Dave Mackay "Three: Vol.3 [Utopia]" (2022)

Completing this triumphant trilogy of trinities, we temper tranquil trails as these three threads delve upon magical mellow moods. Wedged in the middle, Oog arrives a stiffer act, its melty instruments river around against the sticky shuffling rhythm of its gentle yet ever-busy percussion. It carries an airy colorful spirit through this ceaseless rigid pacing, a beautiful contrast to its melodic flavors oozing in sun soaked scenes.

Utopia leans in to its gorgeous reverberations. Again, the ceaseless drums hit this unshakable drive, more subdued in presence. Around it, a cast of instruments croon, melting in a roomy ambience, an aesthetic delight. An impactful piano arrive in waves, striking tuneful notes in succession. Illuminating, then dissipating into warm currents.

Impulse rounds up the record with an emotional stride. The welcome smoothness of this Jazz Fusion affair encroaches on a magical sentiment as the pivot a third in stirs spirited feelings. Its soft piano keys suddenly dance with the stars, as synths fall from the heavens. Its a lovely movement, revisited again a third later to climax the song, then suddenly drop out into attention breaking ambience. Really classy music.

Rating: 5/10

Sungazer "Sungazer, Vol.2" (2019)

 

Further approaching the duos origin, this sophomore EP fits a snug five track format of snappy, "to the point" tracks, clocking in at around three to four minutes each. This second volume's scope feels narrowed, as does the stylistic pallet, however this reduction is its strength, an ambition channelled. Fusing a shimmering Vapourwave mystic and joyous Chiptune cheeriness as its key electronic tone, their Jazz Fusion foundation often takes a healthy backseat to these grabbing glitchy production stunts.

Busy baselines and animated percussion are an excellence you'd expect of these passionate professionals. So to does the cast of other traditional instruments have moments to shine, however they come rather understated in the shadow of this fever dream whirl of colorful electronic mania. Ostinato is the one track to ditch this element.

The other four cuts solely focus on its quirky uncanny valley personality. Its lead keyboard solos and intriguing manipulating production elements dominate the show alongside these glitchy sampled vocal snippets that tie in theme and feel nicely. Altogether it creates a sense of exploring crossroads between robot and human. A distinct character making this brief record more impactful than I initially thought.

Rating: 6/10

Dave Mackay "Three: Vol.2 [Nashville]" (2021)

 
What a delightful stumble upon this has been. The threesome return with another trio of classy Jazz Fusion tracks that revel and ooze within its own exquisite veneer. Prophecies kicks off measured and gradual. Soft, gorgeous instrumentation swelling in harmony as lively shuffling percussion guides passages for all its elements to shine. With melody, texture or sudden roars of synth jive, the subtleties of craft slowly amass as baseline exchanges lead us through a gradual amass of layers that croon together.

Mute echo's sentiments of Vol.1, its dusky contemplative piano refrains balance beauty and tension with an unshakable familiarity. With a smidge of Noir Jazz flavour, the nightly flavour simmers down to a cool, finding a soothing stride, opting for a soft surge in conclusion that dreamily backs out, winding down with Ethereal grace.

Cassette Culture conceptually focuses solely on its lead, a bold, plastic like synth tone, singing a tuneful dance with expressive dynamics. Volume and tone pedals shape its intensity upon a curious, slightly quirky escapade lacking direction as it meanders in the whirling moment. All three tracks are such easy pleasures to enjoy. The short duration and high bar for excellence really empowers this format.

Rating: 5/10

Sungazer "Perihelion" (2021)

 
Kicking off with Threshold to establish a whimsical tone, we embark upon luminous musical crossroads. The duos Jazz Fusion architecture meets modernity as snippets of buzzing IDM energy, tonal Vapourwave synths and a soft Chiptune cheeriness emerges. Perpetually pushed by Neely's peppy basslines and Crowder's ever enthusiastic drumming, the aforementioned accents play second fiddle to their rhythmic powerhouse. The positively charged Perihelion has curious conductive chemistry. This current reflection of electronic trends generates inspired compositions, overloaded by the pairs prime instruments. Songs initially appear to be defined by there synthetic aesthetic but Neely and Crowder end up steeling the show.

