Instrumental Jazz-Rock-Fusion: Manuel Muzzu- 3-Ree

Release Date: July 15, 2020

Label: Independent

Website

3-Ree is Manuel Muzzu’s third proper album. He has a handicap (I would rather call it a disadvantage) with his right hand so he cannot use all his fingers. You would never know that until he told you though. His playing is superlative.

Manuel Explains: My songs are inspired by all the different sounds I manage to extract from my 6 string basses including what may sound like a conventional guitar when I use it as a harmonic instrument opposed to a slap or a straight forward fretless melodic one.

Now think about that for a minute, how does this man discard a disadvantage with the most important factor in playing a stringed instrument, your hands? Amazing is the word as far as I am concerned.

Many things come to mind while listening to 3-Ree. The attraction for my ears and tastes becomes evident straight away as the first track “Give a Fu(n)k” starts. Notice the play on words in the title. Manuel likes to have some fun and give you something to think about as you browse over the track list.
 
He then takes the classic jazz-fusion from Coltrane “Giant Steps” and gives it his title dropping the s calling “Giant Step.” I imagine you would call it that as it sounds like a funky electronica jazz fusion mix with that impeccable bass of his leading the way. It is almost like the sounds of older computers moving at light speed that you would hear in older sci-fi movies or from the space-age cartoon The Jetsons from the 60s. A very interesting take on a legendary jazz fusion track indeed.

Manuel has many guests adding to the overall sounds and atmospheres of each track. As each track progressed through all of its layers of changing bursts of colors and paces, I could not help but think of some of my favorites since I started listening to jazz-rock fusion in the early 80s. Al Di Meola came to mind at first. And of course, his first band Return To Forever that amazing supergroup. “Soca Suca” really brought all of that reminiscing and feeling back to me very quickly. I remember the revelation of hearing Di Meola and Jean-Luc Ponty for the first time. This is great music and for many reasons.

Manuel’s use of the bass is genius and how gets that guitar sound is incredible.  3-Ree is a stellar recording from start to finish. If you are a listener that enjoys jazz, smooth jazz, rock, jazz-rock-fusion, or all of the above, then you are in for a sonic treat of the senses. 3-Ree is the entire palette of the jazz canvas converging into one incredibly entertaining group of tracks.

Keith “MuzikMan” Hannaleck
September 9, 2020

Track List:
01. Give a Fu(n)k
02. Kosong
03. Giant Step
04. A Place to Be
05. Soca Suca
06. Smoothazz
07. Stay Right To the Bottom
08. Just a Lullaby
 

Featured Track: Dyan Garris-Forest Whispers

Dyan Garris is an award winning new age artist and author. She is multi-talented and touches upon all of the arts within the new age genre and is a classical trained on the piano and violin.

"Forest Whispers" is a recent single track that is the feature I speak of.  It is a new age journey as beautiful, natural, and inviting as the cover indicates.

The birds are chirping with delight as the sounds of new age combined with world music fill in the space around you.

It takes you there immediately. That my friends is exactly what any recording artist wants!

Keith "MuzikMan" Hannaleck

 

More About Dyan Garris: DyanGarrisMusic.com

Dyan Garris is a multiple award-winning New Age recording artist, an award-winning author, and an official music reviewer for Zone Music Reporter (ZMR), New Age CD, and Spirit Seeker Magazine. Garris has recorded and produced 13 albums. Garris’ recordings include a series of independently tested music and meditation CDs that earned The National Health & Wellness Stamp of Approval.

Her latest CD, Mystic’s Nine, was released 11/1/2016 and won a Global Music Award. The song Mystic Sea from the same album won the 16th Annual IMA (Independent Music Awards) VOX POP WINNER award, New Age Song category. Her music is available on Pandora, Spotify, iTunes, Apple Music, Sirius XM, MoodMusic, Muzak, Music Choice, and more.

Dyan Garris started playing the piano when she was four years old. Her mother bought a baby grand piano and soon thereafter brought in a piano teacher. The piano teacher was an interesting choice because he was totally blind. 
At the first lesson Dyan asked him how he was going to teach her to play the piano since he could not see, and she asked him to take off his glasses so she could see his eyes. He obliged. They were beautiful blue and they were definitely blind. But even then through those obscured windows, she saw his soul. He was brilliant.

And he said to her, “Child, we do not need to be able to ‘see’ to play this instrument. We only need to be able to feel the music. Music is not about seeing. It’s about feeling.” With that, he took her hands and placed them atop of his and they played the most wonderful music.
Garris is a classically trained pianist and violinist. She became and maintained first chair, first violin throughout high school orchestra and still loves the way the two instruments blend together in perfect harmony. 

Her interest in meditation and music for relaxation goes back to early 1993 which is when she first began creating guided meditations. Music itself, of course, has been a way of life.

Rock-Pop Review and Interview With Neal Smith For Pop 85/95 Album!

Release Date: June 1, 2020

Label: 2020 Neal Smith

Website

Leave it to a living legend like Alice Cooper to lend us a diamond in the rough. Cooper’s drummer Neal Smith, finds himself at a crossroads of pop and rock. At 72, the rock-musician-turned-solo-artist releases a set of songs that harken back to simpler times on Pop 85/95. In particularly thinking of all that’s occurring in this world, especially with the Coronavirus, Smith finds solace and simplicity in pop melodies and lyrics with rock flares throughout. With a time warp back to the 80s, the album is a great reflection of sentimentality and flashbacks to easier times.

“If I Only Had You,” revs the album up to a steady soft-rock start. With its even tempo and words of desire and love, it reflects on what could have been. The person in question who has moved on, might just be listening around the corner. “Dying to Love You” slows up almost immediately. Typically an album contains a number of songs before a ballad or song of sadness play on. The singer is in need of that long lost love, from years gone by. That is what brought him true happiness. “Secret Eyes” give off that cool, smokey vibe. The synthesizer combined with the drums and guitar makes way for the perfect ‘80s flashback.

