Barnes & Barnes: "Zabagabee: The Best Of Barnes & Barnes" (1987/2026) CD Review

When I was growing up in Massachusetts, the Dr. Demento Show was on the radio on Sunday evenings, a program of novelty songs and parodies. Interestingly, it was followed by Dr. Ruth. It was a while before I discovered that Dr. Ruth was not a comedy program, because to me that radio station was providing a solid evening of comedy gold. I ended up purchasing a couple of the Dr. Demento compilations on cassette (I couldn't find the Dr. Ruth cassettes). The first of those cassettes that I purchased contained the song "Fish Heads." This one was unlike any of the other songs, and I loved it. It was by a duo called Barnes & Barnes. At the time, I knew nothing about them, not even that Bill Mumy was one half of the duo (along with Robert Haimer). Zabagabee: The Best Of Barnes & Barnes was originally released in 1987 on Rhino. It is now getting a deserved re-issue through Liberation Hall. It is likely you've heard "Fish Heads," and that is a song that should be in your music collection, but this disc contains songs that I think are even better, songs that perhaps you haven't heard.

The album opens with "Fish Heads." When I was a kid I took drum lessons at Kurlan Music in Worcester, Massachusetts, and one day I brought the Dr. Demento cassette in so that my drum teacher could hear this song. That's how much I loved it. He loved it too, because of the line "They don't play drums." Anyway, it's a ridiculous song, and it still makes me laugh. "I took a fish head out to see a movie/Didn't have to pay to get it in." Then "Blithering" has more of a 1980s pop sound. Seriously, as it begins, it sounds like a 1980s hit song. And if people had more of a sense of humor, it would have been a hit. Oh, those damn Reagan years. By the way, early in this song the lyrics contain a reference to Rod Serling. For those who might not know, before he starred in Lost In Space, Bill Mumy was in a few episodes of The Twilight Zone. "Walt Disney do the Humpty Dumpty/Rod Serling paradise/Somewhere in a government building/The future pays the price."

"Soak It Up" has a fun new wave sound. "My baby's love never come unwound/My baby's love come a tricklin' down." Could that line be a play on Reagans' "trickle-down" economics? This song was originally included on an EP released in 1983, and by that time people were criticizing Reagan's horrible economic policies. And, hey, it could also be a golden shower joke. I assume it's both. "I'm gonna soak it up/I'm a sponge for her love." Yeah, we need more love songs like this one. It's followed by another love song, "Ah A." This one is so simple, so delightful, so silly that it has me laughing aloud every time I listen to it. Then we get "Boogie Woogie Amputee," a song from the duo's Voobaha album (which also contains "Fish Heads"). This one has a good rock and roll vibe, with some cool stuff on keys. "We're gonna hop, swing and jump/I shake my hips, she shakes her stump." And that line "Oh Suzie, you sure ain't got two left feet" is hilarious.

"Life Is Safer When You're Sleeping" is an odd song. Well, I suppose that should come as no surprise, and probably could be said of every track on this disc. Anyway, this one has a more serious, somber sound, with a dreamy atmosphere. But of course we can't let that make us take it more seriously. Or can we? It's followed by "Unfinished Business," which is a delight, with an electronic 1980s sound and some playful touches. "Our lips met/You never know how long you've got/But I never kissed her/You'll hope it's working when it's not." This track also contains some nice stuff on guitar. Then "Pussy Whipped" is a fun, cool song with more of a rock sound, with a kind of country rock flavor. It was written with David Jolliffe and Miguel Ferrer (yes, from Crossing Jordan). "I love my wife/She tells me so." Those are great opening lines. "I used to go out drinking/Running with the boys/I used to stay up late at night/And make a lot of noise/Now I don't do nothing that she don't want me to." This is so damn good, one of my personal favorite tracks. "But if the woman leaves me I'll have to whip it alone."

Barnes & Barnes give us a cover of "What's New Pussycat," the song written by Burt Bacharach and Hal David. As you might guess, their version is a bit different from the Tom Jones version, and I love it. It's a bit mad, like a twisted carnival ride, like a love song taking place on a twisted carnival ride. This is a total delight. Do I like it more than the original? You bet I do! "Pussycat, pussycat, you're delicious/And if my wishes can all come true/I'll soon be kissing your sweet little pussycat lips." Oh my, is that a threat? This is probably the best rendition of this song ever recorded. It's followed by "Party In My Pants." Is there something juvenile about a song titled "Party In My Pants"? Of course there is. But so what? It's fun. "There's a party in my pants/And I want you all to come," they sing at the beginning. And there is some spoken word in the middle, a goofy bit of dialogue between a man and a woman. "I'm on my way to a party, you want to come?" the man asks. "Sure, where is it?" the woman responds. "It's in my pants." As if you didn't know.

