clear that Austin, Texas, quartet Die Spitz have found themselves in the right circles since their formation back in 2022. And while their frenzied live reputation certainly precedes them, it’s with their debut Something to Consume, that their vision comes into sharp relief. Far from scrappy or rough-around-the-edges, ‘Throw Yourself to the Sword’ is a punishing offering – landing closer sonically to metal titans Pantera and Black Sabbath – while ‘Sound to No One’ is a sludgy but mesmeric offering that could suit Deftones. Elsewhere, the bolshy strut of ‘Down On It’ brings a playful feel to proceedings before their hazy closer ‘a strange…
Amateur is prolific musician Molly Nilsson‘s 12th album, and while it stays true to the specific style of D.I.Y. synth pop she’s always created, it also embraces eclectic influences the way her previous album did. The title also refers to the joy and enthusiasm that drives creation, even though the word amateur also gets taken to mean someone who lacks professional qualities or ethics. To that end, her music seems to follow in the tradition of independently released synth pop efforts from the early ’80s rather than big-budget chart-toppers, with songs that might sound rough and unpolished, but are undoubtedly sincere and passion-driven. The lyrics also offer commentary on life in a capitalist system, delivered from the perspective of someone who’s worked hard…
Andromeda was a psychedelic/progressive rock trio formed by singer-guitarist John Cann (also known as John Du Cann), formerly of the psychedelic garage band the Attack, Mick Hawksworth (bass, vocals), and Ian McClane (drums, vocals). The group performed in various London venues including Middle Earth and the Marquee Club. Cann’s guitar was the dominant instrument, leading listeners through classically based psychedelic and progressive directions and creative dissonances, contributing to the trio’s impressive live sets. Andromeda combined their own original writing with elements appropriated out of familiar classical material. They were signed to RCA in 1969 but before that they’d appeared live on the BBC’s Top Gear program in 1968, and in…
Doperider, the fourth release from The Utopia Strong, is mainly a record of great and giving calm. The cover’s lettering may suggest Hawkwind at their most planetary, but this record is not a full on, pedal-driven dive into deep space. Rather, Doperider often encourages an investigation of its immediate surroundings, by way of some lysergically-tinged soundtracks.
Opener ‘Prophecy’, maybe the most narrational track on Doperider, is also its lodestar in terms of what to expect. The pleasantly wriggling synth sounds initially suggest we are present at a secretive undertaking in a lab somewhere. The slightly mycological patterns formed by the synths suddenly give way after two minutes to a crunchy beat (one of the few on the record)…
The album title is a quotation from Rainer Maria Rilke’s Letters to a Young Poet, which includes the phrase “what steps forth, in holiday clothing, out of the great darkness.” Cellist Clarice Jensen regards the image as a metaphor for the creative process, which often begins in isolation before its public unveiling.
The title track is separated into two parts, a trio of other tracks in-between. One can hear an obvious appreciation for Bach, although the compositional process is vastly different; the cello lines are played, layered and looped to create the illusion of a small ensemble. After a melodic base is established, the counter-melodies begin to develop, growing ever more assured. If a track could be recorded behind closed doors,…
Klein used to work as a “logger” on a reality TV show, where she would record what cast members were doing in excruciating detail for use in B-roll shots. In an interview with Pitchfork, Klein noted how easily TV can be manipulated by people willing to distort the narrative, as when her fellow loggers would exclude activities by certain actors to make them look bad.
Klein is the complete opposite. She puts everything out as it comes, raw and unfiltered. It’s obsessive and mundane in a different way, suffused with meaning even at its most impenetrable. After two albums of searing guitar noise, sleep with a cane feels like a retreat into the shroud of her earlier work. She finds solace, and intrigue, in the billowing folds of ambient…
Star Dream FM is a curiosity, an aural record of a radio station that doesn’t exist, miraculously brought to life. Dylan Henner imagines finding such a station, broadcasting memories of his seventeen-year-old self in all its glory and angst; the evocative track titles are like diary entries, the music an unusual blend of robotic vocal, choir, music and filtered frequencies. Listeners may be returned to their own childhoods, especially older listeners who once turned the radio dial late at night just to see what might be on, and found delights on the far edges of the dial. To be seventeen is to be between childhood and adulthood, between home and away, between what one has always been and what one will become; one can imagine this as a particularly welcoming time for fantasy,…
There’s a marked crossover from Celtic folk music at the moment. The Mary Wallopers now fill major rooms, while the likes of Lankum and Kingfishr edge the genre into the mainstream. Leading this charge are Brògeal, mixing the similarly imbued folk-punk of The Pogues and The Dubliners with indie-rock grandeur. Emerging during COVID, the band have since played pub basements up and down the country, packed festival stages, and nailed some high-profile support slots.