If you want an enticing intro, look no further than “Love Sets the Night on Fire.” The piano/keyboard, back-and-forth notation combo, pulls the listener in to acknowledge a deep emotional state and build of excitement. Essentially, we as the listeners are anxious to hear what the singer is yearning for.”Distant Drum” finds itself in the middle of this album due to its dream-sequence sound and mood. Speaking of a drum that the singer can only make out now, but wishes for it back to keep it as his own again.

This time we take samples of Journey and Modern English’s “I’ll Stop the World” when “I Wanna Be Good, But I Don’t Know How” begins. The song is a rush of energy that the album is refueled by. This allows the listener to re-engage, should she or he be dissuaded or dissatisfied by the mellow tones of prior songs. “Love Can Run, Love Can Hide” sings of how the strongest emotions can be buried or subdued as hard and deep as possible, but in the end, when it comes to love – it always finds a way to materialize. “In a Heartbeat” is a heavily synthesized creation of pure excitement and conviction. The song is a great representation of how quickly and immediate something can occur or materialize when desired heavily enough.

As though the title of the song didn’t give away that this would be a sad tune of wish and desire to come back home, “Fly Home Sweet Angel” is peaceful and somber at the same time. “I Love You to Death” is the exact opposite of the track before. It is a jolt of energy and pure enjoyment. The themes of love and reminiscence are prevalent through Pop 85/95. It plays well with the concepts of sexy, a bit of risque, and relationships both sweet and sour. Finally, “All My Eyes Can See” plays with imagery and conceptualization of what our desires and perceptions see in the world and in our own mindsets; even when it comes to a specific love or just romantic interest.

Key Tracks include: “I Love You to Death,” “Secret Eyes,” “All My Eyes Can See”

Gregg Keniston - MuzikMan.net Staff
August 7, 2020

Track Listing:
01. If I Only Had You
02. Dying to Love You
03. Secret Eyes
04. Love Sets the Night on Fire
05. Distant Drum
06. I Wanna Be Good, But I Don’t Know How
07. Love Can Run, Love Can Hide
08. In a Heartbeat
09. Fly Home Sweet Angel
10. I Love You to Death
11. All My Eyes Can See

Space Rock Review: Alan Davey-Four Track Mind

Release Date: May 22, 2020

Label: 2020 Purple Pyramid Records, a division of Cleopatra Records, Inc.

Website

You may not believe your eyes at how gigantic this piece of work might be, but, it won’t take long to tell you of this powerful album. Take a trip. That’s exactly how you’ll feel after listening to Four Track Mind. It’s interstellar, out-of-this-world. You might recognize this badass bassist and guitarist from his Hawkwind days. For 12 years from ’84 to ’96 and then again from 2000 to 2007, he rode high on his band’s success. In the space of that four-year hiatus, Davey took the time to mold his own career as a solo artist. During his second run of Hawkwind, his solo projects diminished. With this new solo release, it’s almost as if he had one final trick up his sleeve…that we know of.

Four Track Mind is not for the average, every-day music lover and or consumer, (even some aficionados might find some difficulty in getting through this heavy tracklist). The album lures the listener into a trance-like state. Alan Davey shows a great variance of techniques in utilizing a blend between two instruments – a bass guitar, and a synthesizer. As you play through the album, it begins to feel like a movie soundtrack from an alien domination film. The tone intensifies as tracks like “Lost in the Smoke” and “Greenback Massacre” come on, where the beginning 10 tracks and others like “Fire Tribe” are play-on beatmakers that play almost like individualized ringtones to old-fashioned cell phones.

Imagine, if you will, a hypnotical spiral where it continues to infinity. That is what much of this album represents. Four Track Mind is the kind of album you need to allow yourself to get lost in. Dedicate a day of meditation or intention to this record. The varying sounds and tones through the combination of the guitar and synths send you through an out-of-body experience like no other. But a piece of work of this magnitude also requires the discipline to go from start to finish and understand how to make essentially four separate albums cohesively flow together.

Gregg Keniston- MuzikMan.net Staff

June 30, 2020

Track Listing:

01.     Spiritual Modulator
02.    R.E.M. Time
03.    Chinese Whispers
04.    Transient
05.    Slumber Head
06.    Dragon Chaser (1986 Version)
07.    Hypno Trip
08.    In A Sphere
09.    E-On Strings
10.    Wind of Ghosts
11.    Dark Light
12.    Moody Motion
13.    Flight to Andromeda
14.    Sunrise Assassins
15.    Moonstone
16.    Dragon Chaser (1988 Version)
17.    Sword of the East
18.    A Shot in the Dark
19.    Spiritual Modulator
20.    The Call
21.    Fire Tribe
22.    Return To…
23.    Simulator
24.    Chased
25.    Dragon Chaser
26.    Drive
27.    On Acid Bass!
28.    Hitze Seeker V
29.    Of Wings
30.    Out of My Box
31.    Robby’s Rap
32.    Jigging
33.    The Noise
34.    Abab Fed
35.    Backwards Thru Water
36.    Tribal Daze
37.    Lost in the Smoke
38.    Snake Charmer
39.    Up and Up
40.    The Animal
41.    Deep Space Rock
42.    Don’t Fret
43.    From the Deep
44.    Blue Shift
45.    Osc Squared
46.     Stan’s Middle 8
47.    Astron Belt
48.    Special Place
49.    Received
50.    Fear at Night
51.    Endoparasitoid
52.    Wave Upon Wave
53.    Space to Go
54.    Greenback Massacre
55.    Shahadah
56.    Many Voices
57.    Bird Nebula
58.    Creamy
59.    Holosuite Program
60.    Assimilation
61.    Alien Fingers
62.    The Wind
63.    Be Still
64.    Magic B
65.    Lgm
66.    In the Game
67.    Reality Foil

