Carolyn Trowbridge Presents “Duchess of Sheba”
With “Duchess of Sheba,” Carolyn Trowbridge steps decisively into the foreground as a composer and bandleader, unveiling a piece that is both hypnotic and commanding. Serving as a key introduction to her Found Memories project, the single distills years of cross-genre experience into a sound that feels deliberate, immersive, and richly transportive.
At its core, “Duchess of Sheba” is driven by vibraphone, Trowbridge’s primary voice, which glows with a warm, resonant shimmer throughout the track. Rather than functioning as a decorative layer, it acts as the melodic anchor, unfolding phrases that feel ritualistic and cyclical. The use of the pentatonic scale and the overall oriental sound of the single places is squarely in Ethio-jazz traditions, where groove and mode take precedence over overt harmonic complexity.
The instrumentation is spare but deeply effective as flute lines drift in and out of the arrangement, offering an airy counterpoint to the vibraphone’s metallic clarity. The guitars are used more for subtle rhythmic propulsion than lead statements, while bass and drums lock into a fluid, understated groove that maintains momentum without ever demanding attention.
Stylistically, “Duchess of Sheba” sits at a crossroads between contemporary jazz, Ethio-jazz, and modern Exotica-influenced soundscaping. There’s a cinematic quality to the arrangement; a sense of place and atmosphere that evokes mid-century exotica. But instead of sounding nostalgic, Trowbridge reframes those influences through a modern jazz lens, using texture and tone as narrative tools.
While Trowbridge is long respected as a versatile percussionist, her previous output often emphasized color, texture, and interplay within broader group contexts. On
“Duchess of Sheba,” however, she asserts a clearer compositional identity. The vibraphone no longer decorates the margins; it leads the story.
What’s particularly striking is the track’s discipline. Solos are integrated seamlessly into the ensemble fabric rather than spotlighted for virtuosity’s sake. The focus remains on mood, motion, and collective momentum: a choice that reinforces the track’s hypnotic character and highlights Trowbridge’s maturity as a composer.
“Duchess of Sheba” is a confident and immersive statement that bridges global jazz influences with contemporary sensibilities. Subtle, groove-driven, and richly atmospheric, the single suggests that Trowbridge’s upcoming album, “Found Memories,” will be less about genre boundaries and more about crafting spaces listeners can inhabit.
https://www.carolyntrowbridge.com/listen
Doug MacDonald Trio Presents “Live In Beverly Hills”
With “Live In Beverly Hills,” guitarist Doug MacDonald opens a time capsule and finds it still glowing. Recorded at the Beverly Hills Art Show on May 19, 2012, and released more than a decade later, this previously unreleased live set captures MacDonald alongside bassist Lou Schoch and drummer Billy Paul in a moment of rare alignment.
Despite its age, the album doesn’t sound dated, and arrives as a vibrant jazz statement that feels as immediate and alive as the night it was played. At its core, Live In Beverly Hills is a classic guitar trio jazz album, rooted firmly in the mainstream style while leaving ample room for spontaneity and personality.
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The album’s repertoire reflects both respect for the jazz canon and confidence in original material. It opens with a buoyant take on Luiz Bonfa’s classic, “Samba De Orfeo,” setting the tone with a rhythmic lilt and melodic clarity that immediately draws the listener in. The guitar work here is fluid and lyrical, while Billy Paul’s drumming adds crisp, conversational commentary beneath the melody.
Two MacDonald originals, “Unimpressed” and “Mall Blues,” anchor the album’s compositional identity. “Unimpressed” is a minor-key piece characterized by its toned-down guitar and bass solos, offering a spacious framework for improvisation. “Mall Blues,” by contrast, is a compact, up-tempo riff-based tune that highlights the trio’s tight rhythmic coordination and instinctive pacing.
The standards are handled with equal care and imagination. One of the album’s most distinctive moments comes with “Early in the Morning,” where bassist Lou Schoch steps forward as a blues vocalist. “Yesterdays” closes the album with a passionate, reflective reading that underscores the trio’s emotional range.
What truly elevates Live In Beverly Hills is the chemistry between the musicians. MacDonald, Schoch, and Paul shared a long musical friendship, and that familiarity translates into an intuitive, almost telepathic rapport. Paul’s drumming is alert and responsive, while Schoch’s bass lines are melodic and grounding, leaving space for MacDonald’s guitar to soar.
Live In Beverly Hills stands as a compelling reminder of Doug MacDonald’s strengths as a guitarist, composer, and bandleader. It is a record built on swing, trust, and deep musical conversation: rewarding close listening while remaining immediately accessible.
https://www.dougmacdonald.net/
Circus Mind Presents “Whole Lotta Nuthin”
Circus Mind has long specialized in blending soul, funk, rock, and Americana into something warm and lived-in, and this latest release finds them doubling down on that ethos. With “Whole Lotta Nuthin,” The New York–based band delivers a single that feels deceptively relaxed while carrying a quietly pointed message beneath its groove.
At its heart, “Whole Lotta Nuthin” is a song about authenticity in an age of decadence and chasing trends. The title suggests emptiness, but the track flips that idea on its head, framing “nuthin” not as absence, but as a rejection of artificial gloss.
Circus Mind sticks to their traditional style by avoiding heavy-handed commentary. Instead, they lean into direct, conversational lines that feel grounded and intentional. This restrained and straightforward approach allows the message to settle naturally into the groove, rather than standing apart from it.
That groove is the track’s backbone, as “Whole Lotta Nuthin” unfolds over a laid-back rhythm, driven by a supple bassline and tight drums. The arrangement draws heavily from vintage soul and funk, as guitar accents punctuate the rhythm without overcrowding it. There’s a tasteful horn solo that kicks in as the interlude, adding color and lift to the single.
Rechler’s vocal performance is a central strength. His delivery is smooth, expressive, and grounded, carrying an easy confidence that suits the song’s message. He doesn’t oversell the emotion and lets phrasing and tone do the work.