There is a strangely sweet vibe to "Don't You Wanna Go To The Moon." "Martians in the mud are playing/I don't know a word they're saying." Well, no worries, as it's a love song. "Don't you wanna go to the moon with me soon/Everything will be all right." That's followed by "Pizza Face," another of my personal favorites. As soon as they start singing, I'm laughing. This is totally goofy and totally wonderful. Part of it is that it seems to take place in a mad scientist's laboratory or something. You know, someone is taking things seriously, while of course it's just fun. "Made a mess on my vest/What a waste." This song should be played at dance clubs. What a great surprise that would be. Then "Love Tap" is about an interesting relationship. "She said it was a love tap/But I felt the pain." Oh yes! "She scratched at my face/Put my nose out of place." I love how this song about a violent relationship has such a mellow vibe. At the end, they ask, "What will become of this love?"

"I Don't Remember Tomorrow" has a great title, and also a catchy rhythm to the vocal line, particularly on the song's title line. I also dig that instrumental section in the second half. That's followed by "Cemetery Girls," a song I'm thrilled to hear. I first heard this song done by The Peak Show. With Holland Greco on lead vocals, they did it as "Cemetery Boys." And I either didn't know, or somehow forgot, that this song was a cover. Crazy. I've loved this song for more than two decades, and it's probably my favorite Halloween-themed or horror-themed song. So of course I was ready to love this original version. And it's fantastic. Like the Peak Show's rendition, this one contains sound bites, and one of them is from an episode of The Twilight Zone, with Bill Mumy himself saying, "You're a bad man, you're a very bad man!" And then, a little later, "I had a real good time." If you haven't heard this song, I highly recommend checking it out. And if you haven't seen that episode of The Twilight Zone, you should check that out too. And keeping with the theme of death, that song is followed by "When You Die," which has lines like "When you die/You stop drinking beer." This song is unexpectedly beautiful and touching, while also being funny. And it's another favorite of mine. "When you die/You stop eating cheese/When you die/You're not hard to please." 

CD Track List

1. Fish Heads
2. Blithering
3. Soak It Up
4. Ah A
5. Boogie Woogie Amputee
6. Life Is Safer When You're Sleeping
7. Unfinished Business
8. Pussy Whipped
9. What's New Pussycat?
10. Party In My Pants
11. Don't You Wanna Go To The Moon
12. Pizza Face 
13. Love Tap
14. I Don't Remember Tomorrow
15. Cemetery Girls
16. When You Die

Zabagabee: The Best Of Barnes & Barnes is scheduled to be released on June 19, 2026 through Liberation Hall.

Kim McClay: "Worth It" (2026) CD Review

Kim McClay is a singer and songwriter based in New York City. She released her first album, My Sanity, in 2021. Since then, she's put out a couple of singles, and now has a new EP on the way. Titled Worth It, it contains all original material, songs of power and honesty, songs that connect to the listeners, and perhaps connect listeners to each other, in these unsettling times. The songs were written by Kim McClay and Dustin Beardsley, who also co-produced the EP. Dustin plays guitar and synthesizer. Also backing Kim on this release are Trevor Brown on bass and synthesizer, and Jim Bloom on drums and percussion, along with a couple of guests on the final track.

The EP opens with "Velveteen Girls," which was released as a single. The guitar work at the beginning announces this song means business. Check out the opening lines: "A pretty face, pretty girl/Is that all I am to you/I know it's well-intended/I don't care how you intended it." The drums come in, providing the song a steady pulse. "'Give us a smile'/'Show off your legs'/I'm not here for you/Now I'm on the defensive/And it's not because I'm sensitive." There is a delicious power here, a rock energy. The song's title reminds us of The Velveteen Rabbit, raising a question of reality, of what it means to be or become real. And surprisingly, there is a sort of spoken word section in the second half, and in that section she directly addresses that question, as well as aging. Margery Williams, author of The Velveteen Rabbit, is given a songwriting credit here. Then a softer, gentler sound is established at the beginning of "Firefly," but that's not to say there is anything meek about this song. There is a steady rhythm on acoustic guitar that suggests a sense of urgency, and some really nice touches on electric guitar. "Deceptively and cunningly/She lures you in and how/Her devil's grin is beggin' for your skin." This track kicks in partway through, the drums taking on more force. "Leaves 'em guessing/Makes 'em question what's right/Answer loud as you can/Tonight." The line "Answer loud as you can" is repeated at the end, growing in power, before the word "Tonight" is delivered simply and more softly. While that line "Answer loud as you can" is empowering, encouraging, it is that one word "Tonight" that makes it all immediate. Now.