Blues Review: Dion-Blues With Friends

Release Date: June 5, 2020

Label: Keeping The Blues Alive

Website

Dion was born, Dion Francis DiMucci in Bronx, New York. Throughout his career, he has seemingly done it all. Although at 80 years old (almost 81), you could expect that. While his musical beginnings link back to 1957, it was not until 1960 that Dion went solo and started to experience some true momentum in his music. Having gone through several different phases in his career, he has fiddled with so many different genres from rock to Christian, and R&B. I mean who else can form several different bands, break out into a solo career, and genre hop so effortlessly to arrive at 80 with such a short album discography? That has been revealed through Dion’s ventures with the Belmonts, himself, and revolving from Christian back to secular music. Recently he released Blues With Friends.

When “Blues Comin’ On” starts up, you immediately understand why the “blues” could be both uplifting and also get you right in the gut. It starts the album off with a very positive chord and tone, while the lyrics are reflective and not exactly light and positive. “Kickin’ Child” is a cruiser of a tune. With the top-down and the wind blowing through your hair, it offers a continuation of a feel-good spirit. Then you get the jazzy-influenced “Uptown Number 7” to conclude the trio of overall positivity.

“Can’t Start Over Again” at first, sounds like a country song. It’s like the singer is a rolling stone trying to find his way. But, when you listen more closely, it’s more of a heartbreak that acts as a roadblock in his life because the point of a do-over is so tough to comprehend. “My Baby Loves to Boogie” bounces right back to a funk beat. The song is a great way to step onto the dancefloor and…boogie. I’m reminded of the Blues Brothers here. “I Got Nothin’” is a cool message of letting a partner know that one might not have a lot of material goods or a lavish lifestyle, but in the end, they do have the capability to still make one another happy. “Stumbling Blues” is a great play-on song lyrically of the way we often feel when we first become infatuated with a new love interest.

Moving forward, “Bam Bang Boom” is a happy ode to a woman who gave new meaning to the singer’s life and he seemed he couldn’t be more thrilled because of it, just like that. “I Got the Cure” lays out the singer’s confidence in himself as well as for the perfect remedy of a bad day or mood. The album then switches up to “Song For Same Cooke (Here In America)” which is a wonderful reflection on the famed singer, Sam Cooke. It spoke of a bond between the two artists that went deeper than just music.

“What If I Told You” is a twist on the typical cheating or wronged love song. The song tells of how the singer is on to his lover’s actions and feelings (or non-existent feelings) towards him and toward someone else. Knowing he is above the tomfoolery of the back-and-forth of a breakup or fight, he just gives off premonitions of how aware he is of her actions.”Told You Once In August” pairs well with the prior song. Another cheating song told in a different form, holds more of a western vibe to it this time around.

Rounding out the final tracks, “Way Down (I Won’t Cry No More)” sings of hurt and pain from love but, speaks more to the redemption of the singer’s attitude. He will in-fact, rise above this temporary pain of betrayal and be better for experiencing it. This leads us to the finale. Although sounding initially like a somber tune, a very positive, reflective message shines through.

Speaking of the Lord, Dion directs the listener to always look towards God to overcome the greatest adversity. This last track is an opposite mirror effect of his first track “Blues Comin’ On” where the lyrics are gloomy, but the tone and sound are both happy; whereas “Hymn to Him” is sounding more slow and dark but, a very powerful message prevails.

Key tracks include: “Hymn to Him,” “Kickin’ Child,” “Stumbling Blues.”

Gregg Keniston - MuzikMan.net Staff
June 30, 2020


Track Listing:
01. Blues Comin’ On
02. Kickin’ Child
03. Uptown Number 7
04. Can’t Start Over Again
05. My Baby Loves To Boogie
06. I Got Nothin’
07. Stumbling Blues
08. Bam Bang Boom
09. I Got The Cure
10. Song For Sam Cooke (Here in America)
11. What If I Told You
12. Told You Once In August
13. Way Down (I Won’t Cry No More)
14. Hymn To Him
 

Eclectic Prog Review: Fren-Where Do You Want Ghosts To Reside?

Release Date: March 6 2020

Label: Independent

Website

Where Do You Want Ghosts To Reside? is the debut album released by the Polish band, Fren. Hailing from Krakow, they are classed as an eclectic prog band and were formed in 2017. The band is a quartet, comprising Oscar Cenkier (keyboards), Michal Chalota (guitars), Andrew Shamanov (bass) and Oleksii Federov (drums).

These guys are creating a few waves for being newcomers, as I have seen a couple of reviews which have extolled the virtues of this band, as well as hinting that they have a few older bands to thank for their sound. Having listened to this release, which was sent to me by Michal, many times, what we have here is an excellent set of musicians who give “nods” to various areas of “older, classic” prog, but masterfully incorporate these retro-style sound excursions into the sound of Fren. At this point, I should also mention that Fren is an instrumental band, and they have successfully circumvented my normal apprehension of such entities, as at no time during Where Do You Want Ghosts To Reside? did I think “what a difference a vocalist could have made at this point.”

Where Do You Wants Ghosts To Reside? is a 6 track album with a total playing time of just under 45 minutes (44:29), with track 3, “Goraca Linia”, being the shortest at 2:59 minutes and the fourth track, “Pleonasm,” the longest on offer at just over 12 minutes (12:02).

