Digital music download or supplied file.


29 Jul 2021
9 Horses
Adhyâropa Records

Omegah is a remarkable musical feet that will never be heard and appreciated by enough people. The music is hard to define but post-modern-Americana may go some way towards describing it. The album contains essence of heavy metal, but can hardly be described as raucous, it has a lead violin backed by Hammond B3 with funky overtones, but can hardly be described as funk-jazz, it is folk, it is country and it is many other things, it is mostly an album made with intoxicating creative verve.

Omegah is the brainchild of Joe Brent (acoustic and electric mandolins), Grammy Nominee Sara Caswell (violin and hardanger d'amore) who uses bow and strings to weave and merge folk, country and modern classical sounds reminiscent of of Carl Nilsen, and Andrew Ryan (bass).  The three are joined by as many as 18 contributors who help to create a vast range of aural landscapes, in places these are minimalistic and in others they project energy and scale that’s nigh on symphonic. The track A New Machine is a great illustration of these attributes and a great example of the creativity and talent of this collective.

The recording quality is excellent if bright in places, at least on the 24-bit download, excellent depth of image and fast, pronounced and big bass ensure that even audiophiles will be able to fully enjoy the performance. Omegah makes a strong impression on first hearing, and even more so after the second and third times. It achieves a high level of musical craftsmanship and originality and that’s a rare quality. 

Dallin Applebaum (vocals), Damien Bassman (drums), Michael Bellar (Hammond B3, Fender Rhodes and Contempo, Wurlitzer), Mairi Dorman- Phaneuf (cello), Kevin Garcia (drums, percussion), Justin Goldner (electric bass), Nathan Koci (piano), Kristine Kruta (cello), Mark Marshall (acoustic guitar), Nadje Noordhuis (trumpet, flugelhorn), Marco Paguia (piano), Rebecca Pechefsky (harpsichord), Emily Hope Price (cello), Mike Robinson (electric guitar), Ben Russell (violin), Jared Schonig (drums), Nuiko Wadden (harp), Glenn Zaleski (piano)

Reuben Klein

Formats also available: 
2x vinyl

After The Real Thing

19 Jul 2021
Roy Mor

This album is a treat. Straight jazz shuffle imbued with a significant influence of middle eastern themes courtesy of pianist Roy Mor’s original homeland. The album consists of 12 Jazz tracks that weave a personal tale and stand as separate musical statements. I get the impression that the musicians have enjoyed themselves immensely and likely stayed behind to sharpen this and discover that way after the studio guys went home. Full of innovative notes, but highly accessible, this is a great album to introduce anybody that never got the jazz thing, to the jazz thing.

Roy Mor’s phrasing is reminiscent of Ahamed Jamal’s lyrical playing, the blues laden verve of Jessica Williams and in places the sound of Lennie Tristano. The first track is a lovely meditation and a rendition of an Israeli song, using solos from oud, piano and bass to seamlessly combine Mediterranean-eastern sound with gentle jazz verging on a bossa nova. It’s followed by a blues jazz track that carries the album title, and just when listeners have eased into their chairs anticipating more jazz Jerusalem Mezcla comes along with Yemenite, Moroccan and African rhythms and yet again highlighting the immense depth of talent from musicians gathered for this album, they are Amos Hoffman (oud), Avishai Cohen (trumpet), Devy Lazar (flugelhorn), Myles Sloniker, Martin Kenney, Joel Kruzic (bass) and Itay Morchi, Peter Traunmueller and Jeremy Dutton on drums. 

Nearness of You, the last track,  is a piano solo recorded live. The recording is good, placing instruments correctly in space and avoiding the wide-piano syndrome of many a jazz albums. This is a truly lovely album, very highly recommended for jazznicks as well as gentle folks who have hitherto found the jazz thing a little too challenging.

Reuben Klein

Formats also available: 

Traditional Techniques

17 Mar 2020
Stephen J Malkmus

Former Pavement frontman Stephen Malkmus seems to have a romantic side, maybe that’s a bit strong, but on this lovely album there’s not much obvious angst. Made with Decemberist Chris Funk and a bunch of great instruments and musicians Traditional Techniques

is a feast of acoustic guitars with very little in the way of the percussive. The sound is reverberant and rich but a little thick in the lower frequencies, the vocals, guitars and fabulous arrangements stand out however and the songs are somewhat obscure but the important thing is the vibe which is warm and harmonious. It could almost be a folk record but has a contemporary twist that marks it out as something more original. 