Near the beginning of "Worth It," Kim McClay sings, "I'll trade you my wide-open heart/If you promise me that you'll stay." I love the way she delivers that word "stay," giving it more emphasis, a brighter energy. She then asks, "Can you promise me that you'll stay?" The song develops a strong rhythm, a catchy rhythm, one that gets us involved. Another phrase that stands out to me is "dancing through chaos." That feels like the best thing to do these days. "We live in a dangerous time/Nothing prepares you for that." Then "So Close" eases in, with a soothing, intimate vibe at the start. "Everything's fleeting/This city, your feelings/But I seem to be stuck on you/It keeps me reeling/My pulse is still screaming/To beat intertwined next to you." Yes, it's a love song. A sort of love song, anyway. I appreciate a love song that begins with the line "Everything's fleeting." A line that is true, regardless of the subject, right? I love how her voice takes on a different quality for the lines "But we were so close/So close to the real thing," a more ethereal quality. More hopeful too, with that energy. Maybe it is the next one that will be the real thing. This song features some nice work on bass, and a wonderful lead on electric guitar. It was released as a single. Kim McClay wraps up the album with another song that addresses love, "Something Like Love," which features a beautiful vocal performance. "You came out of nowhere/Your eyes soft as day," she sings at the beginning, and then adds, "I know you from somewhere." I love the way this song builds. It's a song that grabs us and then rushes us up to great heights at certain moments, and brings us in for more intimate breaths. Helen Newby is on cello, and Lucy is on violin, the strings adding to the track's beauty and power. And after the track seems to be concluding, we are treated to something of an extended ending with the strings.

CD Track List

1. Velveteen Girls
2. Firefly
3. Worth It
4. So Close
5. Something Like Love

Worth It is scheduled to be released on June 26, 2026.

Paula Boggs Band: "Sumatra" (2026) CD Review

Paula Boggs is a singer and songwriter who had a somewhat unusual career before forming the Paula Boggs Band, a career that included a stint in the armed forces, work as an attorney, and an executive position at Starbucks. Not the typical career trajectory leading to fronting a band, but Paula Boggs is not the typical singer. And like she has not felt tied to one job, or one type of job, she is not tied to any single musical genre, her music deftly blending elements of soul, jazz, folk, country, blues and rock. Her new album, Sumatra, contains mostly original material, along with a couple of traditional numbers. The band is made up of Darren Loucas on acoustic guitar, electric guitar, dobro, banjo, mandolin, baritone guitar, lap steel, ukulele, harmonica and backing vocals; Paul Matthew Moore on piano, percussion and backing vocals; David Salonen on upright bass, fiddle, acoustic guitar and backing vocals; Daniel Walker on piano, synthesizer, Mellotron, electric piano and accordion; Jacob Evans on drums and percussion; and Tor Dietrichson on percussion. There are also some special guests on certain tracks.

The album opens with its title track, "Sumatra," which has an unexpected spiritual bent at the start, voices chanting. These are members of the Evensong Choir of Saint Mark's Episcopal Cathedral in Seattle. The guitar soon comes in and the music then begins to build, taking over. As the volume and power of the instruments rise, the chanting voices are overtaken. And once they are gone completely, Paula Boggs comes in on vocals. An interesting way to begin things, this puts us in a rather somber mood, which works for the song. Soon she raises her voice for the lines, "Wafting autumn inspires me to find places to dream, stream, scream revolution/Babies are caged/Are we enraged?" By then, we are completely captivated by the music, by the passionate vocal work. This track features some wonderful percussion. Toward the end, the music itself feels like a chant, a mantra, even before those voices from the beginning return. Paula Boggs Band goes a different direction with "Bard Of Vietnam," the fiddle setting a different tone. It begins as a solid storytelling folk song, with bluegrass elements, and then touches upon death. "When you're young, death's the last thing on your mind/But the older you get, the more friends leave you behind." And check out these lyrics: "My mama lives next door/I see her weathered skin/They say we look alike/Some say we're twins/Her eyes tell a story/I read between the lines."

