Single Review: Alison Brown & Steve Martin – “Bluegrass Radio”

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photo of Alison Brown & Steve Martin

Alison Brown & Steve Martin; photo courtesy of Compass Records

Single Review of Alison Brown & Steve Martin: “Bluegrass Radio” (Compass Records)

Alison Brown and Steve Martin previously collaborated on the Emmy Award-winning instrumental “Foggy Morning Breaking,” a song from Brown’s On Banjo album. Well, last year the banjoists teamed up again for a new single, “Bluegrass Radio.”

Alison Brown & Steve Martin – "Bluegrass Radio" cover art

image courtesy of Compass Records

On this record, the pair are joined by top bluegrass musicians Sam Bush (mandolin), Stuart Duncan (fiddle), Trey Hensley (guitar), and Todd Phillips (bass), ensuring tip-top musicianship on the track.

The song is an energetic, fun romp. The fast-tempoed ditty doesn’t dawdle, clocking in just a hair over three minutes, but the song is like an English muffin, sporting plenty of nooks and crannies for the band members to show off a little. Lyrically, it’s playful and a little silly, perfectly suited to Martin’s emotive vocalization, featuring lyrics like “Number three in California, five in Arizona, didn’t seem to mean a thing to you, but I got number one in Texas, and now you fix me breakfast because I am a hit on bluegrass radio.” Just trust me, with Martin’s tone and phrasing, it’s downright mischievous.

photo of Alison Brown holding a banjo

Alison Brown; photo courtesy of Compass Records

Whether you’re typically a bluegrass fan or not, this light, tightly-performed fare is likely to put a smile on your face. Of course, if you’re not a bluegrass fan, then this just might be your favorite Steve Martin song since “King Tut,” and it’ll serve as a great introduction to banjo luminary Alison Brown.

More Recently

Last fall, Brown and Martin teamed up again, this time bringing in Vince Gill for a featured role, on “Wall Guitar (Since You Said Goodbye).”

In addition, last summer Brown dropped a remixed and remastered version of her 1990 Simple Pleasures record, which landed her a Grammy nomination following its initial release. That record also earned Brown recognition from the International Bluegrass Music Association as Banjo Player of the Year, the first time that honor went to a woman.

photo of Steve Martin standing, holding a banjo

Steve Martin; photo courtesy of Compass Records

In February, Brown also teamed with Kristin Scott Benson and Gena Britt on the single “Ralph’s Banjo Special.”

Of course, we all know what Martin has been up to lately on the acting front, starring in the critically acclaimed series Only Murders in the Building. Also, if you were previously unaware of Martin’s banjo aficionado-ness, it’s worth noting that, in 2010, Martin founded The Steve Martin Banjo Prize, which has been awarded to numerous recipients in the years since its inception.

Looking Ahead

Brown has tour dates scheduled in as far north, south, east, and west as Maine, North Carolina, Arkansas, and Wisconsin, plus many, many points in-between. Be sure to check the tour listing on her website to see if she’ll be performing near you.

Album Review: The Outfit – Go

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The Outfit band photo

photo courtesy of Pavement Entertainment

Album Review of The Outfit: Go (Pavement Entertainment)

The Outfit‘s Go is one helluvan AOR album. Guitar-driven rock with intricate musicianship, a big, arena-filling sound, and hooks catchy enough to have made several songs hits during the genre’s heyday. Instead, The Outfit will have to settle for being a favorite new discovery of guitar rock fans, however they might discover new music. (Hopefully, a few of you discover new music here at the Blog.)

Actually, fans who follow current rock music closely may have already discovered The Outfit. The band’s self-titled debut album in 2018 spawned the song “Soldier Boy,” which received rock radio airplay and reached #34 on Billboard‘s Mainstream Rock Radio chart. A second album, Viking, followed in 2020, with the video for that album’s title track racking up 380,000 views on YouTube. So yeah, maybe I’m the one who’s late to the party, after the decent success The Outfit found with its first two albums. Go, The Outfit’s third album, the one that gained my attention (because it was sent to me for review consideration, and it’s a friggin’ rock masterpiece) was released last year.