“Pleonasm” is a majestic track dominated by the superb piano passages. After a gentle piano passage starts the track, with the rest of the band almost unobtrusive in the background, the piece moves into a more jazzy sequence with all the players playing their parts very well, as the piece unfolds, the tempo, and the intensity shifts several times with the piano leading the way for the most part. The interplay between the four very skilled musicians is nudging perfection. Little forays, again into a more jazz-based style, this time led by guitar, ebb and flow, as the music returns to the piano lead before entering into a majestic full band passage around the midpoint of the track. The listener is drawn into the atmospheric piece by the shifting points of emphasis and the revisiting of the superb piano sections. At times this track is very minimalistic before building into a thunderous full band section, then the sound is stripped away to simply piano with the other instruments underpinning the track. The last 1-2 minutes are hugely atmospheric as the track moves to the finale. This is a stunning track that is different musically from the 3 prior tracks but maintains the high bar set by those tracks.

The final track on the album is track 6, “Time To Take The Stones Away” (8:41), and starts with another majestic repeating riff, before settling into a guitar-led passage which pushes along, giving Michal the chance to shine. A simply lovely piano passage at 2:00 minutes is backed by tempered bass and drums with the piano again the main instrument of the piece. Just after 4:00 minutes, the sound clears away to leave a stunning bass sequence with sporadic drum inputs before the guitar almost stealthily enters proceedings. Prior to the 6:00 minute point, the sound moves more aggressively before the piano comes in over the top and with the band now playing with such skill, the track is escorted to its completion.

This is a stunning debut release by Fren, performed by musicians who share a similar goal, that is, to aim for perfection in their music. Where Do You Want Ghosts To Reside? is an album that simply shouts out “Buy Me!”. From the simplest of passages to the multi-layered passages, this is an enthralling album to listen to. You will marvel at the points where you just about have time to think “that sounds like….” before another passage whisks you deep into the sound of Fren. This, in my opinion, is a must-have purchase in any true prog fan’s collection and will be listened to many, many times generating real musical enjoyment.

Jim “The Ancient One” Lawson   ProgRockMusicTalk Staff
June 16, 2022

Tracks:
1. Twin Peaks (4:41)
2. Surge (9:43)
3. Goraca Linia (2:59)
4. Pleonasm (12:02)
5. Heavy Matter (6:23)
6. Time To Take Stones Away (8:41)
 

Featured Track: The Song Gardeners - Sabbe Satta Sukhi Hontu (May all beings be well)

The Song Gardener's return to Rate The Tracks with another single titled "Sabbe Satta Sukhi Hontu," translated it means "may all beings be well."

After hearing the words and music you cannot help feeling empowered with all the positive spiritual energy this fantastic trio puts out into the universe.

Once again Corrie Dunn (vocals, piano, guitar), singer/songwriter Mary Gospe (vocals, guitar, flute), and Chris Day (bass), make their mark in the world of new age music with a classic mantra.

May all of you beings be well and listen to the music to help the healing along the way. Give it a listen now, the good vibes will relax you and and put a positive spin on your day!

Keith "MuzikMan" Hannaleck 

http://www.TheSongGardeners.com

https://www.facebook.com/thesonggardeners

Featured Track: The Song Gardners-Love Flows

The Song Gardeners is a musical trio from the San Francisco Bay Area featuring singer/songwriter Corrie Dunn (vocals, piano, guitar), singer/songwriter Mary Gospe (vocals, guitar, flute), and Chris Day (bass).

This song is titled "Love Flows." As the love flows, so does the gorgeous vocal harmonies as I am certain you will agree when you listen to the stream provided.

This is new age themed music with a clear and concise message of positiveness, spirituality and above all, love.  Listen now and get ready to be transported to another dimension of total relaxation with "Love Flows."

Keith"MuzikMan" Hannaleck


>

http://www.TheSongGardeners.com

https://www.facebook.com/thesonggardeners

Blues Review: Shirley King-Blues For A King

Release Date: June 19, 2020

Label: Cleopatra Records, Inc.

Website 

Powerhouse? Check. Musical family lineage? Check. Try as you might, to find a smoother summer sizzler than Blues For A King, you won’t have much luck. Shirley King, the daughter of famous blues legend B.B. King, arranges a collection of 11 feel-good tracks of classic covers and original pieces. Not much is known of Ms. King personally. She was born in 1949 and unfortunately, most of her adult life remains spotty, other than the fact that she was an exotic dancer since 1969. In 1990 she switched over to the blues and has done her father’s legacy well.

Looking at the artwork for this record, it is simple and colorful. Much like the genre it embodies, the album is bold and captivating utilizing color and animation. Blues finds a way to show the same concepts keeping the lyric structure symbol and coloring the singer’s tone beautifully with the emotion of often strife and trouble.

With two albums under her belt, Blues For A King soars into the stratosphere with songs holding mainly a strong, upbeat tone. Select songs such as “Can’t Find My Way Home,” “Gallows Pole,” and “Hoodoo Man Blues” do carry a more serious, darker sound but, not so much so that it completely changes the mood of the entire record for the listener.

“All My Lovin’” and “Feelin’ Alright” starts the album off as  “good morning world, how are you today?” and “sultry meets self-confidence” songs respectively. How can you not turn the volume up when the singer exudes so much love of life. “I Did You Wrong” is far from wrong at all. It acknowledges the pain the singer caused her significant other, feeling nothing but remorse for her part in a failed relationship. She then wants to reach out somehow to attempt to repair the damage in front of her.

We turn the volume back up to 11 when “That’s Alright Mama” comes blaring on. It’s an ode to what comes through every child vs parent situation, regardless of age, in terms of big decision making. One party might be uncomfortable with a decision like moving on or out, while the other party objects to any notion of the idea. “Can’t Find My Way Home” is calling upon those who live with their heads in the clouds or who might feel superior to other people or a group of persons. In this case, the singer is struggling to focus on the journey back to her home to spend more time searching for something greater than her home, not acknowledging a sense of superiority; rather comfort in simply being a wanderer for the time being.