The production on this track favors warmth over polish, and the mix allows instruments to breathe, preserving their natural character rather than sanding down every edge.
The vocals sit comfortably in the mix, close enough to feel personal, while being supported by an ensemble that sounds organic.
Taken as a whole, “Whole Lotta Nuthin” is a quietly confident release that plays to Circus Mind’s strengths. It doesn’t attempt reinvention, but instead refines what the band already does well. In doing so, it makes a compelling case that sometimes “nothing” can mean a whole lot more than it seems.
https://linktr.ee/circusmindband
Vinyl Floor Present ‘Balancing Act’
With their sixth full-length release, “Balancing Act,” Danish melodic rock outfit Vinyl Floor delivers one of the most thematically cohesive albums of their career. On this record, the Copenhagen-based brothers Daniel Pedersen and Thomas Charlie Pedersen refine the sound they have patiently developed over nearly two decades and push it into richer, more nuanced territory.
At its core, Balancing Act is exactly what its title suggests: an album built around emotional, artistic, and societal equilibrium. Generously colored by symphonic, progressive, and electronic elements, it doesn’t fit into one particular niche. However, Vinyl Floor’s foundation remains classic, with drums, bass and guitars forming the backbone with lush strings, subtle synthesizers, and layered vocal harmonies elevating the arrangement.
The band opts for a warm and vintage-leaning sound on this record that’s slightly reminiscent of British 60s pop-rock. While the influences are evident, nothing sounds dated; a testament to the final mix and master by Søren Vestergaard at The Shelter. Recorded live at Studio Möllan in Malmö with Swedish producer Emil Isaksson, the basic tracks have an immediacy and cohesion that give the songs room to breathe and strike a fine balance between polish and presence.
The lyrics of Balancing Act are often surreal and rich in imagery with no straightforward message. Themes of insecurity, false promises, creative doubt, and personal resolve recur throughout the album, giving it a reflective, sometimes mystical tone. Importantly, the songwriting avoids grand statements in favor of smaller observations.
The lead single, “Mr. Rubinstein,” establishes the album’s dramatic scope. Built around a slow-burn arrangement of piano, strings and measured rhythm, the song explores the uneasy relationship between artist and critic, ego, and self-doubt.
Meanwhile, “Puppet Laureate” is a more upbeat track that is more traditional in its sound with a guitar and horn-driven arrangement. The title track, “Balancing Act,” is the album closer, and takes a darker note as it critiques the futility of playing the balancing act that is life.
Across all thirteen tracks, Balancing Act stands as a mature and thoughtfully crafted album, showcasing Vinyl Floor at a creative high point. It successfully balances classic melodic rock sensibilities with orchestral depth and modern production. Rich in atmosphere and emotional intelligence, the album rewards attentive listening and confirms Vinyl Floor’s place as one of Denmark’s most quietly compelling rock acts.
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Twitter: @vinylfloorband
Instagram: @vinylfloorbanddenmark
Carl Clements Presents ‘Retrospective’ Out March 1, 2026
Veteran jazz composer Carl Clements commands your attention with his latest project, “Retrospective,” a jazz quartet that showcases the wealth of experience he’s amassed over the years. With Retrospective, recorded with the Real Jazz Trio, Clements turns his experienced ear toward both reflection and reinvention, offering an album that bridges tradition and exploration in subtly compelling ways.
Boston-based but internationally active, Clements’s musical life spans decades of saxophone mastery, world music study, and original composition. A Ph.D. in Ethnomusicology and a lifetime of study with luminaries across jazz and Hindustani classical music lay the foundation for an approach that comfortably treads between modal jazz, post-bop, world fusion, and improvised music. His earlier quartet album A Different Light, released on Greydisc in 2024, exemplified this; folding North Indian bansuri and Asian melodic inflections into modern jazz frameworks with admirable fluency.
Like his previous works, Retrospective stays rooted in modern jazz but leans into the acoustic interplay of a classic trio setting; saxophones and flute up front, supported by piano, bass, and drums. This ensemble format is a natural evolution of Clements’s prior quartet work, but the trio framework l brings a more integrated group voice, where each player anchors and propels collective improvisation.
The album opens with “One for Joe,” a lively piece where Clements’ virtuosic saxophone playing takes the forefront. The call and response between him, Johannes Schaedlich on bass, and Jean-Yves Jung on piano keeps the single fresh, and the album opener passes through like a breeze.
The lengthier “Mobius” proceeds with gravitas, taking a weightier and more measured approach. The wind instruments are more melodic and song-like in this track, with Jens Biehl on drums being responsible for driving it forward.
But the standout track is the closer, “Kadam,” which showcases Clements’ North Indian flute training. The flute takes the spotlight and weaves together the accompaniments into a harmonious melody that combines jazz and Hindustani classical music to create something more than the sum of its two parts.
The production on every track is immaculately done, with enough polish to enhance the listening experience without sounding overdone. The placement of the drums in the mix is especially smart as it never overpowers the melodic lines, but still sounds crisp and powerful.
Retrospective may not be a nostalgia piece in the conventional sense, but its title feels apt: the album distills Carl Clements’s artistic identity into a dynamic trio setting that honors his past while embracing fresh sonic possibilities. Fans of modern jazz with world-inflected melodies, and masterful saxophone storytelling will find much to savor here.
Ron Rieder Presents ‘Compositions in Blue and Other Hues’
Massachusetts-based composer Ron Rieder makes a decisive turn toward straight-ahead jazz with his latest release, “Compositions in Blue and Other Hues.” Featuring a collection that is as rooted in tradition as it is animated by personal expression, this new album strips away the clave and replaces it with rhythms that swing, bop, and breathe.