The Outfit – Go album cover

image courtesy of Pavement Entertainment

The Outfit is mainly a classic-styled rock band, but some of their most engaging songs are unique originals in which the band takes a big swing and hits it out of the park. “Arrival of Jane,” for example, has a big, open, progressive rock feeling, a sci-fi-related theme, booming drums, and soaring guitars. It’s the sort of thing some ambitious bands were able to succeed with in the ’70s or ’80s but not so much since. That’s the second track on Go, following album-opener “Monster,” which introduces The Outfit fittingly as a power rock band, perhaps hinting at some later variety via guitar runs that spin forth from the pounding, heavy rhythm.

The third track, “Big Eyes,” is another favorite and perhaps the uptempo song with the most crossover hit possibility in this collection, at least across fans of various guitar-driven rock subgenres. The heavy music bed and screaming guitars part periodically for the fun-to-sing-along with “hey, hey, hey, big eyes seem to follow you; hey, hey, hey, big eyes seem to haunt you.”

Of course, “Mountain,” a rock ballad, has this record’s most crossover appeal, with the ability to reach beyond guitar rock fans, as slow rock songs more often reach the broadest audiences.

The first of two very British, punk-recalling rockers, “Elo Kiddies,” is up next. (That song title would be pronounced “ello, kiddies!”) This sort of irreverent attitude won’t be found again until the last song on the record, The Outfit’s raucous cover of “God Save the Queen.”

“Go” marks the return of smoothly heavy rock, a full-tilt, energy rocker driven by its powerful rhythm section and the repeated, singalongable lyric “If she won’t go, I will go.” “Fire Eye” follows, with a heavy thumping rhythm and vocal delivery that recalls “Arrival of Jane,” with an almost haunting vocal delivery transitioning to a brightly engaging chorus.

The album’s penultimate track, “You Say,” is probably my favorite song on the back half of the disc – though it’s close. This song is built on a steady rock rhythm with one of those attention-grabbing, stop-and-go-boom pauses between the verse and the chorus. It’s actually the last track performed in the predominant style found throughout Go; as I noted above, the disc closes with “God Save the Queen,” which really is a fun way to close the record.

Looking Ahead

As the band notes in this Facebook post, there’s a new record on the way. I can’t wait to hear it! This post gives a release date of March 14th for the new album’s first single, “Hard On Me.” You can pre-save at this link (or click through to view, post-release).

Album Review: Sunny Bleau & The Moons – Passion & Regrets

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Sunny Bleau & the Moons

photo courtesy of Sunny Bleau & the Moons

by Eric Harabadian, Contributing Blogger

Album Review of Sunny Bleau & The Moons: Passion & Regrets (Endless Blues Records)

Michigan-based singer-songwriter Kelly Brock (aka “Sunny Bleau”) has been garnering a steady fanbase in the blues world for her captivating blend of original songs and tasty covers. The 2025 Michigan Music Award nominees tap into the essence of traditional and classic blues, rock and soulful styles, with self-assured grace and an independent spirit.

Sunny Bleau & the Moons – Passion & Regrets album cover

image courtesy of Sunny Bleau & the Moons

On this latest Sunny Bleau and the Moons release, Sunny Bleau is joined by band co-founder and head Moon, Nicholas Cocco (guitars), Jeff Jenson (guitars), Keirsi Joli (harmonica and backing vocals), Bill Ruffino (bass), James Cunningham (drums), Rick Steff (keyboards), and Dr. Peter Stephenson (Hammond SKX). They are produced by the great Mick Kolassa, who assembled the studio band and gave the session an authentic and true blue mix of vintage and contemporary luster.

“Two Glasses of Whiskey on Ice” sounds nice! Kick back and let master storyteller Ms. Bleau regale you with a tale about an older woman who has a romantic encounter with a Beale Street musician. It’s a sexy and seductive tune where Cocco’s well-placed licks never overpower but make a nice bed on which this dramatic little yarn unfolds. Sunny puts the listener at the front of the action as if you are watching a movie. When she describes the details in this woman preparing for a night of, hopefully, passion with the musician of her affection, you feel the anticipation right along with her.