"Route 66" is an original song, not a cover of the well-known Bobby Troup song. It begins with some gentle, thoughtful guitar work, which sets the tone. Here are the first lines: "Sixty-six candles adorn this cake/Sixty-six reminders of wins and mistakes/I'm not sure how I got to this place/But I'm happy to be here now." Yes, it's a song about aging, a birthday providing an opportunity to take an honest look at one's life. Soon she sings, "Reminding me time heals almost everything." It's true, but we get so little time for that healing to take place. This is something that's been on my mind a lot lately. We must make the most of the time we have. Another line that stands out to me is "History only teaches what we want to learn." What worries me is that these days people don't want to learn anything at all. "Route 66" is followed by "Still Grateful," which has a pretty sound, in part because of the fiddle, and features some nice backing vocals. It's a song of being momentarily physically separated from that special someone, but still having that person with us in a meaningful way. And it contains a passionate vocal performance, one that is full of love. It isn't until the second half that we learn this love song is about "Just a girl loving a girl," openly and gratefully. I think humanity has made very little progress, but this is one area where some progress seems to have been made.

One of my personal favorites on this album is "Note To Quinn." I am totally taken with the sound of this one from its cool opening, the combination of the banjo and electric guitar, those two different sounds creating an interesting atmosphere and vibe, and preparing us for a song that sort of takes place in two times. And Paula's vocal approach is different for this one, leaning more toward spoken word. I love the way she delivers the line "You might not recognize/America," with that pause before the word "America." And I love how the electric guitar responds. This song addresses someone long gone, taken too soon, updating the person on the state of things, both in this country and in her personal life. "You'd like my gal/Wish you knew her/Wish you'd met/Wish you knew/We tied the knot. For real/For real. For real." Arietta Ward provides backing vocals on this track. That's followed by "Traces Of You." Some passionate work on harmonica establishes the atmosphere of this one. And then the cello comes in, gorgeous, moving. That's Josh Neumann on cello. This track had me almost in tears. It's a song that Paula Boggs has recorded before, first including it on her A Buddha State Of Mind album, and then on Electrokitty Sessions. This version is quite different, an instrumental rendition, feeling like a lament, perhaps for the person addressed in "Note To Quinn." Paula Boggs plays acoustic guitar on this track. Daniel Walker is on accordion. The harmonica returns at the end. This ended up being another of my favorite tracks.

"Wasting Young Man" is a song with its own special power, a song with vivid characters. "Depression is his widow's weed/He longs for a woman who his will never be." This track contains one of the album's best, most interesting vocal performances. There is also some great work on fiddle, and some really nice stuff on piano. The whole atmosphere of this song is effective and exciting. Paula Boggs Band then gets more into blues territory with "Airline Boogie." I love the Gershwin reference early on ("Rhapsody In Blue" is one of my favorite pieces of music). Flying ceased to be enjoyable a couple of decades ago, but it has become more stressful in the last year or so, since the convicted felon and his fellow morons took over the government. There is more anxiety associated with air travel than ever before. The current fascist government has made everything dangerous through incompetence and greed and indifference and stupidity. "Anxiety climbs the higher we go/Can't even see the ground no more."

All of the tracks so far were written by Paula Boggs. The final two tracks, however, are traditional numbers. The first is "The Snow It Melts The Soonest," here with an arrangement by Paula Boggs. This wonderful rendition features some pretty work by James Falzone on penny whistle. The second is "Ain't Gonna Let Nobody Turn Me Round," Paula Boggs Band delivering a delightful, empowering rendition, a fantastic mix of jazz and gospel elements. Valerie June and the Blind Boys Of Alabama join Paula on vocals for this one. "Ain't gonna let no hatred turn me round." James Falzone delivers excellent work on this track too, this time on clarinet. "Ain't gonna let injustice turn me round." Hatred and injustice are part of the official government platform these days. But the people need to keep on, despite what those bastards do. This song is an absolutely wonderful way to wrap things up.

CD Track List

1. Sumatra
2. Bard Of Vietnam
3. Route 66
4. Still Grateful
5. Note To Quinn
6. Traces Of You
7. Wasting Young Man
8. Airline Boogie
9. The Snow It Melts The Soonest
10. Ain't Gonna Let Nobody Turn Me Round

Sumatra was released on March 27, 2026.