“Johnny Porter” resembles a lot of a similar story-teller song “The Night the Lights Went Out In Georgia.” It speaks of a child who is making careless, destructive decisions on the streets. Meanwhile, his mother is worried sick about his well-being. The song is a coming-of-age combined with testing waters theme like no other.

This “Feeling Good” rendition is smokey, intense, and powerful where it often is light, bright and airy. Though, it still manages to keep a positive tone with the obvious lyrics and guitar accompaniment. “Give It All Up” is the honeymoon phase of life. Ready to throw caution to the wind and feel some constant goodness in her life, Shirley King is laying it all down for the one she loves. Then, we arrive at “Gallows Pole.” Another darker song on the record shows how human life can turn into a value for some people, with not a care in the world to rethink their action.

“Hoodoo Man Blues” is a struggle to find out why everything seems to be going topsy turvy in the singer’s world at the moment. She calls out for the Lord but, it seems the message isn’t getting through. Rounding out Blues For A King, a wonderful cover of “At Last,” makes the album shine and feels as though there is peace among the blues.

Key tracks include: “That’s Alright Mama,” “At Last,” and “Gallows Pole.”

Gregg Keniston- MuzikMan.net Staff
June 11, 2020

Tracks:
01. All My Lovin’
02. Feelin’ Alright?
03. I Did You Wrong
04. That’s Alright Mama
05. Can’t Find My Way Home
06. Johnny Porter
07. Feeling Good
08. Give It All Up
09. Gallows Pole
10. Hoodoo Man Blues
11. At Last 

Neo Prog Review: Airbag- A Day At The Beach

Release Date: June 19 2020

Label: Karisma

Website: www.airbagsound.com
  

The Norwegian band, Airbag, was formed by high school friends away back in 1994 but the release of their first EP heralds the fresh start as a “proper” band. They released a second EP which was freely downloadable from their website, as indeed, was the first release.

In 2009, the band was signed to the Norwegian label, Karisma, and the first album, Identity, was issued. This included more fleshed out versions of tracks on the two EPs, which were subsequently deleted. Three more albums followed, All Rights Removed (2011), The Greatest Show On Earth (2013), and Disconnected (2016) before the new album under review, A Day At The Beach (2020).

Initially a 5 piece band on the debut, there was a change in the drum seat for album 2, the same line-up for album 3, before a drop to a 4 piece outfit for album 4 and a further drop to a trio, comprising Asle Tostrup (lead vocals/keyboards/programming), Bjorn Riis (guitars/keyboards /backing vocals) and Henrik Fossum (drums) on this new release. Asle and Bjorn are original members with Henrik joining as the drummer from album 2, so a very settled core to the band. Guesting on A Day At The Beach, is bassist Kristian Karl Hultgren from fellow Norwegian band, Wobbler.

A Day At The Beach is a 6 track album with a combined running time of just under 49 minutes (48:50), with the opening track “Machines and Men” clocking in as the longest track at 10:48 minutes and “A Day At The Beach Part 1”, track 2, the shortest at 3:55 minutes.

The opening track, “Machines and Men” (10:48) is unmistakably Airbag, that is, if you are conversant with earlier releases by the band. As with a few Airbag introductions, there is a quiet section before any sound becomes detectable, and that first sound appears to be provided by the guest musician, Kristian Karl Hultgren’s bass. This repetitive riff is soon joined by the guitar of Bjorn Riis and the characteristic vocal of Asle Tostrup, before a more 80’s style electronica passage settles in with the band in full flow; bass, guitar, and drums perfectly in synch behind the vocals. Around 5:30 minutes, the sound falls away leaving a bass and guitar passage before the vocals return and the driving sound restarts with Bjorn’s guitar coming through loud and clear at around 7:15 minutes. The vocals arrive again nearer 8:00 minutes and an excellent instrumental section leading to the sound simply fading towards the track finale will have kept the listener’s attention. This track flows through light, airy passages and heavier, darker areas and is a superb opening track to the album.

“Sunsets” (8:16) is track 4 and starts with a little drum rhythm before the band kick into play. A slow passage that builds, then drops to leave bass and drums, and that expressive voice from Asle. A verse later and the chorus kicks in at a higher level before returning to the atmospheric music that Airbag is renowned for. Just after the 3:00 minute mark, the towering guitar provided by Bjorn takes over and drives the track along. Over the 4:00 minute mark and there is another “doff of the hat” to some 80’s electronica, before Bjorn “ups the ante” even further. Asle’s characteristic vocal takes over again before leaving the way open for the guitar of Bjorn to sweep the track on from around 6 minutes, until 7:45 minutes when it is atmospheric to the finale.

This album, A Day At The Beach, is a stunning release from the band. They have perfected, in my opinion, a “less is more” attitude with the quiet passages being as powerful for the listener, as an all-out blast from the guitar. They paint superb aural landscapes on each album and A Day At The Beach is no exception. I will happily admit to being a huge fan of Airbag, but the band has always produced “the goods” with each successive album. My advice is simple, go out and buy this album and you will not be disappointed, and it might tempt you into purchasing their back catalog.

