Your chance to hear the freaky folkie's weird and wonderful new album before it's released.
What Will We Be is your typical Devendra Banhart record. Although by "typical", we do of course mean a stark raving bonkers serving of freaky folk.
Regular jazz lineups are hard to sustain in the choppy waters of the jazz economy. Worthy successors to head-turning first albums are just as tough a proposition. And running an influential jazz record label is probably harder than both. The Wales-based pianist and composer Dave Stapleton has done all three:
"Articulate and thoughtfully detailed, this is a smart application of core jazz values."
Carefully arranged, well-crafted albums such as this often fall short on fire and heat, but Between The Lines has plenty of both, and Stapleton's arrangements play to the individual strengths of his colleagues. Highly recommended.
The scope and depth of Plastic Beach is staggering.
The centrepiece of Josh Ritter's fifth album is a piece of folkloric daring. Under the title of Folk Bloodbath, he gathers together the key figures of American murder ballads into one song and interweaves their stories, using a refrain from Mississippi John Hurt as the glue
The fifth LP from neo-folk master craftsman Josh Ritter has been conceived as a voyage of discovery. A shimmering aural and lyrical paean to humanity’s essential questing impulse,
Lorez Alexandria never made the anticipated breakthrough to a wider audience, but she was highly regarded as a jazz singer by those who knew her work
Philadelphia saxophonist and one-time Max Roach sideman Odean Pope might be in his 70s, but remove anything flammable within range of the speakers when this incandescent record gets going.
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