Perdomo Kravitz: "Goodbye Sun" (2026) CD Review

In addition to the Clouds series (a new album every month), a rock opera, the Broken Sound project (a duo with Michael Collins), a David Bowie tribute, his work with Marshall Crenshaw, and the albums he produces for other artists, Fernando Perdomo has another new project: Perdomo Kravitz, a duo with drummer and producer Andy Kravitz. I know that sounds like a lot for one musician to be doing, but you have to keep in mind that through a special deal he worked out with the universe, Fernando Perdomo's days are made up of thirty-four hours, rather than the measly twenty-four the rest of us have. He and Andy Kravitz gave the audience at Kulak's Woodshed a taste of this new music at a special show back in March. Those songs got folks excited about the project and about the album, Goodbye Sun, which is now out. It contains all original material. On this album, Fernando Perdomo plays guitar, bass and keyboards, and provides the vocals; Andy Kravitz is on drums, percussion and keyboards. They are joined by Kaitlin Wolfberg on strings. The album was produced by Fernando Perdomo and Andy Kravitz, and was mixed and mastered by Andy Kravitz.

The album opens with "Free From The Me," which has a sweet, gentle southern California sound and vibe that is incredibly appealing, and features some really nice vocal work, A vocal performance that is soothing, one we want to connect with right away. "Now it's time, time for change/I'm not ashamed." This is one of the songs that Fernando Perdomo and Andy Kravitz played at that show in March. There is a bit of a Beatles influence heard in some of the guitar work in the second half. And we realize that the energy of the song has been increasing, the song now having an uplifting effect. "A brand new song, a brand new day." Then the opening line of "Starlight," "I picked a fight with the world again," is one that grabs me. And soon Fernando sings, "But I know, I know I'm better off home with you." Oh yes, that is something we know instinctually, and yet it's so easy to find ourselves in those battles. What's important is that special someone. Fernando sings, "You are the starlight." This song has an interesting change in the middle, where things shift momentarily, and then those opening lines are repeated, now with a stronger energy. This song also has a delicious rhythm.

"Sometimes, I" has a cool, catchy sound, and features some good lyrics. "There's no need for explanations/When the fighting's through/Sometimes I lose my patience/Frankly, I've got better things to do." There is an interesting power to this song, and it ends with the line, "I've lost my patience with you." Then there is a more somber, thoughtful sound on guitar at the beginning of "Goodbye Sun," the album's title track, which they played at that concert in March. I love Kaitlin Wolfberg's work on strings. It's a captivating number, in part because of her work, partly because of the way Fernando delivers the lyrics. "The moon will take your place/Your beautiful face/Lit by the sunset." There is something urgent here, a longing, a need. We feel it in his delivery.

Of all the new material I heard at that concert in March (keeping in mind they did not play the full album), "I'm No Fun" was the song I loved the most. This was the one I was thinking about on my way home. It begins like a fairy tale, that instrumental intro, which has a playful and sweet character, and features more wonderful work from Kaitlin Wolfberg. And the vocal line has a rhythm that grabs us. "Since you're gone, I/Am a lot like/Someone that I/Don't want to be." I love this song. It was a favorite that first time I heard it, and it's a favorite now. Everything works beautifully here. Halfway through, the drums make a great impact, punctuating the action and giving everything a bit more weight. "Since you're gone, I/Don't have a life/I just sit in my dark little room/I'm no fun." I highly recommend checking out this song (and the whole album, of course). It's followed by "My Own Devices," which has a magical quality at the beginning, establishing an interesting tone. Guest Paulo Oveira joins the duo on flute, and that instrument helps in creating the special atmosphere and vibe of the song. The strings are also part of the magic. The percussion to this one is wonderful. Fernando Perdomo recently performed a solo version of this song in concert, and it had quite a different feel in that context. It was still really good, and worked to carry us gently along, which I loved, but the impact of this band version is greater, I think. Part of it is that percussion, which has such an interesting effect, sometimes a deep pulse that seems to come from within us as well as without. "I need healing like I've never needed before." That lovely guitar work could contribute to the healing we all need. As this track ends, it seems to be stepping into another room, another realm.