Formats also available: 
vinyl, CD


11 Feb 2019
Collectif Medz Bazar

Yet again a musical set of juxtapositions with styles, languages and harmonies not often heard on this sceptred isle. Collectif Medz Bazar is a largely French Armenian band that calls Paris home. The sound, tones and colours of the album are minor Asia-centric, with melodies and harmonies that migrated via the near east from India and formed the building blocks of many musical styles used by gypsies and Balkan musicians. It also bears the influence of jazz, French Chanson and in places there is a feel of cabaret, and, just when you thought that was it, a western swing that sounds just like a tribute to Dan Hicks and His Hot Licks.

The happy crew of CMB consists of Raffi Derderyan (percussion), Shushan Kerovpyan (percussion and double bass), Vahan Kerovpyan (percussions), Elâ Nuroğlu (percussion), Marius Pibarot (double bass), Ezgi Sevgi (clarinet and sax) and Sevana Tchakerian on accordion. Solos and backing vocals are performed by various members of the band.

The songs are sung for the most part in Armenian and Turkish, with a sprinkling of French and English. The album oozes character and ethnicity, this is not an album you will listen to in order to hear flamboyant performance, it is an album you will find yourself feeling. Whether it is pentatonic voices or jazz vocals, whether it is an ancient lament sung in Armenian or a haunting slow hypnotic melody in Turkish, it always oozes passion. Not all of the tracks can be easily fathomed and in one or two cases those of us who were not born between Istanbul and Yerevan may never be able to make a connection.

The album features entirely acoustic instruments and the recording quality is above average, warmish and accurate. Poshmanella is a breath of fresh original music, an album that should be on the wish list of any world music lover, and is recommended very warmly for those who wish to take a holiday from the cookie cutter mould of average music.

If you want to get an idea turn on Spotify and listen to ‘Kanadim Degdi Sevdaya’, a famous Turkish song, followed by ‘Balik’, ‘Khio Khio’, and the western swing ‘Hand Me Down My Walking Cane’, an American piece. 

Reuben Klein

Formats also available: 

New Hymn To Freedom

5 Dec 2018
Szun Waves
The Leaf Label

This album is difficult to describe but both musically intriguing and sonically appealing thanks to the use of acoustic as well as electronic instruments. Especially if you music that provides an escape into rich and undulating soundscape that touch on the ambient but have plenty going on. This is what the record label says about it:

Sometimes in improvised music there can be a distance between listener and players, a sense you’re sitting back and admiring their interplay and abstraction – but with Szun Waves’ second album, you’re right in there with them, inside the playing, experiencing the absolute joy the three musicians feel as they circle around each other, exploring the spaces they’ve opened up.

The three members already have sparkling pedigrees of their own. Norfolk’s Luke Abbott is well known for his explorations of the zones between pure ambience and the leftmost fringes of club culture. With Portico Quartet and Circle Traps, Jack Wyllie has been in the vanguard of UK fusions of jazz, classical and club music. Australian drummer Laurence Pike has likewise found a unique voice in improvised and experimental music-making, whether in the bands Triosk or PVT, or as a solo artist.

The trio’s musical relationship has grown naturally and steadily, and it shows. From Wyllie adding shimmering sustained sax notes to Abbott’s gorgeous ambient pieces in 2013, Szun Waves emerged when Pike was added to the mix, energising the sound but still keeping its levitational qualities. Their 2016 self-released debut album hit a natural groove – it was a “proof of concept” as Abbott says – and now they’re in a place of pure spontaneity: New Hymn To Freedom is a document of six entirely live improvisations – “no edits or overdubs” – and its title couldn’t be more apt.

In some senses this is jazz, and in its ripples, sparkles and waves of rhythm will certainly chime with anyone turned on by Don Cherry, Alice Coltrane or Sun Ra. But just as much it’s in the British electronic tradition of artists like James Holden (in whose studio the first album was recorded), Four Tet and Nathan Fake that Abbott has emerged from – only now instead of his synths echoing Norfolk’s wide open pastoral landscapes, they’re depicting altogether more celestial vistas. Indeed, the drifting ecstasies of this record take you to dimensions that only the most genre-free musicians can reach: you might hear hints of Can, Ryuichi Sakamoto or even Liars.

But really, this isn’t the sound of any influence other than the influence the three players are having on each other, and how happy that makes them. “It still feels to me like a mystical adventure when we play,” says Abbott, “but there’s a musical language developing between us, we’re starting to make more sense together.”

Formats also available: 

Pennies From Heaven

10 Oct 2018
Susie Arioli Swing Band
Justin Time

Hailing from Montreal, Susie Arioli has championed jazz swing with a host of musicians and bands for nigh on twenty years. Pennies From Heavenwas released in 2002 and is her second album, it’s a smile inducing foot tapping affair. A perfect antidote to the endless stream of politics, news and other negative tales of wow and intrigue brought on by “events dear boy, events”.