Each song layers vivid images of the pubs and streets of their home town of Falkirk (‘Vicar Street Days’), and its people (‘Draw the Line’), making the record an immersive scrapbook of vignettes. But beneath the frenzied tales of beer-soaked nights runs a remarkably delicate…
Centred on themes of dreams and the supernatural, with their vintage guitars accompanied by just Jon Thorne on double bass, Hannah Sanders & Ben Savage‘s fifth album, The Strangers’ Share, sees a return to the single microphone intimacy of their debut.
Mingling original material with traditional and covers, Thorne’s bass notes and a gathering tempo guitar run opens the title track with Ben on lead which draws on author Kevin Crossley-Holland’s 1997 retelling of the East Anglian ecology-based folk tale about our relationship with the land wherein tiny beings with long arms, legs and tongues, who, clad in green and yellow, would repay offerings of grain and the like by making the buds open and helping with harvest.
Joni Mitchell‘s Hejira is the last in an astonishingly long run of top-notch studio albums dating back to her debut. Some vestiges of her old style remain here; “Song for Sharon” utilizes the static, pithy vocal harmonies from Ladies of the Canyon‘s “Woodstock,” “Refuge of the Roads” features woodwind touches reminiscent of those in “Barangrill” from For the Roses, and “Coyote” is a fast guitar-strummed number that has precedents as far back as Clouds‘ “Chelsea Morning.” But by and large, this release is the most overtly jazz-oriented of her career up to this point — hip and cool, but never smug or icy.
“Blue Motel Room” in particular is a prototypic slow jazz-club combo number, appropriately smooth, smoky, and languorous.
Though the title may sound like a martial arts film, Anthony’s Wilson’s House of the Singing Blossoms is pure, jovial jazz. The guitarist is well known for touring with Diana Krall, but he is a good player in his own right.
His last nonet release came in 2006, so it is a treat to see where the years have led Wilson. With eight other hard-working musicians, he forms an exceptional group whose members play and sway with each other easily. The decent variety of material further offers the ensemble chances to flex their musical muscles.
Most of the tracks included are arrangements of songs by artists such as John Lennon/Paul McCartney, Keith Jarrett, Ben Wendel and others. Two of the tunes, which Wilson plays…
Cohesive and fluid are not words one would associate with the wild, spontaneous collective Bright Dog Red (BDR). Yet, relative to their seven preceding albums (all on Ropeadope), the upstate New York-based band seems to settle into a relentless groove on “Never Would We,” their tenth album overall. That’s one view. First-time listeners will likely have a different opinion. Even bandleader Joe Pignato says that it may be their most stylistically diverse album yet. After all, this is a band that enters the studio without charts or set lists. They start with a concept to inspire the musicians, poets, and MCs, and then begin to improvise. For this effort, the idea is the insidious nature of denial. As tracks took shape over 2024 and 2025, Pignato brought in…
French-born, New York-based saxophonist Jerome Sabbagh reconvenes his long-standing, empathetic quartet for the first time in more than a decade. Joined by guitarist Ben Monder, bassist Joe Martin, and drummer Nasheet Waits — stepping in for Ted Poor — Sabbagh delivers a versatile post-bop album dedicated to his early teachers. Yet, each of the eight original compositions is a personal homage to someone who shaped his musical path. The title Stand Up! — borrowed from a tune on one of his earlier quartet albums — feels especially fitting in a time of political turbulence.
The shimmering echoey of “Lone Jack”, dedicated to Ray Charles and producer Pete Rende, channels American roots music with a bluesy-country lilt that feels both grounded and forward-looking.
Jeff Tobias wrestles a frantic saxophone in psych-jazz Sunwatchers and a subtle bass counterpoint in serene and minimalist Modern Nature. Here in a solo project, he splits the difference, amping up indie melodies with proggy, jittery, staccato arrangements, and reinforcing dystopian scenarios with enticing, nearly pop tunefulness.
One Hundredfold Now in this Age takes a strong political stance, but sweetens the polemic with indie drift and dream. “End It,” allow only a brief interval of synth-and-strings shimmer before unspooling its insurgent chorus. “Burn the American flag, one hundred times a day,” Tobias croons, his tone unbothered, his message aflame, as a glittering fusion jazz fanfare goes off in his wake. The song was inspired by American…