At its core, Compositions in Blue and Other Hues is a study in jazz color. The title itself signals Rieder’s intent, with “blue” functioning both as an emotional reference point and as a stylistic anchor. The “other hues” suggest a broader palette of tempos, and textures across eleven original compositions,
https://ronrieder.hearnow.com/compositions-in-blue-and-other-hues
Stylistically, the album sits firmly in the straight-ahead tradition as hard bop, blues, and swinging post-bop forms dominate the soundscape. Yet it never sounds academic or reverential. Rieder’s writing favors clear melodic ideas and logical harmonic movement, providing fertile ground for improvisation while maintaining strong compositional identity.
The album’s sequencing reinforces its conceptual coherence, as each track feels like a distinct shade within a larger spectrum. from the earthy blues inflection of “Peach Blossom Blues” to the playful retro imagery suggested by “Broadway Boogie,” Rieder demonstrates that he’s not afraid of experimenting. Even the brief “Interlude: Amingus Amonkus” functions as a tonal palate cleanser, nodding subtly to jazz lineage while keeping the album’s momentum intact.
Much of the album’s strength lies in the caliber and chemistry of the ensemble. The quintet features Yaure Muniz (trumpet), Mike Tucker (tenor saxophone), Maxim Lubarsky (piano), John Lockwood (bass), and Mark Walker (drums), bringing a collective energy that elevates the material beyond the page.
Produced by Rieder himself, the album benefits from a clean, natural production aesthetic. The mix favors clarity and balance, allowing each instrument its own space while preserving the feeling of a live ensemble in motion.
Ultimately, Compositions in Blue and Other Hues succeeds because it reaffirms straight-ahead jazz as a living, expressive form. Rieder’s compositions invite the listener in, and showcase the kind of musicianship that thrives on trust, interaction, and shared intent. It’s a reminder that sometimes the deepest colors emerge not from expansion, but from refinement.
Breaking Weather, Breaking Free: Eleyet McConnell Aim for the Open Sky with “The Horizon”
There’s a moment in every good rock song where metaphor stops being decorative and starts being necessary. On “The Horizon,” Eleyet McConnell understand that instinctively. This is not a song that tiptoes around struggle or dresses resilience up in clever irony. It plants its feet, looks straight into the wind, and decides to push forward anyway.
For a husband-and-wife duo known largely for Americana warmth and emotional nuance, “The Horizon” marks a deliberate shift. It is their most rock-oriented track to date, leaning hard into classic rock DNA—big guitars, forward momentum, and a chorus built to lift rather than console. You can hear echoes of heartland rock and late-’70s resolve here, the kind of sound that once believed songs could help people stand back up.
The opening verse sets the tone with plainspoken unease: storms looming, doubt creeping in, questions without answers. It’s the language of someone who’s tired of pretending things are fine. But the genius of the song lies in how quickly it refuses to stay there. By the time the chorus hits—“I’ll take it head on; that’s my way”—the track has already made its decision. This is defiance as a muscle memory, not a pep talk.
What makes “The Horizon” work is its lack of self-pity. The lyrics acknowledge pain, control, and escape without drowning in them. The second verse sharpens the edge, shifting from survival to agency—“From now on I’m the one in control.” That line isn’t aspirational; it’s declarative. The bridge seals it, burning daylight, breaking chains, unlocking doors. No poetry workshop tricks here—just forward motion.
Musically, the song carries that message with conviction. The guitars are muscular but not flashy, the rhythm section steady and insistent. Everything serves the climb. There’s restraint in the arrangement that keeps the track grounded, even as the chorus aims skyward. It feels built for live rooms and open highways rather than playlists and trends.
Eleyet McConnell’s strength has always been authenticity, and “The Horizon” expands that truth rather than abandoning it. Winning a Josie Music Award in 2024 confirmed their credibility in the independent scene, but this track suggests something else: confidence. Confidence to get louder, to get tougher, to trust rock’s oldest promise—that sometimes the best way through the storm is straight ahead.
“The Horizon” doesn’t chase the sun. It earns it.
–David Marshall
MAJA JAKU Presents ‘BLESSED & BEWITCHED’
European jazz icon Maja Jaku steps confidently onto the American jazz stage with her fifth studio album, “Blessed and Bewitched.” Recorded in Brooklyn and released on Origin Records, this album is a carefully curated statement; balancing a range of emotional themes across originals and standards.
Intimate and assured in its delivery, Blessed and Bewitched It is not a radical reinvention of the jazz vocal tradition, but rather a deeply felt extension of it. It’s shaped purely on the strength of the ensemble, featuring strong compositions and thoughtful production.
At its core, Blessed & Bewitched is a modern jazz vocal album rooted in classic sensibilities. Jaku’s approach to singing is cinematic and image-driven, and she often phrases with patience, allowing silence and space to heighten the emotional impact. There’s a quiet intensity to her voice that’s sensual without excess, making the album feel contemplative and personal.
https://www.prestomusic.com/stream/album/9812411
The instrumentation reflects a classic jazz quartet-plus configuration, elevated by the caliber of the musicians involved. Jaku’s group is highly responsive, and clearly understands how to frame a vocalist without crowding her. Alan Bartuš’ piano provides harmonic warmth and narrative momentum, while Michael Rodriguez emerges as a key voice on the album; his trumpet lines often acting as a second narrator.
The album opens with “The Witch,” a dark, atmospheric piece that immediately establishes mood. Jaku’s voice is understated but magnetic, drawing the listener in with subtle inflections rather than overt power. It’s a fitting introduction, suggesting mystery and inner strength while setting the album’s tonal palette.
From there, “I’m a Queen” shifts the energy decisively. Built on confidence and determination, the track allows Jaku to stretch rhythmically and emotionally, incorporating moments of scat singing and playful assertion.
The inclusion of standards is handled with care and intention, with “Never Let Me Go” being rendered with warmth and emotional immediacy, as Jaku’s phrasing breathes new life into familiar material. The album closes with “Everything Must Change,” delivered with dramatic pauses and out-of-tempo phrasing that underscore the song’s sense of inevitability and acceptance.
