Even though it’s really a dance record, I loved the old-school touches from Groove Collective — like an organ, vibes and a flute (memorably tooted on “Rashaanasong” from this self-titled release). It’s like Basie by way of Bootsy. When the cacophony crescendoes, there’s even the pure fusion expansiveness of turn-of-the-1970sRead More

Rebirth Brass Band comes out hotter than a pistol on “Shrimp and Gumbo,” another in the long line of lip-smacking New Orleans songs about food, yet there remains an underlying theme of musicianship. You May Also Like: Canadian Brass – ‘Canadiana’ (2022)

Larry Goldings, the jazz organist and long-time James Taylor sideman, opens his second acoustic piano solo release with this update of “In My Room,” a Beach Boys’ 1963 pop masterpiece You May Also Like: Scary Goldings, feat. John Scofield – ‘IV’ (2021)

Pink Floyd’s 1967 debut ‘Piper at the Gates of Dawn’ is, quite simply, the greatest psychedelic album ever. Don’t bother writing, ‘Sgt. Pepper’ fans.

New Life arrived amidst much anticipation of something in keeping with drummer Zigaboo Modeliste’s mythically groovetastic tenure with the Meters. And, bless him, I got it. But that wasn’t all. Take the title track. “New Life” doesn’t mimic the expected grease-fire funk of his old band, so much as forcablyRead More

Guitarist-composer Chris Taylor, at once, brings in familiar fusion influences like Weather Report, Pat Metheny and the Zawinul Syndicate, even while adding these fearless flashes of next-gen electronics — samples, voices, weird keyboard programming, chants, scronks, blips, scratches. It’s jam-packed with aural pokes, the kind of album where Taylor, frontingRead More

When ZZ Top, tearing through “Waiting for the Bus,” howls “have mercy!” in tandem, I’m right there with them. You May Also Like: ZZ Top’s “El Diablo,” “Thunderbird,” “Rough Boy” + Others: Gimme Five

From the first honking strains of Roger Lewis’ sax on “The Treme Song,” amidst a howling group of happy singers led by David Montana and Fred Johnson Jr., the intentions of Treme Traditions are clear: Party. This album is like a street parade crammed inside of a shiny disc, courtesyRead More

Annie Dressner’s voice has a twilight poignancy, this majestic loneliness, and nowhere on her forthcoming release Strangers Who Knew Each Others Names is that more true than on its title track. You May Also Like: No related posts.

Putting together a luxe coffee-table book honoring the city of his birth clearly got Irvin Mayfield in a nostalgic mood. You May Also Like: The Blind Boys of Alabama’s Down in New Orleans added a new musical wrinkle New Orleans at 300: In Search of Jazz