Jim “The Ancient One” Lawson - Prog Rock Music Talk Staff
June 4, 2020

Tracks:
1. Machines And Men (10:48)
2, A Day At The Beach Pt 1 (3:55)
3, Into The Unknown (10:28)
4, Sunsets (8:16)
5, A Day At The Beach Pt 2 (5:33)
6, Megalomaniac (9:50)

Jazz Review: Rhy Dongju-Lions’den II: Arium

Release Date: May 15, 2020

Label: 2020 Dongju Lee

Website

Rhy Dongju is a youth progressive jazz and classical musician who grew up in the Republic of Korea. As a multi-disciplined, growing young man, Dongju exited the military in 2017 and then began to watch his music career blossom. Having released five albums so far, his latest Lions’den II: Arium, is his newest venture, creating an explosion of big-band flavors fused with jazz stylings.

“Ricasso” begins the album like the introduction of a theatrical performance as the curtain draws up, the number is exciting the listener for the start of the show. The tone almost makes the track sound as though it came from a spy movie. It’s a wonderful track to start with as there are no sudden or extreme changes, rather it is a simple, soothing piece.

As track two begins, and you glance over at this particular album artwork, you see a driver’s side car mirror. It's black and white, city street depiction is perfect for this album as it makes you feel like your right in the heart of a city That appears to be the theme of the record, along with a little throwback glance at the 1950’s scenery, painted in the listener’s mind. “Pp,” with a build-up of what might sound like a crescendo of tension, quickly dissipates back into a steady stream of uptempo, staccato strumming. What makes this track so appealing is that there are four different stages within the song; one which circled back to the crescendoing tension again to end out the song.

“Elvis Remember,” simply put, is pure fun. The song bursts with a cheery fanfare that becomes a toe-tapping two-minute tune. It’s appealing to the ear for as quick of a number as it is. Then, we fall into “Revenue” is the first track to have a bit of a somber note to it. The drumbeats offer up a variance of flavor to just having the guitar play through the entirety of the track. “Venue” starts as a dream sequence. It's light, piano keys offer beauty to the piece soon incorporating in the drums and as the guitar sets up to play, allowing it free reign. During the two to three-minute mark, the climax of the song has probably the most interesting exciting release of music throughout the whole album.

When “Syren” comes on it offers a cooler, mellow tone, and though it may be a little more melancholy than that of “Revenue;” it is still sleek with intervals of hill and valley moments particularly at the three-thirty to the four-minute mark. “Aroes Intro” is full-on spooky. It is a minute of elusiveness and piano pleasure. Getting into the main tune of “Aroes” is exciting and simplistic at the same time. There is a fair and even balance between the guitar and piano arrangements within “Aroes” which complement the track to have it be the standout track of the entire album.

Full of downbeats and dark tone “Rachmaninoff Rhapsody, Pt.1” is short but, a severe throw off course of what the listener has become accustomed to hearing through Lions’den II: Arium. As it’s follower, “Rachmaninoff Rhapsody, Pt. 2” comes to play, it offers a variance to its counterpart. While it sounds very dramatic, it gives off a vibe of a very high-speed chase or action-packed scene that might result in a grand finale. Coming to a close, “Arium” is the closing credit everyone can gather and stand and applaud to as victor has won or the hero is now enjoying a moment alone or with their love interest, after having accomplished whatever had needed to be done. It has a smooth and warm tone sure to leave you satisfied and just enough to want to know what the future might have in store for this rising, accomplished artist.

Key tracks include: “Venue,” “Arium,” “Ricasso,” and “Elvis Remember.”

Gregg Keniston- MuzikMan.net Staff
May 30, 2020

Track Listing:
01. Ricasso
02. Pp
03. Elvis Remember
04. Revenue
05. Venue
06. Syren
07. Aroes Intro
08. Aroes
09. Rachmaninoff Rhapsody, Pt. 1
10. Rachmaninoff Rhapsody, Pt. 2
11. Arium

Adult Contemporary/New Age Review: Richard Shulman-Life Seasons

Release Date: July 1, 2020

Label: Richheart Music

Website

Richard Shulman has recorded 28 albums and collaborated on dozens more. The soon to be released Life Seasons is the next proper album.

I like the thought of the seasons theoretically and how it fits each individual's age and current life situation. For instance, the winter of your life would likely be your seventies or eighties dependent on your health.

I would consider Life Seasons as a new age album thematically but musically it is adult contemporary with different elements sprinkled in. Richard’s beautiful piano playing takes center stage and he creates each track like the colorful pictures on the album cover.

“Summer Solstice” is performed by Richard’s trio. The lazy season is given the proper treatment with some cool jazz-inflected laid-back sounds. In the same frame of reference “Bohemian Summer” is a nice jazz number to kick off your shoes and soak in. As the notes are created your mind is set at ease, imagine just floating on a soft billowing cloud.

As we move into the changing seasons “Pre-Autumn” segues into “Sweet Autumn.” The tides of the music change with the season as the paces slow down and speed up in different parts of the composition, intimating the real-life changes you can see when nature does its magic. As autumn ends then we go “Spinning Into Winter” with a nice vocal performance from Wendy Jones, to follow is a solo piano performance from Richard titled “Winter Solstice.” His solo playing is very elegant and appropriate for the distinctiveness of the winter season and all its beauty as it covers the mountains and trees.

“Winter Solstice Dream” continues our seasonal walk through one of mother nature’s most celebrated seasons. It is the most prolific track that includes a spoken word performance from Wendy. The dialogue is significant and reflects much more than the actual season. It goes beyond relating to us as humans and how we translate mother nature’s work. The track runs for 9:52 with a backdrop of Richard’s tinkling ivories leading down the path of realizations as the spoken word continues telling a fascinating story. It is an exceptional track and presented beautifully.

The cycle continues with “Hope for Spring” and the beginning of the thaw with “Early Spring.” Richard’s piano is alive and thriving with exuberance and a consistent rhythm.

Now that I have heard all of the piano instrumentations, I have the belief that the foundation of this music was derived from classical and morphed into a new age, contemporary, and jazz leanings type of listening. All of it made for a perfectly enjoyable listen from beginning to end.