"Canyon Trilogy," as its title suggests, is three pieces. Those are "Meet Me Down On Love Street," "Harmonics And True Love" and "I'm Free." At a concert a week or so ago, Fernando Perdomo mentioned that this trio of songs was inspired by Laurel Canyon Blvd. (the "Canyon" of its title), a major street in the valley that runs south into the Hollywood hills. So it makes perfect sense that there would be something of that southern California sound here. There is also a dreamy aspect to the music that is appealing, particularly in the first section. "Let's go and explore." And there is some beautiful guitar work. The sound builds then for the second section. "You sparkle when you're smiling." Everything feels so good. And as the track moves into "I'm Free," the vibe becomes even more pleasant. This track is something special. It's followed by "Travel Day." A good groove is quickly established, and that groove is at the center of this one. "Leave our troubles at the door/And set our sights for the brand new shore." Doesn't that sound just right? And I love that guitar part toward the end. This song slowly fades out.

"The First Day Of Fall" contains one of the album's most wonderful vocal performances. And I love that vocal section in the second half, with the different layers. This track also features some pretty work on strings, helping to transport us. That's followed by "Darkness Descends," which has an interesting atmosphere. It's somewhat dreamy, but with a kind of pop edge. "Darkness descends on the valley/Shadows engulf all the palm trees/Headlights turn on on Ventura/The night is ours, the night is ours." This song mentions places here in the San Fernando Valley. I wonder just which bar he refers to in the line "Let's go to that bar down on Woodman." There is a bar just off Woodman on Burbank Blvd. that I used to go to all the time and still go occasionally. When I first moved to Los Angeles, I was struck by all the places that I knew from songs. How could I drive west on Ventura Blvd. without thinking of that Tom Petty song, for example? Or when I'd see the sign for Victory Blvd., I could not help but shout, "We love it!" This song mentions a park I've been to a few times. The album then concludes with "Travel Day Redux," a short track. As "Travel Day" had faded out, this one fades in, and then it is all about the beat (which began "Travel Day") before it suddenly ends.

CD Track List

1. Free From The Me
2. Starlight
3. Sometimes, I
4. Goodbye Sun
5. I'm No Fun
6. My Own Devices
7. Canyon Trilogy
8. Travel Day
9. The First Day Of Fall
10. Darkness Descends
11. Travel Day Redux

Goodbye Sun was released on May 15, 2026.

Trabants: "Mirage" (2026) Vinyl Review

Trabants is a Portland-based (though originally Boston-based, and then Los Angeles-based) band led by Eric Penna, delivering some delicious surf and psychedelic garage instrumental music. Isn't it fantastic to know that musicians are still making music like this? The group has been around for more than a decade, releasing cool albums like Highwire Surfing, Cinematic, Freakout and Nel Cuore Di Una Terra Selvaggia. The band's new record, Mirage, contains all original material written by Eric Penna. The group has gone through several personnel changes over the years, and for this album is made up of Eric Penna on guitar, percussion, bass, organ, and vibraphone; Dave Berkham on bass; Glenn Brigman on organ, electric harpsichord and tabla; and Anthony Brisson on drums. There are also guests on a few tracks. The band's name, by the way, comes from an East German car that was manufactured for several decades until the early 1990s, the word coming from the German word for "companion." Well, this music can certainly function as a good and fun companion in a time that seems generally diametrically opposed to fun. In a time when many people take things much too seriously, this music is like great gulps of fresh air. 

Side A

The album opens with "Track Zero." Here the machinery is getting in gear, preparing to launch. One pass, two, three, four, building energy with each circuit. And then it's over, a minute or so after it began.  But don't worry, because things really start moving, start shaking with "Hot Brew." This track contains a strong rhythm, and a guitar with the right amount of fuzz, skirting psychedelic territory. The other guitar part is eager to lead us in a dance. And why not? It shouldn't be long before the music has you on your feet anyway. Then we get into a 1960s surf world with "Mirage," which features some cool guitar work throughout the track. I love when this kind of music has some sort of exotic, foreign element or flavor, as it does at times here. It's music that could transport you, just as those waves could take you for a ride. And we know we're in good hands. It'll be a fun ride, sure, but we know we'll arrive safely. Pete Curry plays drums on this track.