Opening instrumentals Threshold and Macchina dazzle but following them, an introduction of pitched Vapourwave vocal snippets sours the rest of the record. Personally I find their moody presence a redundant distraction from the expressive blossom unraveling around their rigidity. Its a personal qualm, one that never quite dissipated. Around these intentionally voiced elements plays an joyous arsenal of ambitious lead instruments and adventurous compositions coming to life. Thicc feels like the one track to embrace it quirky vocal element in a playful cheeky tone. The arrival of that 80s TV talk show Jazz Cheese feels so right for them.

My conclusion lays firmly in the words already written. A fantastic record with a single element that unsettled my experience of a brilliant chemistry. Perihelion unites some trendier sounds with a tried and true sound. Executed by musicians looking to explore their musicality, it plays an animated treat full of twists, turns and adventure.

Rating: 7/10

Dave Mackay "Three: Vol.1 [Los Angeles]" (2019)

 

Dear reader, you'll have to tell me if you've heard this before. I cannot shake this feeling I know the first two cuts from somewhere. My gut tells me these themes have been interpolated into a Rap song, or perhaps vise verse? Either way, from the instance I first heard All The Same, a shudder went down mine spin. Its six minutes of beauty start gentle, steadily crooning into gushing spell of melancholic delight.

Along the path, a matured Jazz architecture blossoms as the talented trio revel in the motifs drama, a radiant sunset, warm, enduring yet a sense of closure lingers in this bitter sweet moment, tilting to the later. Its an exquisite sound informed by deep musical understanding and aesthetic craft. This continues excellence with Outlines, a more subdued number, alluring and dreamy, it kicks off with a prominent rhythmic groove fit for a healthy Hip Hop sampling. The mid section ventures into a quiet realm, its deep hurried baseline murmurs a pacey strut with minimal accents placed above.

Foreign Transmissions has less of this magnificent charm. Its sleepy fundamentals get violently awaken by distortion rock guitar, warbling away with an Avant-Guard flare. This snarky lead is quite the abrasive juxtaposition, peaking with luscious organs synth swells, yet lacking gratification upon that union. Conceptually interesting yet in execution, misses a personal connection for me. Despite that, its first two cuts are ones to remember and enjoy again and again for time to come.

Rating: 5/10

Sungazer "Against The Hall Of Night" (2024)

Late to the party but happy to have finally arrived, my years spent following Adam Neely's explainer videos and showcasing of prodigy percussionist bandmate Shawn Crowder seem unforgivable in the wake of such a delightfully warm and musically riveting record. Perhaps its this latest chapter of bright, cheery Jazz Fusion that lured me in. Armed with an arsenal of well educated professional musicians, Against The Hall Of Night sails through vibrant excellence, a gorgeous aesthetic production, dazzling one with a snug fit of crisp instruments expressing emotions boldly.

Earmarked by intravenous illuminations from lead solos, song directions house these expressive delights through intriguing foundations. Experimenting with odd grooves, time signatures and an adventurous opposition to popular convention, song structures bustle from their power house rhythm section, gushing forth with stellar musical ideas. Crowder's crisp and clean drumming a continuous pleasure, as no beat ever seems to rest on its laurels, always finding a angle from which to spice up the pizzazz. 

On the journey of its nine chapters, familiar themes of bold, cheesy 80s gameshow Jazz "done right" frequently emerge, alongside other motifs within a broader Jazz Fusion landscape. Always seeking to expand horizons, much of the music has room for modern Electronic key tones, delving on occasion into the Synthwave style, retro Chiptune 8bit melody and in another realm of the spectrum, crunches of Metal groove. All classy and well executed, every idea feels fully fleshed out, expressive, matured, yet most of all, emotionally entertaining, gratifying and endearing.

To layer on at least some critique in the wake of my applause, the record does feel somewhat front loaded. Its opening half feels a grade above what proceeds but that could be personal preference. The latter songs seem to lean more into the Jazz side of the project. Lead instruments dance out melodies with less personal resonance. Even so, I like these numbers very much. What a cracking record, Bravo!

Rating: 8/10

Willow "Petal Rock Black" (2025)

Ill confess, on first impression, Petal Rock Black felt like a series of Avant-Guard Jazz experiments. This dubious outset was reinforced by its short tracks, averaging two minutes each. The recycling of lyrics from Empathogen and even Prince's I Would Die For You also aided this skepticism. Predictably, with each recuring spin, its treasures unearthed themselves as each brief constructs own magic steadily charmed.