Ultimately, Blessed & Bewitched positions Maja Jaku as a jazz vocalist of depth and discernment. It’s an album that rewards close listening, built on nuance rather than spectacle. This is a well-crafted artistic statement that highlights Jaku’s expressive voice, strong compositional instincts, and ability to lead a world-class ensemble.
Dave Stryker Presents ‘Blue Fire The Van Gelder Session’ Out January 9, 2026
Rudy Van Gelder’s Englewood Cliffs studio is known for its innumerable catalogue of iconic contemporary jazz records, and guitarist Dave Stryker adds his name to that elite lineage with his latest record, “Blue Fire: The Van Gelder session.” For Stryker, this album represents the fulfillment of a long-held dream. Having come up through the ranks alongside legends like Jack McDuff and Stanley Turrentine, Blue Fire is a statement of his personal evolution.
At its core, Blue Fire is modern jazz steeped in the organ trio tradition, a format that demands trust, and responsiveness. Without a bass, rhythmic momentum must be shared, and Stryker’s trio thrives in that openness. The album is a masterclass in texture and conversation, seamlessly blending hard-bop agility and soul-jazz warmth.
https://www.allmusic.com/album/blue-fire-the-van-gelder-session-mw0004722281
The opening track, “Van Gelder’s Place,” immediately signals the theme of history and connection, setting a reflective tone that acknowledges the studio itself as an unseen fourth member. From there, the record unfolds like a guided walk through different emotional and rhythmic spaces, all unified by the trio’s shared language.
Stryker is joined by his longtime collaborators Jared Gold on Hammond organ and McClenty Hunter on drums, a trio that has worked together for roughly two decades. That longevity is audible as there is no sense of hierarchy here: only collective momentum.
Stryker’s guitar tone is warm and articulate with his solos really shining through on the title track “Blue Fire.” Throughout the album, his performances unfold in long, conversational lines that feel spoken rather than announced.
Gold’s organ work is both foundational and exploratory, and while he stands out on “Waiting for Ruby,” his real strength is to stay relevant even when he isn’t in the spotlight. The bass lines, harmonic color, and expressive solos that push against the edges of the groove add a depth and character that can only be produced with experience.
Hunter, meanwhile, is the trio’s quiet engine: agile, alert, and constantly shaping the music’s direction without ever dominating it. The trio’s interplay is especially effective in Van Gelder’s famously resonant room as notes hang just long enough to breathe, allowing ideas to develop naturally rather than rush forward.
Blue Fire: The Van Gelder Session doesn’t aim to be a flashy record. Its strength lies in clarity, connection, and craft. This is jazz as a lived experience; shaped by decades of playing, listening, and collaboration, captured in a room that has heard it all before.
IRIEspect Presents “Lost In Time”
Long Island-based Latin/Reggae collective IRIEspect delivers a clear statement of artistic growth with their latest EP, “Lost in Time.” Drawing from reggae’s deep-rooted traditions while confidently branching into dancehall, Latin, and hip-hop rhythms, the five-track project showcases a band pushing past familiar territory.
At its foundation, Lost in Time is unmistakably reggae. The off-beat skank, warm basslines, and relaxed rhythmic pulse remain central, but IRIEspect uses these elements as a springboard rather than a constraint. Their approach is clear from the start, as “Want Me Too” leans into breezy island vibes, accented by steel pans and bright melodic textures that immediately set an inviting tone.
Instrumentation is one of the EP’s biggest strengths, as the band weaves together brass sections, melodic keyboards, and dynamic rhythm changes with ease. “Lost (feat. Nick Corredor)” stands out in particular, featuring soaring horn arrangements amidst a generally relaxed flow, displaying a nuanced understanding of song dynamics.
On the band’s cover of “Me Gustas Tu,” they heavily incorporate Latin influences with multilingual vocals and traditional drums to give the global superhit a unique flavor. Closing track “Dangerous” injects some rock energy into the EP, ending it on a gritty, high-octane note that contrasts sharply with its more laid-back moments.
Songwriting across Lost in Time reflects a noticeable step forward for the band. While IRIEspect have always excelled at feel-good, groove-driven tracks, this EP shows greater emotional and compositional range. Hooks remain catchy and accessible, but there is more intention behind the arrangements and lyrical delivery.
The great thing about this album is that the production achieves an effective balance between polish and authenticity. The mix is clean and well-defined, allowing each instrument space to breathe without sacrificing the organic feel of a live reggae band. Bass and drums are particularly well-handled, providing a solid backbone for the group’s genre-blending ambitions.
Lost In Time succeeds because it feels both adventurous and grounded. It respects reggae tradition while refusing to be boxed in by it, offering a vibrant, well-crafted EP that highlights IRIEspect’s growth as songwriters, musicians, and producers.
https://www.instagram.com/iriespectmusic/
https://www.facebook.com/IRIEspectMusic/
Rebekah Snyder Presents “Up on the Housetop”
Rebekah Snyder ushers in the holidays with warmth and sincerity through her latest single, “Up on the Housetop.” Drawing from the deep well of Americana and country tradition that has long informed her songwriting, Snyder transforms this Christmas standard into a beautiful family-centered moment.
In a time when holiday singles are characterized by glossy pop maximalism, Snyder’s approach is refreshingly sincere. At its core, “Up on the Housetop” remains faithful to the song’s enduring narrative: Santa’s rooftop arrival, the thrill of anticipation, and the childlike wonder that has kept the tune alive for more than a century.
Snyder doesn’t attempt to modernize the lyrics or reinvent the structure, and instead reframes the song emotionally. Recording the track with her three children, who contribute vocals, playful rhythmic clicks, and enthusiastic “ho ho ho” refrains, she leans into the innocence and communal spirit embedded in the original composition.
