Blues records used to routinely sound like this: Loose and fun, almost anarchic in their pursuit of nothing more than good-time joy and real-time emotion. You May Also Like: How Pee Wee Ellis Finally Stepped Into the Spotlight With ‘Blues Mission’

Occasionally I’ll come across a record that sounds very pleasing to me and then realize that the music falls outside my usual areas of interest. Like, for instance, this new one by Florencia Ruiz that I’ve been listening to a lot in the last few days. You May Also Like:Read More

Alyssa Graham’s “High Time,” this melancholy remake, transforms a familiar Grateful Dead song from 1970 into a scorching tale of hope replaced by regret. You May Also Like: ‘Burning Questions’ Found Graham Parker Still Angry, If No Longer Young

by Tom Johnson Jazz has been in a kind of holding pattern since the mid-1970s, when even Miles Davis declared the genre dead. You May Also Like: Matthew Shipp Trio – Piano Song (2017) Matthew Shipp – Zero (2018) Matthew Shipp – Symbol Systems (1996, 2018 reissue)

Much of Springsteen’s early work was populated with large casts of characters and places, skillfully woven into the narrative. Heck, sometimes the people and places were the narrative. You May Also Like: Reevaluating Bruce Springsteen’s ‘The Wild, the Innocent and the E Street Shuffle’

With little apparent interest in pursuing non-ironic love songs, Steely Dan have often touched on themes of criminal activity (hell, I think most of The Royal Scam was about crime). They never pursued the topic with an approving tone, though. You May Also Like: Steely Dan, “Carey” (circa 2001): SteelyRead More

by Tom Johnson Drummer Joey Baron’s Barondown, featuring Steve Swell on trombone and Ellery Eskelin on tenor sax comes across like the mischievous little brother to John Zorn’s Masada. You May Also Like: Trombone Shorty Raced Beyond Genres on Transcendent ‘Backatown’

by Mark Saleski Reviewers sometimes get too caught up playing the label game: jazz, pop, world (ah, the ambiguous catch-all label), rock, ambient. Whenever a writer struggles with material that lacks a definite musical anchor, I am reminded of the transformation seen through Miles Davis’ electric years. You May AlsoRead More

The distractions when it comes to Heart (gender politics, obvious curtsies to Led Zeppelin, wall-to-wall 1980s power-ballads, etc.) are swept away You May Also Like: Elton John – Greatest Hits 1976-1986 (1992): On Second Thought

by Mark Saleski Digital. It’s just got to be digital — ones ‘n zeros. Forget that old-fashioned analog stuff. That’s for old fogies. If you want to be with it, current, where it’s at, up to date, in the know, down with it … your activity must be presented inRead More