THE ENDANGERED
A sweet little set from LA's Endangered – a great quartet that boasts strong lead vocals from Maiya Sykes, and a nice groove that makes a bit more use of electric guitar than keyboards! The guitar phrasing is mighty nice – and gives the record an earnest quality that really sends the vocals home – yet also manages to avoid some of the too-acoustic or too-singer songwriter modes of the indie underground – a balancing act that's tricky, but really comes off well as the set rolls on – making for one of the freshest debuts we've heard in years! Titles include "Calling On You", "Broke Heart", "Dollars", "Mistakes", and "You Be Mine". ~ Dusty Groove
KEN VANDERMARK / PAAL NILSSEN LOVE – LETTER TO A STRANGER
One of the loosest, freest recordings we've heard from Ken Vandermark in awhile – a great set of duets with drummer Paal Nilssen-Love, who's really got the right spirit here to match the sensitivity in Vandermark's reeds! Many tunes are in a sparer, gentler exploration of textures and tones – played beautifully by Ken on the fringes of music – using tenor, baritone sax, bass clarinet, and A clarinet – usually instruments that set the tone of the performances first, which Paal then follows beautifully with inventive work on the drum kit, and some additional percussion. The set's a great reminder that Vandermark can still stretch out beautifully like this – and titles include "Field 1", "Letter To A Stranger", "Field 3", "Crippled Donkey", "Strange Love", "Field 5", and "Bent Corners". ~ Dusty Groove
JOHN SURMAN – SALTASH BELLS
Beautiful sounds from reedman John Surman – played solo, but on a variety of different instruments – all in tones and textures that aptly demonstrate that Surman's style is as sonic as it is musical! The record does a great job of avoiding some of the colder elements that sometimes hold back Surman in such a setting – and really recreates that special warmth when he hit some of his moodier, more spacious modes in the 70s – spun out here on soprano, tenor, and baritone sax – plus alto, bass, and contrabass clarinets – as well as harmonica and synthesizer too! Most tracks are shortish, but very evocative – with titles that include "Glass Flower", "Whistman's Wood", "Saltash Bells", "Sailing Westwards", "The Crooked Inn", and "Dark Reflections". ~ Dusty Groove
A sweet little set from LA's Endangered – a great quartet that boasts strong lead vocals from Maiya Sykes, and a nice groove that makes a bit more use of electric guitar than keyboards! The guitar phrasing is mighty nice – and gives the record an earnest quality that really sends the vocals home – yet also manages to avoid some of the too-acoustic or too-singer songwriter modes of the indie underground – a balancing act that's tricky, but really comes off well as the set rolls on – making for one of the freshest debuts we've heard in years! Titles include "Calling On You", "Broke Heart", "Dollars", "Mistakes", and "You Be Mine". ~ Dusty Groove
KEN VANDERMARK / PAAL NILSSEN LOVE – LETTER TO A STRANGER
One of the loosest, freest recordings we've heard from Ken Vandermark in awhile – a great set of duets with drummer Paal Nilssen-Love, who's really got the right spirit here to match the sensitivity in Vandermark's reeds! Many tunes are in a sparer, gentler exploration of textures and tones – played beautifully by Ken on the fringes of music – using tenor, baritone sax, bass clarinet, and A clarinet – usually instruments that set the tone of the performances first, which Paal then follows beautifully with inventive work on the drum kit, and some additional percussion. The set's a great reminder that Vandermark can still stretch out beautifully like this – and titles include "Field 1", "Letter To A Stranger", "Field 3", "Crippled Donkey", "Strange Love", "Field 5", and "Bent Corners". ~ Dusty Groove
JOHN SURMAN – SALTASH BELLS
Beautiful sounds from reedman John Surman – played solo, but on a variety of different instruments – all in tones and textures that aptly demonstrate that Surman's style is as sonic as it is musical! The record does a great job of avoiding some of the colder elements that sometimes hold back Surman in such a setting – and really recreates that special warmth when he hit some of his moodier, more spacious modes in the 70s – spun out here on soprano, tenor, and baritone sax – plus alto, bass, and contrabass clarinets – as well as harmonica and synthesizer too! Most tracks are shortish, but very evocative – with titles that include "Glass Flower", "Whistman's Wood", "Saltash Bells", "Sailing Westwards", "The Crooked Inn", and "Dark Reflections". ~ Dusty Groove
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