Sunny Bleau

Sunny Bleau; photo courtesy of Sunny Bleau & the Moons

“You Better Put the Coffee On” is a slow blues that has a bump and (coffee) grind feel. Sunny doesn’t wanna be taken for granted by her man and knows about some of the shady stuff he’s been up to. But, in no uncertain terms, the biggest offense he can commit, besides having a woman on the side, is not brewing that pot of coffee before leaving the house. The song has a tongue-in-cheek vibe that features some tasty solos from Joli and Cocco.

“Low-Down-Middle-Aged-Blues” is all about the passage of time, as a person of a certain age evaluates their life thus far. It is a song originally conceived by the Detroit keyboardist Dr. Peter Stephenson, based on his award-winning composition “Helpless Blues.” His New Orleans-like piano work coupled with Sunny’s Bessie Smith-influenced phrasing brings a traditional authenticity to the mix that is relevant and timeless.

“Peacock Strut” explores a young man with an eye for the ladies. Again, Sunny seems to have a read on these types of things. And she ain’t falling one bit for what kind of jive the young man is putting down. It’s a relaxed, laid-back number, with some clean, Roy Buchanan-type leads and interplay with Jenson.

Nic Cocco

Nic Cocco; photo courtesy of Sunny Bleau & the Moons

Female empowerment is the name of the game for Sunny Bleau. And that shines through to the fore on “S-H-E-E-E-W-O-M-A-N.” She’s lawdy, she’s bawdy and don’t take no mess! And to drive that message home you’ve got some hellacious harmonica riffing from Joli and a twin guitar attack from Cocco and Jenson. Their call and response here is exceptional and really sells the tune.

“Why Don’t You Do Right?” is an old standard originally recorded by Lil Green in 1941. Peggy Lee also had a hit with it, and Sunny’s delivery bears the blonde chanteuse’s seductive style. This swings in all the right places and is just a nice, easy and carefree ride. Cocco and Steff have a stellar interactive guitar and Wurlitzer exchange that embodies the authentic period in which it was written.

“Waitin’ on a Man” comes from a first-person perspective but really could be a composite of many women’s takes on relationships. It’s all about the trials and tribulations of being with a man who is, perhaps, not on the same commitment level as you. Fear not, ladies, for Sunny gives you her tips and experience accompanied by Steff’s jazzy and country-flavored piano work.

Sunny Bleau & the Moons logo

image courtesy of Sunny Bleau & the Moons

“You Put Me Out” uses a lot of harsh comparisons like “washing grease off your hand” or “crushing me like a cigarette” to depict being dismissed in a one-sided relationship. It’s a slow burn of a tune that bristles with Sunny’s emotive vocals and, again, Steff’s top notch keyboard skills.

“Deep Regretful Blues” is as much a Sunny song as it is a Nicholas Cocco tour de force. Cocco really opens up here on some taut blues rhythms and incisive and gritty guitar work. The rhythm section of Ruffino and Cunningham really cooks in a low and understated manner.

The finale “Memphis Bound (It is Well with My Soul)” lays down a dirge-like path, with its tribute to the elder blues men and women of Memphis blues that have paved the way for folks like Sunny Bleau and the Moons. Toward the coda of the song, Sunny surprisingly picks up the tempo in a gospel-fueled fervor where she, in call and response vocals with Joli, delivers the final line, “When I die I won’t be going to heaven… ‘cause Beale Street is hallowed ground.”

Passion & Regrets is almost like a concept album in the way each song seems to observe and attempt to define various aspects of love, relationships and, of course, music. Sunny seems to put it all on the table for her audience. And Cocco and company back her in an ego-less and first call professional style. RIYL: Bonnie Raitt, Eric Clapton and Marcy Levy, Patsy Cline, Joanne Shaw Taylor, and Etta James. Sunny Bleau & The Moons are keeping those classic and vintage blues fires burning, with a contemporary edge.

Single Reviews: Michelle Forziati – “Stranger” and “Strings”

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Michelle Forziati – "Stranger" single cover

cover design by Michelle Forziati; image courtesy of Knyvet

Single Reviews of Michelle Forziati: “Stranger” and “Strings”

Michelle Forziati‘s biggest claim to fame so far is as an actor, appearing in the 2017 film Stronger. Songs like “Stranger” aim to change that. This cool, slow-groove, R&B-based pop song shows off her emotional vocal chops. The song is soft and slow, with a lot of empty space around the pianowork and an echoey vibe that’s consistent with some of the mellower work of pop singers like Nick Jonas, who would be one of many headliners for whom Forziati would be an apt opening act. “Stranger” is an addictively engaging song, likely to become a staple of your personal playlist after a few listens.