Life Seasons is quite the journey, offering each listener a taste of every season through the eyes and hands of many talented artists through the piano and other assorted instruments. Everything that went into this recording is just as dissimilar as all the seasons. That is the one element that I found the most interesting and relatable. Of course, every listener will find something different and that is what makes it so unique and special to those that choose to listen.

The personal for this diverse musical collection includes:

The Trio:
Richard Shulman - piano, all compositions and arrangements,
Zack Page - bass on all except #8,10, 13.
Rick Dilling - drums on all except #8,10,13

Vocal Quartet:
Wendy Jones - soprano #4,7,9,10,13 and flute on #7
Paula Hanke - alto #1,4,9,13.
Sherman Hoover - tenor #4,9,13.
Bob Bencze - bass/baritone #4,9,13.
Ron Clearfield - cello #1,7

Keith “MuzikMan” Hannaleck
June 5, 2020

Track List:
01. Life Seasons - 5:00 - vocal feat. Paula Hanke
02. Summer Solstice - 4:40 - trio
03. Summer Night - 4:02 - trio
04. Bohemian Summer - 4:13 vocal quartet
05. Pre-Autumn - 5:13 - trio
06. Sweet Autumn - 4:33 trio
07. Spinning into Winter - 3:30 vocal feat. Wendy Jones
08. Winter Solstice - 3:39 - solo piano
09. Velvet Shoes - 3:22 - vocal quartet
10. Winter Solstice Dream - 9:52 - spoken word feat. Wendy Jones
11. Hope for Spring - 5:20 - trio
12. Early Spring - 5:36 - trio
13. The Fairy of Mystery Blue - 3:14 vocal quartet


Review Provided By New Age Music Reviews

New Age Instrumental Review: Bernward Koch-Becoming

Release Date: May 15, 2020

Label: Myndstream

Website

Bernward Koch is a German multi-instrumentalist and Becoming is his fourteenth proper recording.

On Bernward’s website, he says "Music gives wings to a brighter life“ That statement is so true especially with what the year 2020 has brought the world. With all the pain and suffering on this planet, we are desperately in need of more artists like Bernward to keep making music that heals.

I also found something else noteworthy on his website that touched my soul. The US organization "Massachusetts Fallen Soldiers" uses his music to heal suicide-prone soldiers who have come back from crisis areas in different places in the world and often suffer from post-traumatic stress disorder (PTSD). I am from Massachusetts; I am a vet, and my father served in WWII so this means so much to me. Thank you Bernward.

This music is graceful, filled with beauty, and ultimately a wonderful tool for relaxing, meditation, contemplation, or simply listening enjoyment. That is without a doubt the entire reason this man makes his music. I am sure every time he records it is a process but a labor of love at the same time. He gives away sheet music on his website for two of his albums! I find that so generous of him to do that. Aspiring piano players can learn and play his music. So, the fact he gives us such beauty and peace through his music is one thing, then to give his actual sheet music away, well that is just amazing. May all of that good karma come back to you tenfold sir!

Listening to this music really helped me today. I had to walk away from the news that has been coming across our TVs and step back and take a breather. We all need it, especially now. I personally need to know that there are still loving and giving people out there and Bernward is surely one of them.

“Sparkling Eyes” was one of my favorites and I added it to my NAMR Spotify Playlist. It reminded me of my wife when I first met her and she still has that sparkle to this day. It is a gift to listen to this music and go through so many feelings, memories, and at times, sadness is coaxed out of me but I still feel good when the music finishes. This is music that puts me in a place that is not of this earth, we call it heaven. Maybe there is some truth that we choose our parents and start in heaven and return once we leave our bodies. It is possible, anything is if you believe.

Becoming is a very significant word. It can mean any number of things dependent on who you are and what frame of mind you are in when you are listening to this music. For me, it is about being me with no mask or wall to protect me, just me taking all of the sounds, textures, and colors in, then processing it all. What I get in the end is something very special, spiritual if you will, whatever one can call it, it is a blessing that I receive with a lot of gratitude. Every second of my life I am Becoming who I am, evolving, learning, growing, and sharing my experience, strength, and hope with everyone I know and meet.

I hope each and every listener can find a road to take within this music that allows healing. You just never know where Becoming is going to take you but that is exactly what makes it so intriguing. Every listener will find their way through this music, whether it is intentional or not, I am guaranteeing that these tracks are going to affect in you in a prolific manner, but you must let it happen, just listen and Benward, he will take you there.

Keith “MuzikMan” Hannaleck
May 30, 2020 

Track List: 
01. A Magical Dream
02. Lavender Fields
03. Moments of Love
04. Sparkling Eyes
05. Alone on the Way
06. Becoming
07. Mysterious Afterglow
08. The Bright Spring
09. The Harvest  
10. A Swan Dream
11. Floating Leaves
12. September Impressions
13. Long Long Time Ago


Review Provided By New Age Music Reviews

Rock Review: Airborne Toxic Event - Hollywood Park

Release Date: May 22, 2020

Label: Rounder Records

Website

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Being a sucker for what I'll coin as Literary Rock, I eagerly anticipated this latest Airborne Toxic Event release, Hollywood Park. The album is a soundtrack to founder Mikel Jollett's recently released memoir focusing on his experiences growing up in an infamous cult and subjected to a childhood filled with poverty, addiction, and emotional abuse. If the book is as powerful as the soundtrack, we're in for a great read.

It's worth noting that the band takes its name from a 1985 postmodern novel called White Noise, which centers around a chemical spill that forces the citizens to face their mortality and learn to appreciate the beauty of the natural world around them. 