All of Petal Rock Black's songs are devoid of traditional song structure. Each stint serves its own purpose, a swaggered union of layered vocal indulgence, steely Jazz piano and raw roomy percussion, all rocking to its own groove. Lacking progressions and pop sensibilities, they at first feel like aimless moments from improvised jam sessions but with familiarity, one grows to love the moments Willow revels within.

Her lyrics and poetic tangents between songs heighten an awareness of conceptuality that probably adds depth but flys this inept listeners ears. In its absence, the flavor and texture of her ever playful vocal swoons play a treat. Creative, adventurous, she expresses through range. From strength and power to whispers and laughs, Willow can pivot into a soar at any moment. The variety gushes forth rapid and effortlessly.

On the instrumental front, I would have mistakenly commented on a cast of classy seasoned professional behind her. Thanks to the artist credits, I've learned this musical montage is mostly her own multi-instrumentalist creation, briefly blessed by a couple of big heavy hitter names, George Clinton and Kamasi Washington.

That first impression is a misnomer but also a hint as to what may condemn the record to some negative reception. It lacks a glue to piece it all together. Despite loving it front to back, Petal Rock Black feels like its missing something. That Avant-Guard embrace turns these unusual songs into isolated islands of musical wonder in need of a throughline. You can't fault any of its numbers, these are all beautiful expressions!

Rating: 7/10

Tyler The Creator "Chromakopia" (2024)

 
Yesterday's record, Man Down, concluded with an aging rapper losing focus and purpose. Although of a younger generation, Tyler, now fifteen years into his career, continues to mature and challenge himself. Far from reaching his fifties but the contrast emphasizes how vividly empowered by self expression he remains.

Chromakopia is a slice of life record, where Tyler articulates his thoughts on fame, professional stature, reminisces on Odd Future's history, expresses pains of his closeted sexuality and reflects on personal values as an emergence of new family members stands in comparison to his lifestyle and celebrity image.

 His verses pull one in effortlessly, animating his world through the craft of lyricism dressing up plain language. Its the reason he connects so directly. If not already attentive, ears perk as a string of songs delve into an unexpected pregnancy. Tyler tells the tale from both sides of the relationship (referring to himself as T), delving into the hard realities of such a heavy situation. Its honest, sincere, humble and unique.

Getting past a lyrical highlight, the album loosens its peculiar mix of Soul, R&B and Jazz, throwing in dark bangers with big noisy baselines and drum groves pulling on worldly percussion beyond the traditional kick snare drum kit. His production calls back to the quirky magics of Igor, assembling tunes, textures and motifs from seemingly abstract moments, all drenched in the tone of aforementioned influences.

With an ear for voices, instrumentals flow woven between lyrics, vocal ad-libs and soulful singing, often leaning into the strange. Its as to be expected yet charming every time. I'm deeply impressed by how unique his voice and music remains. Familiar, yet fun and impactful through a new set of excellent songs.

Rating: 8/10

Turnstile "New Heart Designs" (2023)

 

Today I've stumbled upon a pleasant surprise, a trio of Turnstile songs re-imagined on this latest single. Teaming up with Badbadnotgood, the bands songs get reworked into dreamy mellow alternates. Turns out Yates' clean singing is a supple match for these Psychedelia tinged instrumentals composed of soft pianos and woodwinds drowning in reverberating ambiences. His original takes having an inspired, ample chemistry.

It feels like a happy accident, a curious collision that's led to reworking three tracks from Glow On in a complete u-turn. Mystery gets an airy treatment, a relaxing stroll through an ethereal garden that some how mellows out the stained shouts. Bringing in soft percussion, Alien Love Call turns Lounge in demeanor, squeezing in some free flowing Jazz improv jams between the main vocal sections. Underwater Boi looses me a little as things turn tripy and exotic. Still decent but dang the first two cuts are magic!

Rating: 3/10

Maurice Brown "The Mood" (2017)

The Mood, an apt name for a record that can impose its own upon one so snugly. This forth outing of veteran Maurice Brown, composer, voice and Trumpeter, bestows itself so elegantly. The soft swaying swagger of Smooth Jazz. Extended aesthetic pallets akin to Jazz Fusion. A subtle rhythmic groove fond of Jazz Hop. Maurice creates a modern, relaxing take on the classics. Fleshed out with occasional vibrant verses by himself and guest rappers, they somehow cut the instrumental flow perfectly with the sudden arrival of deep, thought provoking lyrics. The silence between barely yearns for more, despite the expressive words and chemistry they adorn.