Musically, the arrangement is rooted in classic country and Americana textures, and features a lively mix of acoustic guitar, piano, fiddle, banjo, and drums. A fiddle-led bounce propels the song forward, while a subtle rhythmic swing keeps it buoyant and festive. One of the track’s most distinctive flourishes is a playful blue yodel, reinforcing Snyder’s affection for traditional forms.
Snyder has proven time and time again that she’s an amazing vocalist, but on this track, her performance is relaxed and inviting. It’s not meant to be a perfect single, just an enjoyable one. The slight rough edges are precisely what give the recording its emotional credibility, and it feels like an organic moment you’d have in the living room.
When placed alongside contemporary holiday singles, this track stands apart through its restraint. It aligns more closely with nostalgic country and Americana Christmas recordings, where tradition takes precedence over spectacle.
Ultimately, “Up on the Housetop” succeeds not by reinventing the holiday song, but by reminding listeners why the classics endure in the first place. It’s a modest, heartfelt release, and in a crowded season of Christmas singles, Rebekah Snyder’s offering stands out quietly, like a warmly lit window on a winter night.
https://www.instagram.com/rebekahsnyderofficial/
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Jude Gwynaire New Album ‘Stars, Rocks and Cars’
UK-based composer and author Jude Gwynaire delivers one of his most expansive and outward-facing albums to date with “Stars, Rocks and Cars.” Ambitious in its undertaking, fans of Gwynaire’s earlier work will note that this record is rooted in his long-standing experimental instincts while being noticeably more song-driven.
Thematically, Stars, Rocks and Cars is preoccupied with movement and observation. It attempts to capture the mood of driving through cities, passing landmarks, fleeting encounters, and moments of reflection caught between destinations. There’s a strong visual quality to the composition, and even without lyrics, it evokes images of suburban sprawl, and nocturnal introspection.
Stars, Rocks and Cars sits comfortably in the orbit of cinematic alternative music, but it resists being boxed into a single lane. There are echoes of classic instrumental rock, touches of psychedelia, and moments that feel almost soundtrack-like in their pacing and tonal shifts.
The album opens with “Night Drive Through My City Notorious,” one of its strongest statements. A thumping, jazz-inflected nocturnal journey, the synths create bright woodwind textures and piano chords set to a jagged, urgent rhythm. Its retro character and dynamic pacing make it an instant attention-grabber and a standout moment on this album.
“Star-Spangled Alice” is one of the heavier moments on the album and probably it’s most visceral track. This is Gwynaire in full rock-out mode letting loose with his Epiphone Les Paul pushed through a Big Muff pedal. The track is raw, unapologetic, and thrillingly direct; a sharp contrast to the album’s more delicate or atmospheric moments.
The album closes with “The Church of the False Martyr,” a deeply unsettling track that features ethereal chants, church bells, and organ to create a chilling, otherworldly atmosphere. It’s an effective and memorable finale that reinforces the album’s fascination with night, shadow, and mood.
The production on this album is perfectly done, highlighting the musicianship without overshadowing it. The arrangements feel intentional and paced while the sound is polished but not overly glossy, preserving a sense of intimacy and grit.
Stars, Rocks and Cars is a confident and engaging step forward for Jude Gwynaire. It balances experimentation and structure, creating an album that feels cinematic, personal, and thoughtfully assembled. Longtime listeners will not be disappointed with this evolution, and for newcomers, it may well be the most approachable entry point into his catalog so far.
Tobin Mueller Serves Up ‘Mueller’s Wheel: The History of Jazz’
Enjoy some bop-funk as Tobin Mueller invites us to take a spin on ‘Mueller’s Wheel: The History of Jazz’. With elements of jazz fusion, funk, swing and bop, Tobin Mueller will excite your ears with this lively sound. This album is a collaboration between keyboardist Tobin Mueller and saxophonist Woody Mankowski. Many of the tracks are done by a quartet while some feature a full ensemble and duets. With influences that range from Count Basie, Charlie Parker and Lester Young to Herbie Hancock, The Brecker Brothers and Weather Report, ‘Mueller’s Wheel: The History of Jazz’ will not disappoint.
On the song “The Long Sleep”, standout piano playing can be heard that catches your attention immediately. On “Seafood Gumbo”, enjoy this delicious mix that’s a real mover and shaker from beginning to end. You can also SKOPE out the official video for “Seafood Gumbo” right here: https://www.youtube.com/watch?v=uN3tWlbtPJw. It’s time to head into “Saddle Shoe Sally” where you can’t help yourself and will want to dance, so don’t fight the feeling! Get ready to consume “Oasis On The Rocks” where an intoxicating beat & melody is shaken not stirred. Listen responsively and enjoy this musical concoction that is “Oasis On The Rocks”. I am really enjoying the sax playing and overall groove on “Lost In The West Village” as this track truly shines. The following composition “Fusion Of Minds” brings an instant connection and inviting sound that can’t be denied. The audience will be “Struttin’ Up Bourbon” next where a pleasing rhythm and easy-going tempo leads the way. There is an exotic element in place on “Windowshade” that is out of this world and this aspect will keep you engaged throughout the song. Moving on, “Mueller’s Wheel” is turning and perfectly balanced making for one fun and memorable ride. Prepare to embark on a strong ‘n’ steady stroll to “Cliff’s Edge” where things are certainly looking UP. Tobin delivers a flavorful and spirited performance on “Deconstruction of a Glance” that will make you feel good inside & out. Who’s ready to take a healthy trip to a land of funky, fresh notes? If you answered yes, then “Acid Hopping” is just the right medicine for your musical palette. Now, it’s time to “Rock The Baby” and jam out without a care in the world! Tobin Mueller is bringing the noise and not holding back on “Let The Rumpus Begin”. On “Prestigitation”, the listener receives a delightful mix that offers a variety of rich elements to consume. Get ready to open “Pandora’s Box” and handle with care as you enjoy all of the goodies inside. On “Escaping The Fray Zone”, sheer wonder and intriguing dynamics will keep you on the edge of your seat from beginning to end.