"Purple Panther" is the track that initally got me excited about this record, and I imagine it will have the same effect on lots of folks. The band put out a music video for it several weeks ago, so check it out when you have a chance. It's clear from the song's opening moments that it's going to be a cool track, the way it kind of sneaks in. It very soon grabs hold, and contains some excellent work on guitar, a delicious rhythm, and some wonderful stuff on keys. This track also features guest Ron Dziubla on saxophone, delivering some great, raw, mean stuff, getting down and dirty at moments. What more could you want? If Quentin Tarantino hears this track, he'll certainly put it in a movie. I wish this track were longer. It comes in at a little under three minutes. It's followed by "Soul Garage A Go Go," which has a strong groove that immediately will make you think of certain soul hits of the 1960s (particularly The Four Tops' "I Can't Help Myself"). There is a good steady pounding, demanding that you cut loose. And we are treated to some excellent stuff by Bryan Murphy on trumpet, that instrument calling all the forces of nature to join us on the dance flow. This track contains a psychedelic ending.

"Mata Hari" has an especially cool vibe. It is another track that feels like it would be at home in a movie, that it should be part of a soundtrack, or score. There is something dramatic, something cinematic about it. It should be the theme music to a cool, but somewhat shady character, maybe a chick that the secret agent meets in a foreign land, like on the ski slopes or something. And watch out! She knows a little something, and has an undeniable allure. It's the sort of danger we'd willingly embrace. The music itself is seductive. Eric Penna plays vibraphone on this track, part of the track's cool vibe. The first side of the record then ends with "Midnight Bells," which also could be in a film, one of those 1960s numbers where a bunch of teenagers are dancing while lights melt upon their beautiful faces rather than a character's theme. There is a good energy to this one, and the track features some excellent guitar work, particularly toward the end.

Side B

Trabants open the record's second side in somewhat more serious territory with "Five Alarm." The music still is fun and has a great beat, but it feels like there is a darker energy at play, something lurking in the corners, in the shadows, adding a certain urgency. Perhaps that element can be ignored, if you just wish to dance. But one thing that can't be ignored is that great guitar lead, as it coils around your neck and slides into your ears. That's followed by "August Nights," the bass leading us into a delicious dance, a party where the psychedelics are in the punch, but things haven't gotten too weird yet. Everyone is still largely of this earth, moving to a beat all can hear, all can feel, swaying with a certain joy. But you are aware that this is the launching pad, and colors begin to play on the walls and ceiling. This is one of my favorite tracks.

"Fuzz 4 Daze" has a catchy guitar part. This track keeps everything moving, everyone dancing with its steady rhythm. Pete Curry plays both drums and bass on this track. I personally dislike numbers used in place of words in song titles (2 for "To," 4 instead of "For"), but the track is fun. And yeah, there is the right amount of fuzz here. The guitar pushes us onward. The band then takes us back into surf territory with "Hollywood Surf," a song with a delightful beat. It feels like a dance on the beach, where the whole world becomes that spot, and nothing exists beyond the horizon. It's so much fun dancing barefoot in the sand, as this music clearly demonstrates. Doesn't life feel good? I think we need life to become a dance again. Things have been too serious, too ugly for far too long.

There is a wonderful psychedelic vibe to "The Emerald Apricot," and yet it is still a fun song to dance to, the rhythm keeping us somewhat grounded, while the guitar pushes at the boundaries of reality in a playful way. There seems to be a dance within the song, as the different parts urge each other on, as the two guitar parts do in the second half. This track also features some great drumming, and is another of the record's highlights. The album concludes with "Mantra Part II." In 2024, Trabants released a single titled "Mantra" (and actually there is a note on the back of this record jacket that urges listeners to "play the two songs from our last 45" - "Mantra" and "Surfers On Acid" - between "Track Zero" and "Hot Brew"), and this follow-up takes us on a trip, with its strong eastern influence. There is some wonderful percussion on this track. This music makes me feel good. While it's nice to dance to, this track also has something soothing about it. And there is an interesting ending, as if suddenly we move backwards through our recent experiences, a strange winding backward, or winding down of the record's opening track. So I think we're left with no other choice but to play the record again.

Record Track List

Side A

1. Track Zero
2. Hot Brew
3. Mirage
4. Purple Panther
5. Soul Garage A Go Go
6. Mata Hari
7. Midnight Bells

Side B

1. Five Alarm
2. August Nights
3. Fuzz 4 Daze
4. Hollywood Surf
5. The Emerald Apricot
6. Mantra Pt. II

Mirage is scheduled to be released on June 12, 2026, and is going to be available on CD as well as vinyl. You can order it through Bandcamp.