Past its warm welcoming open cuts that set a firm groundwork, the album moves into a couple of Avant-Garde leaning songs. Its percussion busying and with dexterous, dissonant leaning leads emerging, it end up rustling the feathers of its slick persona. Upon finding a way back with Capricorn Rising, the musical themes and key melodies seem to lack the initial dazzle that captivated ones attention. Despite still possessing an easy charm, loungy vibes and full of good mood, It seems a step lower in energy.

Destination Hope, the album closer, rekindles that early magic. Bringing on a fine R&B singer, the Jazz hybrid template finds another soothing chemistry as Chris Turner swoons in to the forefront. Returning again with an epic, softly reverberated chorus. The message is strong and sweet, the melodies croon again and then a spoken word, half rap cadence, from J Ivy blossoms briefly as a fond unity is achieved. The Mood is a hard record to knock. Despite delivering such delightful magic upon the way, it falls short of a classic album experience despite its remarkable impressions.

Rating: 7/10

Ryo Fukui "Scenery" (1976)

Always one to be drawn in by the calming allure of Jazzy sophistication and lounge atmosphere, sadly I did not find a depth here beyond its smooth surfaces. Scenery is self taught Jazz pianist Ryo Fukui's debut, accompanied by ponderous bass guitar and drums, the trio only became appreciated by enthusiasts outside Japan years later.

 

The pleasantries of its soft, observational presence has a few strides of gusto, riling up energy with its thematic seasonal shifts. This is where percussionist Yoshinori Fukui shines, the intricate rolls and shuffles bustle with excitement. Yet in its dizzying sprints, Ryo Fukui comes off stiff and constrained as a soloist. His pacey piano strikes rotating notes with a mechanical lack of imagination for a listener to read between the lines. These particular leads played more like Heavy Metal guitar solos than Jazz.

In its less enthused drives the music melds into a comfortable rhythm, the slowest of tunes seeming to posses the most charm as the space between notes croons with smokey allure. Sadly though, I was looking for a spark I could not find. I've always been a sucker for Jazz, yet it seems only the most appraised of the genres works resonate deeply. I found myself with little to take away, despite enjoying my stay.

 

Rating: 5/10

Malcolm Horne "Frost Walker" (2022)

 

Released Christmas day, with seasonal, wintery hints in theming and bowing out on a familiar festive melody, Malcolm Horne gifts us a mini record for the holidays. However Frost Walker's synergy doesn't house that timely cheer. These are rather typical sounds for him. Leaning into the soft and gentle, breezy side of mellow Jazz Hop beats, the instrumentation croons in its gorgeous setting. Roomy pianos, glistening bells, humble organs keys and echos of drifting acoustic guitars shimmer above warm bass resonance. The spacious groove of sparse bass kicks and snare clicks guides tempo, anchoring otherwise lofty music that could almost drift away without it.

Frost Walker is one for the vibes, a mood setter. Its occasional voicing of soothing saxophone seeming like an ethereal voice in the winds, aching to roar yet subdued on this instrumental voyage. Its pleasantries are welcome company, a warm fuzzy set of songs with the easiest of pacing. As often happens with seasonal suggestions in music, the tone seems flipped to my mind. I hear cool summers days and relaxation. Not as wintery as intended for me but a welcome set of songs to mellow out with.

Rating: 5/10

The Color 8 "First Friday" (2018)

  

The second of two picks by this intriguing band has also yielded a sour taste. Unlike Foot On The Gas, First Friday mixes up its raw Rap Metal riffing styles with jam sessions and Smooth Jazz tones. This is no sleek crossover between opposing temperaments but a clash of moods. Songs swing from fiery angered rap verses and gritty guitars to soft and supple melodies swooning in their own ambience.

We On and X gel its ends together awkwardly. Distorted yet bluesy guitars bustle and hustle but to what avail? The record drifts from one idea to the next, lacking focus or concept, with a breezy, mellow mediocrity in its sails. The finer aesthetics emerge in its Jam sessions when its instruments find a groovy cohesion, warm at first but lacking a depth after repetitions. This band had a spark in their best material online but I found none of that here. I think I'll close the door on this one for now.