Michelle Forziati – "Strings" cover art

cover design by Michelle Forziati; image courtesy of Knyvet

Shortly after the release of “Stranger,” Forziati dropped another single, “Strings.” “Strings” is a slightly more uptempo number, though still a slow song, featuring syncopated rhythms and displaying some vocal variety with choppier diction in spots where it’s appropriate. It’s a nice companion piece to “Stranger,” forming an enjoyable one-two punch as back-to-back listens.

What’s Next?

There aren’t any recent posts on Forziati’s Facebook page or at her Instagram or her TikTok accounts, but it’s worth following them to find out when she announces her next move.

Single Review: Jen Kearney – “Long Division”

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by Eric Harabadian, Contributing Blogger

Single Review of Jen Kearney: “Long Division”

Jen Kearney is a singer-songwriter from Boston, Massachusetts that represents the very best of what that job description signifies. She’s got a vocal style that’s full-bodied and steeped in character. And her storytelling chops and facile lyrics are off the charts.

Jen Kearney
photo by Caroline Alden; photo courtesy of Jen Kearney

The jazzy, soul-influenced chanteuse has a series of independent releases under her belt. She has also opened for some of the biggest names in rock, pop, blues and R&B, including Daryl Hall, Maceo Parker, Los Lobos, John Mayall & The Bluesbreakers, and The Derek Trucks Band.

Her latest single is a sly and perceptive treatise on the state of our country and its place in the world. “Long Division” hits you immediately with questions about the have and have-nots, with: “Who gets the water, who gets the sky? I see you calculating, tapping into everyone’s well until they’re all dry.” With each verse, the stakes rise higher as she delves into areas of left and right wing views, Middle East conflicts, and even a jab at the current pseudo American president Elon Musk. But, amid all the past and present social chaos Kearney so aptly describes, there is power in her resolute phrase: “Maybe we’re on to you!”

The song’s strong socio-political stance is wrapped nicely in a blanket of funky conga-fueled rhythms, horns and ambient guitar. Kearney delivers her cogent and essential message, with all the gravitas and style of a Nina Simone, Diana Krall, or Amy Winehouse.

Keep Jen Kearney on your radar, as she is a sparkly jewel and a musical north star.

Publisher’s Note: Jen’s single, “Long Division,” will be released on March 21st. Click here and follow the link to pre-save on Spotify. Also, for those of you in the Boston area, Jen will be performing at The Burren in Somerville on March 21st, as well. Tickets to that single release event can be purchased here.

Album Review: Fernando Perdomo – Self

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Fernando Perdomo

photo by Claudia Adamczyk; photo courtesy of Fernando Perdomo

Album Review of Fernando Perdomo: Self

You’ve read about Fernando Perdomo a few times here at the blog. And you’ve almost read about him a few more times, when his music crossed our desks during times we simply didn’t have time to review all the great music we received. Between performing and recording with other musicians, both well-known and lesser-known, producing others’ music, and recording his own, Fernando’s music output is prolific. His sterling reputation, for his talent and hard work, is well-deserved.

Fernando Perdomo – Self album cover

image courtesy of Fernando Perdomo

Fernando’s mid-2024 release Self showcases a broad swath of his rock ‘n roll influences, including energetic, hooky, old-school rock, progressive rock, and experimental and quirky rock.

Disc-opener “Searching For Myself” gives off super-strong Beatles vibes. The soft guitar strums and lilting tone support Fernando’s not-as-gravelly-as-it-first seems vocals, which express emotion and stylistic range throughout the various corners of this song.

Next up, “Everything Leads to Now” sports some nifty guitar-plucking and is a little more experimental within the confines of a classic pop-rock musical envelope. Can someone help me here? In some of the more creatively-unique spots, it’s not exactly hints of Moody Blues I’m hearing, but it’d be someone they might share a stage with.