The sonic experience involves a back-and-forth between propulsive anthems and subtle, evocative piano ballads. "Come on Out" is one of the album's real treasures. With a driving rhythm and deep, resonant vocals, it captures the thrill and angst of youth, all the while steering the listener boldly toward a new future.

As the album progresses, the songs slowly become stripped of their production and presumption. They become more personal. "The Common Touch" features Jollett in a folksy singsong number, which feels as if he's about to lighten the mood and then heads in a different direction.

With our heads soaked up in alcohol, one hand on a cigarette. I swear I still got some good moves left. I've been fifty-eight since I was twenty-three. I got sixty-nine problems but one ain't me.

In addition to "Come on Out," the standout track to me is "All These Engagements." The lyrics are rife with veiled allusions of deep and dark childhood trauma, which has followed the protagonist has carried with him all his life. It starts slow as a remembrance and rolls along forcefully building toward an ultimate crescendo of rage. "Common Touch" adds a folksy singalong number to the equation to lighten the mood.  

All in all, The longing, anger, and regret are palpable on Hollywood Park. Yet after a close listen, one feels a sense of earned wisdom, a that which does not kill me makes me stronger feeling. What Airborne Toxic Event delivers is a powerful collection of songs that blends rock music with a well-told coming of age story. The result is a highly gratifying listening experience.  

- Tom Endyke | Guitar & Pen

Jazz Review: John Scofield, Steve Swallow, & Bill Stewart - Swallow Tales

Release Date: June 05, 2020

Label: ECM Records

Website

According to his website bio, Scofield and his music lie “somewhere between post-bop, funk edged jazz, and R & B.” John Scofield has, over his 50 years within the industry, played with some of the biggest names in the music industry known to man. One of his biggest partnerships was with the late, great Miles Davis. This duo provided Scofield the capability to flourish from a springboard perspective into the spotlight of Jazz as both an instrumentalist and composer harmoniously. With his latest project Swallow Tales, the 68-year-old has not shown any signs of slowing down anytime soon.

Steve Swallow, one of two partners on this album, is a jazz bassist and composer hailing from my home state of New Jersey,(who knew?) Swallow was one of the first bassists to switch up entirely to utilize an electric bass. Like his teammate, for more than 50 years, Steve has been writing and even educating youth at the Berklee College of Music. At 79, Steve is still contributing to upcoming works including Swallow Tales.

Bill Stewart is the mastermind behind the rhythm and beat of the newest album creation. If not for him, the record might lose a sense of excitement and anticipation that several of the tracks offer. As the youngest of the trio in this group, the 53-year-old collaborates once again with Scofield to impress upon new, upcoming artists incorporating his “polyrhythmic, or layered character” with that of their own new and inventive styles that they might develop in a quest to become a new “great” musician or artist of tomorrow.

In just a basic glance of the album’s artwork, Swallow Tales comes across as something one might listen to on that of the dreariest, dampest of days. Turning on the intro track, “She Was Young” reveals quite the opposite of mindsets. It’s cool, simple, film-like beginning lays the groundwork for an enjoyable nine-and-a-half minute electric guitar getaway. The flicks and picks amid the track keep the listener wondering where he might go next as he eases back into solemn, quiet playing.

“Falling Grace” is more of a somber tune but appealing nonetheless. Its shuffle-like sound and the consistent rise and fall structure throughout the playtime is a fun way to incorporate different techniques through the tracks. “Portsmouth Figurations” brings about a more-defined drum beat to change up the sound-alike chain of the prior two tracks, even if you can spot the differences. Instrumental pieces, often make it difficult to capture what separates one track from another, however, it is very-much still possible to do so.

“Awful Coffee” is most certainly apparent in its more mellow style, especially as the track opens. The track aligns very closely with the design and setup of the album’s artwork, where it might be best listened to within the confines of a darker room or under the haze of a gray, cloudy sky. “Eiderdown” blends quite seamlessly with its predecessor up until about the 2-minute mark where it differentiates with a rumble-like tone and more staccato-type form. The seven-minute tune avails more zig-zag maze imagery than the others heard so far as there does not seem to be one set theme in this track.

“Hullo Bolinas” brings the listener back down from a high of excitement and pop-infused playtime. The more elongated, allegro formation of this track appeals to those who like tracks that are more at ease and with less of an intensity that jazz can often possess. That’s the thing with jazz, it can range from a calm, soothing notion, to a highly clashing, bombastic, and lively sound that surprises the listener at every turn.

Next on the record, “Away” begins its music with an apparent country-like sound, like someone who has lost a love or who has moved away from settings or people familiar and typical to the individual. With every note that is played, your heart feels for when the guitar tweaks and crescendos with each note. The song reminds me much of the Christmas song by The Carpenters, “Christmas Waltz” (“And this song of mine in three-quarter time. Wishes you and yours the same thing too.”)

Rounding out the album, “In F” is a funky, groovy track bound to put anyone who listens in a great mood and get some up off their feet to dance. Its rock-pop vibe carries a difference from the rest of the record which might go unnoticed if you are one who likes to skip tracks or select your favorites rather than listen to the record in its entirety for what it’s worth. Finally, “Radio” keeps with the appeal of “In F” succeeding to send off the listener with a smile and a feel of how each groove and divet of jazz can be peculiar in their own right. Just when you think the artist is going in one direction, he or she takes your trained ear and throws it reverse. And just like everything else, oftentimes it works, and sometimes it misses the mark. Here, Swallow Tales accomplishes the mission of entertainment and experience for the unexperienced musician or just plain music lover.

Gregg Keniston- MuzikMan.net Staff
May 17, 2020
 
Track Listing:
1. She Was Young
2. Falling Grace
3. Porsmouth Figurations
4. Awful Coffee
5. Eiderdown
6. Hullo Bolinas
7. Away
8. In F
9. Radio