Rating: 3/10

Malcolm Horne "Mending" (2022)

 

Shedding the antiquities of Jazz Hop's established union of styles, this third stroke rids itself of percussive burdens. No longer hinged on crunking snare kick grooves and subtle boom bap rhythms, Mending arrives at the source of inspiration. An orchestra of instruments croon. Luscious, resonate and gently woven they harmonize at a place of healing. Soft airy reverbs and atmosphere indulge as soothing calm sweeps over every track. Minimal, spacious percussive lines subtly hold tempo, an evolution felt between Infinity & Volume II. With Mending, a conclusion of that trajectory is met. Malcolm accomplishes inspired moods free from shackles of the genres tropes.

The delicacy of performance is a delight. We are spoiled to baselines hinged on texture and feel, over power and force. Many instruments follow suit, perusing, swaying with persuasion. Capturing the essence, a symphony of minimalist parts amassing a serine outcome. Mending's warm calm is evening sunlight, the yawning death of a beautiful day. Cool airs breeze by, so welcoming in its gentle demeanor. This outing is an inspired refinement on the instrumental magic heard twice before.

Nothing is perfect and for all the praises, Mending does serve its conventions to sooth and relax with formulas. On inspection, the looped nature of compositions emerged, highlighted by instrumental drop ins and outs, a key song structure utilized. Lead instruments are often absent, leaving space in the music for a voice to shine through.

The moments where a guitar solo steps up are grooving, variation aids its purpose. Like before though, they cropped up before fade outs. Grander directions would be very welcome but perhaps not as suited as one might imagine. Lastly, the Synthwave and 80s Synthpop influences are amiss. Constellations treats us to this charm again but its brief stay perhaps signals the style no longer has a place. Quite a shame as I enjoyed this take greatly yet its absence makes sense given what Mending is, a cohesive record of introspective healing. This is definitely my favorite of the three.

Rating: 8/10

Marvin Gaye "What's Going On - The Deroit Mix" (1971)

 

Stepping outside the Motown framework and operating as an individual artist, Marvin's personal expression reflecting the struggles of African-American life during the Vietnam War birthed a beautiful moment in musical history. Often considered one of the greatest records of all time by critics, What's Going On left me enamored by its grace, humanity and sorrows. Since then, its always been an enduring warmth to return too. Marvin's timeless voice a charm tragically lost from this world all too soon.

Hearing of an alternative mix to the record intrigued me greatly. Turns out this "Detroit Mix" is the original mixing before his associate Barry Gordy stepped in, who was against the album's theme long before it materialized. The subsequent changes elevated the symphony elements, the first change I noticed upon listening. It will be forever impossible to truly assess which mix better suits the music. On paper this more roomy, closer mix has an intimate quality, further authenticating Marvin's views.

Its string components are pushed back, the baseline feels neighborly, the saxophone more prominent, pushing forth the Jazz component. With a rawer voice, not overstated by layering and reverbs, this mix is admittedly less grabbing in tone. All nine songs are still beautiful and moving, reaching still through its intimate aesthetic.

With a deeply ingrained memory of the original as I knew it, this mix will always feel inferior despite offering up a cleaner take on the music. The spaciousness unlocked by its later design gives a crooning energy to the string sections. Marvin's overlapping vocal lines are magical, softer and soothing in presence. Although accompanying singers feel distant and a little less personal, pretty much all of the changes were for the best to my ears. Rawness and authenticity are not always the key principle in production. Embellishment and studio magic can bring so much if done right. For me, the original record is still the way to hear it.

Rating: 8/10

God "Possession" (1992)

With a wealth of music just a few clicks away, my reading tangents of band connections, genre exploration and general curiosity is no longer manifesting an obscure list of music I'll never actually get around too. My recent unearthing of Techno Animal's Re-Entry led me to find out what its other half, Kevin Martin, was up to with God! What a band name, I wonder how it had not been scooped up early, perhaps held by some iconic artists. Its competition in the shadow of the church and religion is no cause for a lack of prevalence here, the music rather obscure and unwelcoming.

Labeled as Avant-Guard Industrial Rock and Metal, I thought there is a fair chance of finding some appeal. Sadly these length tangents of manically droning exhaust whats decent and smother it an onslaught of tonal assault that forever meanders on its repetitive structure less form. From its shortest four minutes into the lengthy stints topping out at seventeen minutes, every song hinges on a baseline and drum pattern backbone. It works away, iterating itself at the same tempo incessantly! Then a fog of samples, random noises, distant voices and a zany Jazz Saxophone slowly wash in. Each song finds its flavor, a distinction but they all grind on endlessly.