Tobin Mueller is all about making joyous music that people can vibe to and connect with and ‘Mueller’s Wheel: The History of Jazz’ is your ticket. Tobin keeps it loose and fun while also respecting and honoring the jazz greats that came before him. These qualities are what makes this album a must listen proving that Tobin is a true artist with a real vision. Tobin Mueller isn’t reinventing the wheel at all, but he is creating something special and innovative with Mueller’s Wheel: The History of Jazz’.
By Jimmy Rae
Mitch Dalton Comes with ‘Out Of The Shadows’
Mitch Dalton is one of the UK’s most respected studio guitarists and now he invites the world to step into the light and ‘Out Of The Shadows’. The album features a magnificent London rhythm section made up of David Arch on keyboards, Steve Pearce on bass, Tim Goodyer on drums and Sammy Mayne on flute & saxophones. The record also includes some other special guests and they are Grammy nominated SWR Big Band and percussionist Edwin Bonilla. The album was recorded and mixed at Red Kite Studios by Martin Levan and also introduces Jazz Morley on select tracks. Mitch Dalton brings a ton of influences to the table; everything from jazz fusion and blues to The Great American Songbook, Latin and Bebop. Mitch Dalton’s love for American music is undeniable as you will witness this on ‘Out Of The Shadows’.
On the track “First Thoughts Are Best”, the listener will hear a very funky & jazzy beat along with a phenomenal groove and pristine instrumentation. Get ready for some Island hoppin’ on “Bird Meets Cat” where the chase is on as you embark on a fun-filled adventure that ends on a happy note. Sensational singing can be heard on the following song “We Do It” where pleasing vocals are equipped with pure elegance & charm. Track four, “I Got Room 335”, offers up such a catchy hook that will grab you. Impressive instrumentation, stellar musicianship and a terrific arrangement are all present on “I Got Room 335”. Prepare for a full-bodied performance on “Besame Mashup” where the band is simply on fire. There is some Latin spice added in for extra flavor on “Besame Mashup” as the Spanish vocals are pitch perfect and sweet-sounding. Get ready for alluring vocals that are a bit seductive on “Yeh Yeh”. This particular song provides a warming sensation and a lovable sound all around that will make you say “Yeh Yeh”. Track seven, “Rio Funk/Night Birds”, is soaring and gliding into your ears one note at a time. Mitch Dalton is flying high and shooting for the stars in the sky on “Rio Funk/Night Birds”. Mitch delivers a soul-stirring performance on “Take The Youtube” where he is in the zone and hitting all the right chords. Next, on “Freberg’s Folly” excitement is in the air as an enticing sound jumps out at you from all directions. Track 10, “I Took The Blows”, contains a very smooth texture and easy-going tempo that appeals to your senses. Mitch Dalton is bringin’ the heat and letting loose on “No Flippin’!”. Mitch ends on a soft ‘n’ sensitive touch with “Li’l Brian” that will move you and bring you to that special place of comfort.
Mitch Dalton has performed and recorded with major Jazz artists such as Herbie Hancock, Wayne Shorter, Melody Gardot, Ella Fitzgerald, Peggy Lee and Quincy Jones. As a skilled studio musician, Mitch steps ‘Out Of The Shadows’ and into the spotlight with his latest release. Mitch Dalton proves that he is a top-shelf artist in his own right by giving us a masterful production with ‘Out Of The Shadows’.
https://mitchdalton.lnk.to/outoftheshadows
By Jimmy Rae
Todd Mack with ‘I’m Gonna Love You No Matter What’
Singer/Songwriter Todd Mack delivers a master class in storytelling and musicianship on his eighth album release titled ‘I’m Gonna Love You No Matter What’. This is Todd’s first album in 14 years, but he hasn’t missed a beat based on the quality and professionalism that went into this recording project. The record includes many talented musicians from across the country including Krishna Guthrie (Arlo Guthrie’s grandson and Woody Guthrie’s great grandson) on guitar, Hannah Lynn Cohen (Zach Bryan) on fiddle, Brian Kantor (Fruit Bats, Vetiver, Defibulators) and Katherine Winston (American Idol Season 14 semi-finalist), among others. The album was recorded, mixed and co-produced with Todd Mack by Rob Vermuelen at his Robbo Music recording studio in Morro Bay, California. With elements of roots, folk and Americana, ‘I’m Gonna Love You No Matter What’ is a real treat for listeners everywhere.
We hit play and right away “Angel Above” spreads its wings and soars above us all. Todd Mack delivers emotional lyrics that will move you on “Angel Above”. Todd proves that he is a legit lyricist with “On A Line” where real artistry is on full display and a genuine musician can be heard. Prepare for a peaceful and enriching experience on the following song where you will want to savor these “Dreams” now & forever. Track four, “No More (Featuring Sadie Jasper)”, offers up a comforting sound that vocally shines and gives you a good feeling from head to toe. Todd goes with a soft ‘n’ tender approach on “Ain’t Enough” that will have you hanging onto every single note. “Ain’t Enough” is a real attention-grabber and gem of a song that contains a loving feel. Next, “River Carry Me” speaks volumes with striking vocals that stand out in a crowd. Todd Mack sings with much conviction on “River Carry Me” and delivers a commanding performance for the ages. Track seven, “The Light Within”, has a tremendous impact on the listener due to heavy substance and deep-minded material. Moving along, Todd has plenty to say and a lot on his mind, so prepare to dive into the depths of “Undone”. It’s time to get a lil “Reckless” and unruly, so let’s unleash some rockin’ riffs that will get you amped up. A beautiful melody and powerful presence are present on “If I” where the listener will be smiling from ear to ear with this touching number. A perfect ending is in store for you where the story is told through the words, voice and music of Todd Mack and “You Are There”.