“Optimist Prime” is a swift, energetic, relatively fast-paced catchy pop-alt-rock ditty that you’ll probably remember from the frequently-repeated lyric “my way” until you learn the song title. It’s the tempo and electric energy that’ll get you hooked.

Fernando Perdomo

photo by Erik Nielsen; photo courtesy of Fernando Perdomo

“Absolute Silence” is a grainy, dreamy number that floats along as if elusively off in the distance like a mirage. Or as if you’re listening to it while floating in a swimming pool at a kitschy Route 66 motel. It’s not far from being shoegaze, even.

“Who I Really Am” is a slow-paced number with a kind of funky ’70s vibe.

Instrumental “All of Us Under the Same Moon” has one of the more memorable chord progressions on the album, as the guitarwork trickles like a stream across a bed of music pebbles.

And the album closes with what’s probably the most progressive/experimental rock thing possible – a nearly-20-minute track entitled “Self.” Essentially, the entire B-side, if this were on vinyl. The song is a meandering journey, but it’s so tightly assembled that, when it’s over, you realize that, while it’s clearly a long song, it doesn’t feel nearly as long as the 19 minutes and 41 seconds that elapse. The song itself is a journey to self. Or perhaps mostly Fernando’s self.

And that’s really what it’s all about. As Fernando himself says, “Self is not just an album. It is a definition of who I am. It is the most complete statement I have ever made as a recording artist.” We should thank him for sharing the statement with us; it’s a cool musical journey.

More Recently

Since releasing Self in 2024, Fernando has committed to releasing a series of “Waves” albums in 2025, one each month. Waves and Waves 2 are already available, while Waves 3 can be preordered. Fernando has also released a cool single entitled “Is That Love.” All of those recordings can be found on his bandcamp page.

Single Reviews: Smitt E. Smitty & The Fezztones – “Bye Bye Sunday Afternoon” and “#1 Most Likely”

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Smitt E. Smitty & The Fezztones

photo courtesy of Smitt E. Smitty & The Fezztones via Knyvet

Single Reviews of Smitt E. Smitty & The Fezztones: “Bye Bye Sunday Afternoon” and “#1 Most Likely” (Rock Garden Records)

Smitt E. Smitty & The Fezztones released “Bye Bye Sunday Afternoon” last spring. It was the group’s first release for Rock Garden Records, an excellent selection and an outstanding introduction to the band, an eight-piece Boston outfit comprised of Subtle (JoEllen Saunders Yannis, vocals), Serious (Linda Bean Pardee, vocals), Smitt E. Smitty (vocals, drums, harmonica, keyboards, percussion), James Melanson (guitar), “Crazy” Eddie Nowik (guitar), Andrew Padua (bass), Jonathan LaMaster (violin), and John Sestito (drums).

Smitt E. Smitty & The Fezztones – "Bye Bye Sunday Afternoon" single cover

image courtesy of Smitt E. Smitty & The Fezztones via Knyvet

Now, I’ve been racking my brain to figure out what Smitt E. Smitty & The Fezztones’ “Bye Bye Sunday Afternoon” reminds me of. It’s a kickin’, medium-fast tempo number with a completely fun vibe and clearly enunciated lyrics despite a seemingly somewhat raucous musical backdrop. There’s a timeless, somewhat old-fashioned feel to the music, which is best dubbed simply rock ‘n roll. But it took my probably too long to realize that the underlying musical vibe was very B-52s-ish. I could seriously picture the B-52s performing this. Not exactly, of course. Smitty & The Fezztones have a unique sound all their own, but “Bye Bye Sunday Afternoon” will absolutely appeal to fans of that light-hearted, vibey rock music style. Or, of course, rock fans in general. It’s a fun song that I’ve been digging for months now, and it never gets old.

