Frank Sinatra, “Only the Lonely” from Ultimate Sinatra (2015): One Track Mind
Listen as Frank Sinatra sustains the words until you hear the cracks in his voice and, you become certain, his heart.
Articles by: Nick DeRiso
Otis Taylor, “Cold at Midnight” from Hey Joe Opus / Red Meat (2015): One Track Mind
Otis Taylor’s “Cold at Midnight,” a white-knuckle ride into the very heart of worry, advances the forthcoming ‘Hey Joe Opus / Red Meat.’
Cyrus Chestnut, “Gloria’s Step” from A Million Colors in Your Mind (2015)
Cyrus Chestnut doesn’t supercede the definitive take by Bill Evans’ Trio. Still, I found myself enjoying the new corners he and his trio explored.
Danko Jones – Fire Music (2015)
There’s often been a touch of punk attitude in Danko Jones’ music, but ‘Fire Music’ seems to focus more intently on that part of their musical DNA.
Frank Sinatra + Count Basie, “The Best is Yet To Come” from Ultimate Sinatra (2015)
A highlight of ‘Ultimate Sinatra,’ everything is in place on Frank Sinatra’s Count Basie collaboration “Best is Yet to Come.” And then it surprises you.
The Word [Robert Randolph, John Medeski + North Mississippi All-Stars], “When I See the Blood” from Soul Food (2015)
Robert Randolph helps set a new standard for improv gospel-jazz country blues supergroups. Because, yeah, they’re the only one.
Gavin Harrison – Cheating the Polygraph (2015)
Gavin Harrison’s ‘Cheating the Polygraph’ references Porcupine Tree and big band, but quickly moves well beyond those well-worn tropes.
David Bowie’s Let’s Dance illustrated the durability of Chic’s hitmaking sound
Credit David Bowie for understanding how to cast his latest iteration. But also Chic for having the goods to make that nascent vision a reality.
The Moody Blues’ John Lodge, “10,000 Light Years Ago” (2015): One Track Mind
John Lodge displays a welcome willingness to build a bridge to the future from a well-known foundation of the Moody Blues’ past.
Fleetwood Mac’s overlong Say You Will sorely missed Christine McVie
Christine McVie’s absence from ‘Say You Will,’ released this week in 2003, left Fleetwood Mac critically unbalanced. They could have used an editor, too.