Todd Mack writes from the heart and writes songs for a reason, which is highly evident on ‘I’m Gonna Love You No Matter What’. Musically, vocally & lyrically, Todd Mack appears to be the total package and one gifted musician. No matter what happens in the end, Todd Mack stands tall and stays true to this sentiment that is ‘I’m Gonna Love You No Matter What’.
By Jimmy Rae
Harry Hochman with ‘Oh Michigan’
Harry Hochman is a well-seasoned musician from LA who writes and performs with the utmost sincerity. His latest release, ‘Oh Michigan’ pays homage to his home state of Michigan where all the groundwork was laid for Harry early on his career. His roots are planted in the midwestern land of Wolverines, Motor City and of course home to Motown Records. Harry Hochman takes a trip down memory and allows the audience to get a glimpse into his life on ‘Oh Michigan’.
This new EP is Harry’s second release and comes after his critically-acclaimed album, ‘Inside Out,” which received hundreds of thousands of streams on Spotify. Harry Hochman is keeping that momentum going with ‘Oh Michigan’ that is very reflective in nature. The record features backing vocals by Gia Ciambotti, who has toured with many artists, including Bruce Springsteen and Lucinda Williams and includes percussionist Kevin Jarvis, who has toured internationally and, who also recorded and produced Hochman’s new record at the Sonic Boom Room in Venice, California. The EP also includes Aaron Steinberg on guitar, Zachary Ross on guitar, Carl Byron on keys and Dave Carpenter on bass. All in all, ‘Oh Michigan’ is wonderful music with well-versed material and personal pieces.
On the title track “Oh Michigan”, the listener will get a very genuine touch from Harry Hochman where you feel his pride and love for his home state. Harry is going home once again where we “see the cherry blossoms bloom” and it’s all about “Oh Michigan”. On the following number, “When She Blows”, you will receive a heartfelt tone and powerful delivery from Harry that is both vocally & lyrically supreme. On track three, “Take Me As I Am”, the audience hears a very genuine artist and catchy tone along with a wonderful melody that truly stands out. On the next installment, “DynaGlide”, I have to say that this song speaks volumes and musically soars from start to finish. Track five, “Claire De Lune”, is storytelling at its finest as Harry Hochman showcases his crisp ‘n’ clear voice to go along with striking lyrics that will get your ears buzzin’. The record ends on a high note with “Maybe This Time” where the beat will grab you and the rest will consume you. “Maybe This Time” is a fantastic finish and Harry’s artistry is put on full display by the end of the EP.
I am thoroughly impressed with Harry Hochman and his efforts on this new release. ‘Oh Michigan’ comes straight from the heart and speaks truth about Harry’s life in the midwestern state. Harry Hochman invites us all to live life to its fullest and to enjoy the journey to ‘Oh Michigan’.
https://harryhochmanmusic.com/
By Jimmy Rae
Baron von FrankenPaul Has Arrived!
It’s hard to believe that this is a debut release for Baron von FrankenPaul because the energy is off the charts! ‘Baron von FrankenPaul’ is the self-titled album that offers a big punch of jazz, rock and funk. Merging styles with stellar musicianship, Baron von FrankenPaul proves that excitement is in the air!
The band is comprised of three talented members and they are: Baron Raymonde on saxophone, Frank Osgood on guitar, and Paul ILL handling bass & production. The record includes creative covers of well-known songs by John Coltrane, Miles Davis, Alice in Chains and The Doors along with original compositions. ‘Baron von FrankenPaul’ is full of pleasant surprises and is one non-stop jam session that doesn’t know the word quit!
We kick things off with “Camera” and right away jazzy rock can be heard making for one killer combo that offers a steady focus and optimal performance. “Camera” is a flavorful number that stylistically shines and is instrumentally sound. On the song “Naima”, a soothing aura and rich tone surrounds you that will ease your mind, body and soul. Baron von FrankenPaul delivers a fresh take on Alice in Chain’s “Man In the Box” as you feel the electricity behind every note. “Cactus” really sticks and stands out with its good flow that really POPS! A calming effect rushes over you on “Lullaby For Zoey” that will allow you to sit back, relax and enjoy the show. On “Kasbah Knights”, heavy riffs & chords hit you to go along with an international flair overall. “Kasbah Knights” is a head-bangin’, fist-pumpin’ good time! I am highly impressed with Baron von FrankenPaul’s creative version of The Doors’ classic “Riders On The Storm”. The listener will hear superb musical direction and a fantastic arrangement on “Riders On The Storm”. On the track “In A Silent Way”, the playing is on point from start to finish with Baron von Frankenpaul delivering a masterful performance overall. It’s time to put on “Tall Shoes” where it seems to be a perfect fit with distinct vocals and a free-flowing style. On “BVFP”, a peppy beat will have you swaying back and forth with some funky notes thrown in for good measure.
The debut release ‘Baron von FrankenPaul’ is available on all major streaming platforms via BvFP Records. The album was produced and mixed by Chris Wonzerand Baron von FrankenPaul and what a dynamite job by Baron von FrankenPaul. The group had a record release show on December 11, 2025 at The Bitter End in NYC featuring special guests Will Lee, Lou Marini, Greg McMullen, and Emiden Rivera and Van Romaine. If ‘Baron von FrankenPaul’ is the introduction to the world, then sky’s the limit for this band’s future and I can’t wait to hear what’s next!
https://www.baronvonfrankenpaul.com/
By Jimmy Rae
Tom Ricci Presents “So Amor”
Tom Ricci steps confidently into new musical territory with “So Amor,” delivering a warm, jazz-inflected album that’s both intimate and globally minded. Known for his genre-fluid approach that has previously blended roots rock, folk, and world music, Ricci uses this release to fully embrace vocal jazz and Latin traditions.