The Sax performance is rather impressive with some vibrancy and illumination often steered into a maniac frenzy of squirrely notes bordering on mental illness. Its other instrumentation, sometimes pianos, other percussive sounds and shrill sounds, often feel intentionally out of step with the core musical loop. Its result just doesn't spark a magic for me. A couple of songs may have a strong drum groove or meaty distortion guitar lick going for it but when that crops up, its repeated to death.

Don't get me wrong, I had a fair bit of fun with this. The first listen was the strongest with walls of maddening sound a treat to pick apart. The texture and intensity is wild on first glance but once a songs played twice its all to apparent how lacking the depth the project is. The songs have no direction other than to drone and all its ebbs and flows of accompanying madness just seem random and without much intent. Reversing those trends could of yielded but sadly the whole record is a bore.

Rating: 3/10

Spellling "The Turning Wheel" (2021)

 

In search of new sounds and experiences, I've found a record strung out with familiarity yet blindingly powerful in its execution of inspiration. It works for me, something I could swiftly get into and mull over these last few weeks. Chrystia Cabral, the brains behind the Spellling name, lends her immaculate voice to a timely orchestration of genre influences adjacent to the world of popular music. She is a powerhouse of breathy expression, rooted in classic soulful stylings. Her range is wide, diving with a masculine low on Magic Act and sailing to a childish, playful resonance on Little Deer. With each of these arrangements offering up a different temperament, she is the beacon that shines and guides us through these twelve offerings as they grow increasingly atmospheric, occasionally peering into a brittle darkness.

I could easily rattle off lists at this point. With a backbone of warm baselines, Organs, Pianos, String, Horns and strong vocal harmonization parade upfront in a variety of compositions that usher in many vibes. Pop music of the 60s, Soul, R&B, a little Jazz, Chamber Pop and Lounge too. There are subtle electronic influences worming there way in too. Always sounds more like an 80s Synth-pop ballad and after the slow brewing Awaken, aligned strongly with Classical ideas, the album starts to open up. Emperor With An Egg accrues various waveform instruments alongside its Classical instrumentation and the following Boys At School at school hints at Synthwave vibes which blossoms on Queen Of Wands, a track akin to Chelsea Wolfe's Pain Is Beauty. Its use of wobbly, eerie, spooky Horror synths a sensibility here that resurfaces, seemingly at odds with the mood of Sweet Talk. Little moments like this are littered throughout, sounds that seem out of context but work wonderfully.

I could go on but essentially we have bright and clear instrumentation arranged wonderfully with beautiful aesthetics and expressive instrumentation that despite showing its influences, feels entirely distinct as the web of influences weave together. The record sets out feeling more Soul and Baroque pop oriented but swells of instrumentation gives it a Progressive edge that blossoms as the songs continuously explore, bringing in more instruments, sounds and aesthetics as it goes on. Its melodies too often feel interchanged between these style, ushering in just the strangest sense of ideas in action. One can almost see the blueprint yet its outcome feels completely inspired and magical, without any design.

Rating: 8/10

Malcom Horne "Infinity Volume II" (2021)

 

 Smooth, sweet and soulful, this secondary installment of Infinity pairs the modern Low-Fi influenced Jazz Hop aesthetic with a classy voice through exuberant musicianship. Malcolm litters these dreamy beats with gushes of emotional expression, always emerging through subtly and captivating fondly as a voice. Each of its twenty seven cuts are rooted in the timely pairing of percussive grooves and jazzy persuasion, foundational to its flushes of warm sunny color that ooze from guitars, synths and the like, giving many of the loops a real sense of unique identity.

Its other edge comes from its backbone of looped beats. Born less of sampling and more of instrumental arrangement, its texture and aesthetic is a consistent dazzle of breezy easiness and soothing reverbs, taking us to an easy space to escape all worries and leave ones mind at ease. With this, more love and care can be heard as little accents and notations arise from multiple instruments to compliment its main direction. M.A.D. is a keen example, its fluster of melody jumps between instruments with the tang of a guitar lick nestled between, the resonance is simply lush.

At a whopping ninety one minutes, Volume II excels at finding its target audience. Where Volume I fumbled in its inconsistencies, II focuses very much on the chilled out and lounge alike styling of its sound, channeling the music into a very streamer friendly lane. As a lone record it one could yearn for a little more progression or evolution to take off for new heights, especially when a swooning guitar solo drops in. Of course restraint is placed with these songs being fitted for smiley backgrounds.