The album highlights the presence of lead guitarist Jordan Officer on its cover, his Django Reinhardt-esque French swing guitar is intoxicating and equal in its verve to the very prodigious swing singing style of Arioli’s voice. Joining them on the album are bass players Solon McDade and Colin Bray, and guitar player Jerome Brown. Arioli doubles as lead vocal and drum player. In addition, there is a cameo by the late Jeff Healy on the band’s version of Memphis Slim’s ‘Having Fun’.

The sound veers from western blues swing to French gypsy guitar. The tunes include jazz standards from Cole Porter, Duke Ellington and others as well as original tracks.  Most of the foot tapping tracks will be familiar to most listeners. The album is a relaxed smile inducing affair but while being accessible maintains a strictly schmaltz free musical environment. The arrangements and tracks are executed brilliantly and ‘swingingly’ by the whole band.

The recording is very analogue, warm and fast with generous but tight bass which makes for a great sound even when played in the car. (I have this on MP3, but even heavy compression doesn’t ruin the listening pleasure.) Pennies From Heavenis a very highly recommended retreat from the woes of modern existence and a perfect companion at home or on the road.

Reuben Klein

Formats also available: 

The Siren’s Song

28 Feb 2018
Kacy & Clayton
New West

Kacy Anderson and Clayton Linthicum hail from the Canadian province of Saskatchewan. With a small band of musicians the two distant cousins who reside in rural agricultural area have produced one hell of an album that evokes CSNY, the Marshall Tucker band, the Band, Grateful Dead, Fairport Convention and other giants of the late sixties rock-folk scene. While credit is due to all involved, the star of the album is Kacy Anderson who’s voice can be described with two words: world beating. Think Sandy Denny when she was in Fairport convention, marry that to a young Joni Mitchell and you’ll get a very good approximation of her singing talent.

The Siren’s Song is a short album of nine largely original titles, the exception being ‘Go And Leave Me’, a traditional song introduced to them by Norma Waterson.  The style and sound is electric folk with a nod to country rock. Kacy Anderson sings and plays acoustic guitar, 12 string guitar and fiddle, Clayton Linthicum is on electric and acoustic guitars, vocals, piano, pedal steel, recorder and Marxophone (a fretless zither), Mike Silverman plays drums and percussions while Shuyler Jansen covers electric bass. 

As mentioned already the album is a magnificent platform for Kacy Anderson’s voice, she sings in a natural and unassuming fashion, not old fashioned but rather timeless. She doesn’t use any trickery or attempt any fireworks, instead she applies a unique talent with great skill.

Produced by Jeff Tweedy of Wilco and recorded by Tom Schick (Ryan Adams, Fun Lovin’ Criminals, Wilco etc) the album’s sound quality is good, the instruments are well placed in a wide stage that highlights the vocals. The Siren’s Song is a rewarding if short musical journey that you will enjoy taking again and again. Kacy & Clayton will be touring in May when they will be playing 12 dates across the UK.

Reuben Klein

Formats also available: 


6 Nov 2017
Cuneiform Records

Tight doesn’t even begin to describe the high level of interplay displayed by this Swiss guitar bass drums trio. Somehow, with just four albums under their belt they have managed to map out an alternative route to  the conventional guitar-led power trio format and take it to an altogether different level. Schnellertollermeier is in fact  Andi Schnellmann on bass, Manuel Troller on guitar and David Meier on drums. These three musicians have been working together as a band for more than ten years and  have produced three albums  Holz (2008), Zorn einen ehmer üttert stem!! (2010) and X (2015) before this new album made in 2016 during the band’s residency at the Südpol cultural centre in Lucerne.

Schnellertollermeier composed and rehearsed new material in different rooms of the house, and performed the initial results in a series of concerts. They sketched out their material, adapted it, took it apart, and put it back together again like highly skilled engineers.  Schnellmann, Troller and Meier, it has to be said, belong to a younger generation that takes heavy metal, hip hop, grunge and electronica in its stride. Their idea of a power trio is a million miles away from the long soloing excursions of bands like Cream. Their music always starts from the ground up, building and developing one idea, adding a series of powerful crescendos to it with the occasional solo foray. Here, every single note has a clear, precise function in the building and development of the whole piece. If ever you wished to hear precise mechanical engineering in music, this is probably it. And yet it sounds so natural and organic. Using the lilting minimalism of early 80s King Crimson as a point of departure, the trio inject into it a much tighter  series of bass and drums interactions underpinning cyclical and mesmerizing arrangements, full of off kilter  phrasings and devastating guitar riffs.  