Smitt E. Smitty & The Fezztones – "#1 Most Likely" cover art

image courtesy of Smitt E. Smitty & The Fezztones via Knyvet

More recently – just a week ago, in fact, on Valentine’s Day – the band released its new single, “#1 Most Likely,” sporting the very Valentinesy lyrics “You’re #1 most likely to break my heart.” The song sports an old-school mainstream alt-rock feel – I could almost hear Simple Minds singing this song, though not quite with Smitt E. Smitty & the Fezztones’ pizzazz. Still, this song would fit well on a John Hughes movie soundtrack. Sound interesting? Unlike “Bye Bye Sunday Afternoon,” which was an immediate favorite, “#1 Most Likely” actually took a few listens to grow on me, but now it’s stuck in my brain. I can’t necessarily explain why; it’s a great tune. See what you think!

Single Review: Pat Smillie – “Lovers & the Leavers”

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Pat Smillie – Lovers & the Leavers album cover

image courtesy of Pat Smillie

by Eric Harabadian, Contributing Blogger

Single Review of Pat Smillie: “Lovers & the Leavers”

“Lovers & the Leavers” is the first in a series of singles Detroit-born and raised singer-songwriter Pat Smillie is releasing through Fat Bank Music. And the song fits comfortably in Smillie’s wheelhouse of blues and soul-infused rock. The veteran raspy-voiced soul man belts out an acoustic-based ballad that speaks to his rich observations on love and the games people play.

The track is co-written and produced by Smillie’s main man, guitarist Josh Ford. Also on board are Johnny Rhoades (acoustic guitar/electric guitar), Dale Grisa (keyboards), Rocco Popielarski (bass), Todd Glass (drums), Tina Howell (backing vocals), and Ashley Stevenson (backing vocals). This is, primarily, the studio group that Smillie has been using the past few years, and they certainly have risen to the occasion here.

Perhaps the first thing you glean, a few notes in, is Smillie’s sincerity and innate ability to spin a yarn. He’s a master storyteller and will stop you in your tracks with his authentic points of view. It’s a tight, radio-ready single that harkens back to the days of AM radio superstations like Windsor-Detroit’s CKLW. Smillie has all the vocal command and bluster of Bob Seger, Rod Stewart, and Frankie Miller combined. And the sweet sustained sounds of Ford’s slide work blended with Grisa’s Floyd Cramer-like piano trills set all the emotions of Smillie’s lyrics ablaze.

Pat Smillie and company are the future of Detroit music and carry the torch led by all those classic Motown artists, past and present, that have come before.

Album Review: Jennifer Tefft and the Strange – Strange Beginnings

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Jennifer Tefft and the Strange band photo

photo by John Parrillo; photo courtesy of Knyvet

Album Review of Jennifer Tefft and the Strange: Strange Beginnings (Rock Garden Records)

Strange Beginnings, the 2024 album released by Jennifer Tefft and the Strange, won Album of the Year at the 2024 New England Music Awards. And deservedly so! This is a tight, varied collection of kickass rock ‘n roll, ranging from soft songs to hard rockers. You can hear elements of a broad range of rockers in Tefft’s delivery, from Blondie to Pat Benatar, from Joan Jett to the more rockin’ edge of the Go-Gos. I know I’ve refenced a fair bit of classic rock, but this album is really more timeless rock. In musical listings, I tend to see Jennifer Tefft and the Strange labeled as alternative rock, and I can see the comparison, but they’re certainly at the more polished end of the alternative rock spectrum, and I spot a lot of classic and mainstream rock influences, even if the band does like to take it to the edgier ends of those rock categories.

Quite a while back, I reviewed “Love and War,” one of the pre-release singles from this album, and it has aged well. It remains one of the disc’s strongest hard-rockin’ tracks, even after dozens more listens. On this record, it’s joined by several more new favorites, too.

Jennifer Tefft and the Strange – Strange Beginnings album cover

image courtesy of Knyvet

“Caffeine,” another of the pre-release singles, was a great selection to get things started. The album-opener kicks things off with a gritty guitar lick – with axeman John Parillo making a statement that yeah, this album is gonna rock – before the song builds into a steady rock rhythm. The song is tuneful despite a jangly wall-of-noise backdrop and Tefft’s howling wails, guided by drumwork that’s steady even while feeling not-so, thanks to a creatively varied beat and some interesting fill choices. Then there’s that helicopter-ish ending. The band could go completely limp from this point on and you’d still think you’d listened to a rockin’ album. Fortunately, while the music is varied throughout the disc, it still always obviously rocks… and is never limp.