Despite that, Volume II is actually rather engrossing as a lone experience. When paired with an activity, focus arises as the meditative quality of its easy flow and steady pace locks one into a mental groove. My only negative take aways are some of the sudden cut offs, Lemonade a criminal culprit of sapping away the buzz just as that charming lead guitar was wooing away. I'm also left missing a little of the punchier Synth tones heard on the first record. Otherwise its a fine collection of lush songs with a strong human expression some of these other Jazz Hop beats miss out on.

Rating 7/10

Stevie Wonder "Innervisions" (1973)

A name known the world over in music, but one I had never come acquainted with until now. Stevie was a veteran at this point, a Jazz musician from an era where records where pumped out yearly. Innervisions, his sixteenth, is often frequented by critics as a landmark album, making top lists and the like. Its a highly enjoyable record, loaded with melody and thoughtful compositions. Brilliant songwriting has appealing pop sensibilities between a depth of expansive instrumentation. Initially I was drawn to a subtle streak of Progressive Rock, Visions almost acting as an echo of King Crimson. The overlapping influences of Soul, Funk, Jazz and Rock at play created a point of comparison with some Jazz Fusion records I have enjoyed.

Another thread of influence unraveled. Stevie's voice had a remarkable resemblance to Micheal Jackson, the high pitch woos and cries an obvious characteristic of influence on the king of pop, as well as some of his higher ranged singing carrying a similar persona. His presence is subtlety remarkable. Perhaps it is the competition from the artful instrumentation that competes for attention. Golden Lady a fantastic example of powerful singing that isn't over pronounced or dialed up beyond necessity. His music is warm, inviting and the songs often grow in stature as one is drawn in.

As familiarity settled the themes of social struggle and black life in American became all too apparent. Living For The City tells tales of hard life and daily struggles. The seven minute march opens up with a scenic passage, voice actors and city sounds depict an encounter with corrupt cops. It had me pondering. What was the origin of such an concept incorporated into music? I first heard it on Straight Outta Compton and its become a common feature in Hip Hop musics. Maybe it has its roots here?

Stevie has it all on this record. His instrumentation is a vibrant tapestry of instruments in tandem, reveling in melody, chord arrangements arrive with pleasing simplicity yet offer a wealth of creativity as the Funk energy personifies the synths and instruments with a bold liveliness. It has me appreciating it more with each listen but I may be far from done with Innervisions. Some songs towards the back end don't appeal quite as much when approaching the ballad spectrum but there is a wealth of great music here I can't deny and its been a fantastic introduction to the legendary musician.

Favorite Tracks: Living For The City, Golden Lady, Higher Ground

Rating: 8/10

Jazz Sabbath "Jazz Sabbath" (2020)

Surely its just a shenanigan? A slice of fantasy folk lore stirred up to play a practical joke on fans of the iconic, legendary, pioneers of Metal to come, Black Sabbath! The story goes that this Jazz outfit were ripped off by Tony Iommi as composer Milton Keanes, like the British city, was hospitalized. This put their album in jeopardy and the master tapes have supposedly been lost for over fifty years. Doing a little online research into the bands history yields next to no evidence of their existence other than suspicious self published images of them on non existent publications. It feels like a hoax, which also doesn't speak to the apparent genius that extends beyond the alleged theft as Black Sabbath were no hit wonders!

Now lets talk about the music, you'll hear the classic riffs presented stunningly on a sublime piano tone, sometimes as part of broader compositions too. There is also plenty of original material spliced between. It makes it hard to comment on a lot of whats happening as it feels akin to a covers album in spirit. Played through a beautiful musical piano as part of a Jazz trio, the classic riffs are somehow slick, smooth and very relaxing. The power and weight of that Iommi guitar tone and style almost seems counter intuitive to what you'll experience on these seven tracks.

The recording is elegant and smooth, almost too much so. I am no expert but the clarity and fidelity of these dusty old recordings seems a little to crisp and vibrant, It is gorgeous in tone but that makes it more so questionable These are great qualities, the record is indulgent, a calming musical odyssey, with sparks of Rock guitar, Saxophone and Organs chiming in on occasion too. It is notable though these original moments also don't feel very "sabbathy". I have always found Jazz some of the most difficult music to describe and even with an anchor point of Heavy Metal riffage these songs are transformed into something else with that easy going Jazz charm. If it is a stunt as I presume, this project could of been better served as a fun novelty, re-constructing music for an alternative framing.

Rating: 5/10