Going along this high voltage rollercoaster ride, we finally discover how it is possible to connect the more avant side of progressive rock with post rock’s math-like inclinations and fuse them with eerie, improvised industrial soundsculptures. Bands like Battles had in the past got very near this kind of approach but never quite with the same level of detail and intensity. Whilst the band’s approach is undoubtedly embedded in mechanical minimalism, when they break ranks, the end result is more often than not quite surprising. On the opening ‘Rights’, the band suddenly breaks from it’s rampant, highly strung cycle leading the listener into a fractured David Torn-like post industrial desolation. It’s a moment of  respite before taking the piece into it’s devastating finale.

Essentially, what makes the difference here and in the other three compositions is  the  clever use of  loops, treatments and delays which adds a strong visual dimension to their music. The original idea built from the ground up, expanded and empowered by high octane riffing suddenly turns into a mesmerising industrial sound sculpture bursting the notion that rock music might be dead after all these years. Following carefully the band’s train of thought, we become at one with the sound, taking in every nuance and detail; nothing is thrown in our face and so the music comes alive with tons of raw emotion and we are all there in the middle of it. Riveting stuff indeed.

Charles Imperatori










Formats also available: 
CD, vinyl


15 May 2017
Omer Klein

Every few years one comes across an album such as Sleepwalkers. An album that jolts one awake with its brilliance, but Sleepwalkers is that kind of an album. It is played with talent and confidence that justifies putting Omer Klein on a scale normally reserved for the work of fellow pianist Tord Gustavsen, it has a rare and rarefied elegance and musicality that clearly warrants the comparison.

Klein is an Israeli born German based keyboardist whose talent reserves are deep, he does post rock as well as he does jazz and can stretch out in all directions. He has played with John Zorn and Avishahi Cohen and has been appearing with his trio across Europe and in the US, needless to say you should catch him if you can.

Klein is joined by two equally impressive partners, Haggai Cohen Milo on double bass and Amir Bresler on drums. The trio plays music that moves from classical to world to modern to the mainstream of jazz, blues and funk with a little Sati-like intimacy for good measure. Of the 13 original and dazzling pieces two tracks stand out; ‘Blinky Palermo’ with its lovely bass and piano interplay, and ‘Spilt Milk’ where’s Klein’s playing takes on a lyrical bent. As you can probably tell I quite like this musical gem, it’s a performance that is not to be missed. Sound quality is about par for a jazz trio recording, not ECM standard but it sounds natural and everything is in perspective. Downloads in 44.1/16 and 24bits are available from Qobuz, hard copies can be found in various European outlets. If you want to elevate your life a little higher, this sublime musical experience will definitely help.

Reuben Klein (no relation!)


Formats also available: 
CD, vinyl

New Path

2 May 2017
Yogev Shetrit

Yogev Shetrit and his fellow musicians are a brilliant bi-product of the land they live in. It would appear that in addition to being a pressure cooker, Israel is a melting pot of many cultures and musical genres which are represented here in a polished and mighty impressive set of world music style jazz that draws inspiration from a very rich tapestry of Yemenite, Arabic, western jazz and samba styles and rhythms. Throughout the album the musical glue that bonds the performance is ‘Israeli music’ of a kind that only those who spent years of living there will be able to easily identify.

Shetrit’s trio includes piano, bass and drums and brings to mind another such trio from the same country that was led by the renowned bass player Avishai Cohen. This trio and the guests accompanying it through the album exhibit a verve, talent and confidence that belies their anonymity. The album is an exciting mix of melodious tracks that owe much to middle eastern and north African influence, in addition two of the tracks are pure hard bop, further illustrating the breadth and talent of this trio.

The album’s core group of players is made up of leader and drummer Yogev Shetrit, who was declared a prodigy in his very early youth and spent his formative years attending renowned music schools in both Israel and the US. He is accompanied by Avri Borochov on bass, and Gil Zohar on piano. They are joined by a very large group of other musicians, the list of credits includes: Omri Mor on piano and karkabou (metal castanets), Yuval Gerstein on guitar, Ariel Levi on saxophone, with Miryam Shetrit and Joel Covington on backing vocals.

New Path is available direct from the artist on Bandcamp. The album’s sound is intimate but the recording quality is average and slightly compressed. The album consists of 11 tracks and is just over an hour long. From Moroccan themes to hard bop this is a must for music lovers who wish to mix up their jazz with the extra pizzazz offered by the fusion of world music.

Recommended track Café Atlas

Reuben Klein

Formats also available: 


Subscribe to RSS - Download