I really dig the imagery in “Paper Cut,” from the edginess of the vocals and guitar runs occasionally drizzling through the background of this heavy-sounding slow song. The imagery? Cool lyrics like “You’re a switchblade, paper-thin. You’re a paper cut on smooth white skin.” Ouch; I can feel that. And a fade-out ending. Remember when rock bands used to do this? Well, Jennifer Tefft and the Strange still do.

Throughout the rest of the disc you’ll find more alt rock-meets-punk-meets-classic rock tracks like “Shoulda Known Better,” which is one of those songs that feels a lot faster than it is because the delivery is so raucous, creating an illusion of speed despite its moderate tempo.

That moderate tempo is relatively common on this album, as is the case with “Lullaby,” and it is partly responsible for the album’s heavy feel, though drummer Chris Georgenes’ powerful skin-striking plays a role, too. Stephen “Sharky” Beccia’s thumping bassline also rises in the mix in certain tracks. Like “Lullaby,” for example, where I notice myself mentally thumping along with the bass toward the song’s close.

“Second Chance,” next up, stands out as a potential hit. It has a cool lyric you’ll get to know: “Drawn to the flame, we burn our wings, but we crave the fire and the pain it brings. Now we’re picking through the ashes for a second chance Drawn to the fire, we fly too close where we burn the things we love the most. Now we’re picking through the ashes for a second chance, a second chance to burn.” Is that badass, or what? Tefft’s vocals range from edgy to soaringly smooth supported by smooth guitarwork and heavy rhythms.

“Down On My Knees” brings some punk attitude and a straight-ahead musical attack punctuated in a few spots with a neat southwestern distorted riff that just hints at that Chris Isaak “Wicked Game” sound. (You can hear it now, can’t you?) But you hear it just briefly when it pops in, like just the right amount of flair, nowhere the amount of flair a Chotchkie’s manager would recommend.

“Going Out” is a fun rocker sung from the point of view of a past-her-clubbing-days woman preparing to completely overdo it on a rare night out. Irreverent, fun music for not-so-young adults.

And the album closes with power, the previously-reviewed “Love & War.”

Eight songs probably isn’t enough, but better to leave the audience wanting more, I guess. If my descriptions haven’t clinched the deal for you yet, the record was produced by Grammy-winning producer Bob St. John (Collective Soul, Duran Duran, Extreme, etc.), so you can count on top-shelf production value. And, of course, in this case, a kickass rock band delivering the goods.

Album Review: Roberto Magris – Freedom is Peace

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Roberto Magris

Roberto Magris; photo by Rosario Pino Varsaica; photo courtesy of Roberto Magris

by Eric Harabadian, Contributing Blogger

Album Review of Roberto Magris: Freedom is Peace (JMood Records)

World-renowned Italian jazz pianist Roberto Magris is reunited after 20 years with his globally-recognized Europlane ensemble. He is joined on this recording by an international roster of stellar players, including Hungarian tenor saxophonist Tony Lakatos, German bassist Rudi Engel, Slovakian trumpeter Lukas Oravec, Slovenian drummer Gasper Bertoncelj and Austrian alto and baritone saxophonist Florian Brambock.

Roberto Magris – Freedom is Peace album cover

cover photo by Herbert Hoepfl; image courtesy of Roberto Magris

Recorded live in Bad Goisern, Austria in April of last year for the European Capital of Culture 2024 event, this band was itching to play, and they came out swinging! This is the initial handiwork of Magris, who was commissioned by a promoter, Emilian Tantana, to resurrect this classic European jazz group for this special event. This recording serves as a world premiere of Magris’ new original compositions and arrangements. While this set of compositions was embraced by the entire ensemble, putting it all together was especially heartfelt for Magris, as the experience reflected not only his attempt to recreate the sound of the original Europlane group but also the evolution of his career, over the past 20 years, as a solo artist and sideman.