Originally from Argentina and now based in Southern California, Ricci has long carried an international sensibility in his songwriting. That background comes to the forefront on So Amor: an album steeped in bossa nova, romantic balladry, and classic jazz standards. presented with a modern, unforced elegance, it’s one of the most focused and emotionally cohesive works of his career.
A major strength of So Amor lies in its ensemble-driven musicianship. Despite being a talented multi-instrumentalist, Ricci focuses primarily on the vocals and surrounds himself with accomplished players, including Pipi Piazzolla (drums), Bruno Migotto (bass), and Pablo Sanguinetti (piano).
The individual performances contribute to elevate the album beyond a simple vocalist-led project, and the rhythm section moves effortlessly between gentle swing and
Latin grooves, while piano and bass lines weave conversational melodic counterpoints. Ricci’s vocal performance provides a subtle, intimate delivery that suits the romantic tone of the material.
This interplay is highlighted in the opening track, “So Amor,” as Ricci delivers a smooth and charismatic performance that’ll have you swooning. Meanwhile, “Besame Mucho” is richer in its Latin flavor, with expressive guitar solos and understated accompaniment set to an incredibly catchy, clicky rhythm. The album also features a few English-language tracks, like the beautiful piano ballad, “When I fall in love;” a well-loved standard that highlights Ricci’s strength as a jazz vocalist.
https://tomriccimusic.com/
https://tomriccimusic.com/so-amor/
As the title suggests, So Amor revolves around love in its many forms, including romantic longing, tenderness, and nostalgia. The Latin and jazz influences are not aesthetic choices alone; they serve as emotional languages through which the album communicates warmth and intimacy.
So Amor represents a significant artistic moment for Tom Ricci. It’s a refined, cohesive album that highlights his versatility while grounding him firmly in the contemporary jazz world. With strong musicianship, thoughtful production, and a clear thematic vision, the album succeeds as both a romantic listening experience and a serious artistic statement.
Reggie Braxton Presents ‘Flirtin’ from “The Brax-Tone Experience” Deluxe
With his latest release, “Flirtin’,” Reggie Braxton once again leans into the smooth, romantic sensibility that has quietly defined his career. Released as part of The Brax-Tone Experience (Deluxe), the track is a contained showcase of the album’s core philosophy: timeless R&B rooted in feeling, finesse, and charm.
Braxton has long positioned himself as an artist who values musicality over trend-chasing. Drawing inspiration from classic soul, jazz, and the Motown lineage, his work consistently favors live-sounding arrangements. The Brax-Tone Experience marks a confident statement in that regard, presenting a cohesive record steeped in romance
and musical sophistication.
As its title suggests, “Flirtin’” thrives on subtlety, with Braxton exploring attraction not through bravado or excess, but through suggestion and ease. The lyrics focus on the small gestures and glances that define flirtation; moments that feel personal and unforced.
There’s a conversational quality to his delivery, giving the impression that the song is unfolding in real time. This lyrical restraint works in the track’s favor and Braxton lets his charm and tone do much of the heavy lifting without trying to oversell it.
Musically, “Flirtin’” is built on a foundation of classic R&B instrumentation. The arrangement is clean and unhurried, anchored by warm keys, a steady bass line, and understated percussion. Nothing feels crowded as the instrumentation creates a relaxed pocket that allows Braxton’s vocals to glide naturally over the track.
The production on this track is smartly done, as the mix is smooth and intimate, placing Braxton’s voice in the spotlight without isolating it from the instrumentation. There’s just enough polish in the overall sound to get rid of the harsh edges, giving it a noticeable warmth that still feels organic.
The strength of “Flirtin’” is that it plays to his strengths; crafting smooth, emotionally grounded R&B that respects its roots while remaining accessible to modern listeners.
For longtime fans, this is a welcome reminder of Braxton’s consistency. For new listeners, it serves as a polished entry point into an artist who understands that sometimes, subtlety speaks loudest.
Reggie Braxton YouTube channel: https://www.youtube.com/@reggiebraxton1392
Instagram: @reggiebraxton007
Dusty Edinger Presents ‘Just Like Me’
With “Just Like Me,” Dusty Edinger delivers a confident pop-rock single with classic upbeat instrumentation while remaining grounded in sensible songwriting. Built around melody and emotional connection rather than artistic flair, the single is both classy and unpretentious, positioning itself as an easy listen that rewards repeat listens.
At its core, Just Like Me explores the idea of recognition and shared experience. The song’s emotional center lies in seeing oneself reflected in another person, whether through behavior, flaws, or emotional responses. Edinger treats this recognition as a moment of understanding, tapping into the quiet realization that our differences often mask deeper similarities.
The real highlight is the musicianship of this track, and the lyrics allow the listener to enjoy the song unfold in real time instead of decoding its meaning. Edinger uses clean, conversational lines that make the message immediately accessible, and this straightforward approach strengthens the emotional impact.
Musically, Just Like Me sits comfortably within the pop-rock tradition, drawing subtle influence from classic radio songwriting with a hint of nostalgia. The arrangement is tight and efficient with guitars carrying the harmonic weight, and steady drums providing momentum.
Edinger’s vocal performance is measured and expressive, favoring clarity and emotional authenticity. There’s a bit of auto-tune at play here, but it’s added tastefully without falling into the trap of overproduction.
Production-wise, Just Like Me is clean and balanced, with the mix allowing each instrument its own space. The production feels designed for longevity, echoing the song’s classic influences while maintaining a modern sheen.
Just Like Me stands as a strong example of disciplined songwriting: a track that proves emotional resonance doesn’t require excess. By combining relatable themes, solid arrangement, and thoughtful production, Dusty Edinger offers a single that feels both familiar and quietly distinctive.
ONLINE:
https://www.dustyedinger.com/
https://www.instagram.com/dusty_edinger
https://www.facebook.com/dusty.edinger.2025
