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The brilliant set was a celebratory exploration of Molly Tuttle’s bluegrass roots, albeit with a fresh perspective.
Solid Sound is like a family picnic for stylistically open-minded musicians and fans alike within the brick-mill infrastructure of MASS MoCA.
Legendary percussionist Bill Bruford’s recorded output reveals him to be a restless innovator who went from one band to another so he could learn more about his instrument and about himself as a musician.
Crescent gives us the first five songs of the I Am The Moon suite and runs about 35 minutes. Let me rephrase that: it runs about 35 perfect minutes of music.
We’d returned to the New Orleans Jazz & Heritage Festival. We’d ridden a paddle-wheeler on the Mississippi River. It was good to be back, and why we’ll go back every chance we get: to life.
At his best — and there are indeed moments of that here — Keb’ Mo’ is a genre-bender who brings new listeners to blues, folk, and smooth soul music.
Ivory is at its best when Omar Apollo fully commits to taking adventures into different sonic spaces.
Charli packages existential angst and heartache in sly, self aware pop performances that manage to deftly fuse self-conscious artificiality with earnest passion.
This is the quintessential Club d’elf album, smartly arranged and surprisingly accessible without losing any of the group’s improvisational edges or exotic breadth.
Crooked Tree is the Molly Tuttle record we’ve been waiting for, one that is firmly rooted in bluegrass, but imbued with her own sharp style as a guitarist, singer, and songwriter.
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