Rudi Engel

Rudi Engel; photo by Herbert Hoepfl; photo courtesy of Roberto Magris

Poised before a very appreciative and enthusiastic audience, the Magris-led group delivered the goods… and then some. There is a tertiary subtext of social consciousness that runs through this live eight track set, beginning with Magris’ “Freedom is Peace.” Musically, the piece unfolds in a strident and bold manner, with heavy McCoy Tyner/Horace Silver-like left hand piano action and a powerful front line melodic statement. The impetus behind the tune comes from Magris who says: “This new composition of mine comes from the pressing need to now stand for peace, freedom, friendship, brotherhood and positive values… ‘Freedom is Peace’ is a call to stand for peace and beauty as a counterpart to the ugly feelings that are more and more surrounding us. Music, and especially jazz, is energy. And in this period we need positive energy.”

Lukas Oravec

Lukas Oravec; photo by Herbert Hoepfl; photo courtesy of Roberto Magris

“The Island of Nowhere” slows things down a bit to a light swing, with shadings of cool noir. There is a meticulously orchestrated Oliver Nelson/Claus Ogerman vibe at play. The rhythms leisurely glide along, providing a platform that inspires great solos from everyone. The horns are strong, with an exceptional bass spotlight from Engel that seems to summarize the piece.

Florian Bramböck

Florian Bramböck; photo by Herbert Hoepfl; photo courtesy of Roberto Magris

“Malay Tone Poem” is a tune written by South African pianist Hotep Idris Galeta. This displays the diverse virtuosity of the band, exemplifying  their collective use of space and eerie alternate modes. There is a strong anchor from the bass and drums that allows the piano and horns to venture into seemingly unknown territory. In particular, Magris’ solo is inventive and playful.

Another cover that is a favorite of the composer-arranger is Andrew Hill’s “Laverne.” Magris has played this beautiful ballad with various bands for years and brings that familiarity and richness to this ensemble. It features intricate uncommon harmonies, with a soft, lilting feel that will cast you into a romantic or alternate state. Lakatos’ wonderful soprano sax work here really soars.

Tony Lakatos

Tony Lakatos; photo by Herbert Hoepfl; photo courtesy of Roberto Magris

Another significant message to his European countrymen and women is the piece “Something to Save from EU (You)” by Magris. It begins with a rubato piano and bass intro which leads into a bouncy and upbeat ensemble feel. Overall, there is a positive vibe to the piece, with tasteful brush work by drummer Bertoncelj during the mid-section. At over 12 minutes, the tune has time to fully blossom and breathe. This allows the opportunities for stellar solos. Again, Magris comments on goings on in Europe and our society at large. He says: “Many people are wondering if the European Union was and is still a good idea. Personally, I think it was and is. But now we need to change completely and move from financial priorities to social and cultural priorities. Apart from politics, the European culture needs to be saved. We need to save culture and we need to save art.  We need to save music (classical, pop, jazz, rock, folk, etc.). And above all, we need to save melody.” You definitely get that urgency from this group in the message.

Gasper Bertoncelj

Gasper Bertoncelj; photo by Herbert Hoepfl; photo courtesy of Roberto Magris

“When You Touch Me” was written by an Israeli musician Boaz Sharabi. In Magris’ travels throughout the world he found Israel to have a lot of positive atmosphere and connected with some great jazz people there. May this act as a healing salve to what the Israeli and Palestinian people have endured during the strife and human tragedy experienced in the last year or so. Magris took this old Israeli pop song and restructured it, with a slight Latin approach. The delicate group harmonies and Lakatos’ lithe soprano work stands out.

“Loose Fit” is a Magris composition that sounds just like the title. It’s a cool and funky number that rocks out. When it unfolds into swing mode it just feels so good. The ascending and descending melody has a cascading effect. And all the band’s solos drift effortlessly atop a driving beat. The drum break toward the end was unexpected, but gives it a nice kick.

Roberto Magris

Roberto Magris; photo by Radivoj Mosetti; photo courtesy of Roberto Magris

“Hip! For the Conference” is an older tune by Europlane ensemble that was rearranged and modernized for this event by Magris. It starts with a capella horns and then comes in swinging. I guarantee you’ll be humming this melody all day! Notable solos erupt from everyone as this hard bop gem brings the house down.

The Europlane ensemble led by Roberto Magris might not be familiar to American audiences, per se, but, regardless, they are one of the finest modern jazz groups you are ever gonna hear! Make a note and put this on your essential listening docket now!