Hannah Gill: "I Like The Sunrise" (2026) CD Review

From the first time I heard Hannah Gill's voice, I was a fan. And that was before I heard her Halloween-themed albums. Once I got my hands on Spooky Jazz Vol. 2 and last year's Spooky Jazz Vol. 3 (I still need to get a physical copy of the first volume), I loved her even more. Who wouldn't? If you've heard those albums, you're crazy about her too. Now on her new album, I Like The Sunrise, she celebrates the music of Duke Ellington. Rather than doing big band renditions of his material, as is often done, she chooses a more intimate approach. Joining her on this release are Luis Salcedo on guitar, Phil Ambuel on bass, Adam Ray on drums, and Ricky Alexander on saxophone. The album was produced by Scott Asen. It was recorded and mixed by Alex Conroy.

Hannah Gill opens the album with "So Far, So Good," the only track not written or co-written by Duke Ellington. It was written by Jack Lawrence, Jimmy Mundy and Eddie White. Duke Ellington recorded it in 1940, with Ivie Anderson on vocals. Hannah Gill's rendition features a delicious, catchy bass line and a wonderful lead on guitar. And Ricky Alexander delivers a warm lead on saxophone. All of that is fantastic, but the main draw is Hannah Gill's vocal performance. So confident, so timeless, so welcoming, so damn good. "Take a peek at the future/What do you see?" Well, with this music playing, the future I see looks excellent. Then Hannah takes us into blues territory with a stellar rendition of "I Ain't Got Nothin' But The Blues." This one begins with some nice work on guitar, the playing being kind of quiet, drawing us closer. When Hannah comes in, we know right where we stand, and that is with her. We can all relate to lines like "Ain't got no winnings to lose/Ain't got a dream that is working/I ain't got nothing but the blues." Yet there is a great deal of charm even in those lines, making us feel better about our own blues. After Hannah sings "When trumpets flare," Ricky Alexander comes in. Not a trumpet, but a saxophone works just as well. This track also contains an interesting, totally cool lead on guitar. The music then swells as Ricky begins his lead in the second half. This song was written by Duke Ellington and Don George.

A delightful bass line sets "Love You Madly" in motion. Hannah's voice should lift even the most dour of spirits. There is something so pleasant about the vibe of this track, so catchy. And don't we all need to hear someone tell us, "I love you, love you madly"? And shouldn't you be feeling that way about someone, telling someone? There is a gentle swing to the music here, and this track contains solid leads on both saxophone and guitar. "Love you madly, right or wrong/Sounds like a lyric of a song." That's followed by "I'm Just A Lucky So-And-So," Hannah delivering a sexy, gorgeous and warm vocal performance, moving with a slow kind of strut. "The birds in every tree/Are so neighborly/They sing wherever I go." Oh, I have no doubt about that. There is some kind of magic surrounding her, this performance makes that clear. Even when things are in a more relaxed, bluesy groove. Ricky Alexander gets a chance to stretch out a bit on his sax lead, which is wonderful, allowing things to build beautifully. This track is one of my personal favorites. "If you should ask me the amount/In my bank account/I'd have to confess that I'm slippin'/But that don't worry me." When I'm listening to this music, the same situation ceases to worry me too.

"I Didn't Know About You" begins with some pretty work on guitar. Soon, Hannah comes in, delivering an especially beautiful vocal performance, this track having a deliciously intimate quality. "Just taking my fun where it could be found/And what else could I do?" Ah yes, what else can any of us do? What striking is that her performance has great beauty, but also feels completely natural, like she's telling us a personal story. Luis Salcedo gets time to demonstrate his talent on guitar. And at the beginning of "I Got It Bad (And That Ain't Good)," Hannah's voice is again supported by guitar. Here she opens up. There is a vulnerable quality heard in her voice, a longing. "When he's gone, I'm cloudy with showers/An emotion like the ocean, it's either sink or swim/When a woman loves a man as I love him." I believe every syllable. Everything has that ring of truth. And then the bass and drums come in, as if to gently cradle her.

Hannah Gill is so adept at expressing a timeless passion, as she does on "Azalea." I love the way she delivers a line like "I've yet to get that same strange feeling," the nuances that make it all so real, so wonderful. The guitar work in the middle of this track seems to contain a brief nod to the beginning of "Someone To Watch Over Me." It's a wonderful guitar lead, and this is a beautiful rendition. Things then gently swing again with "Do Nothing Till You Hear From Me." There is a joy to this track, particularly to her vocal performance, and a playful quality that I adore. "True, I've been seen with someone new/But does that mean that I'm untrue." She is in control in this rendition. And I don't think the other man has any choice but to believe her. Ricky Alexander's saxophone backs her up, and you can't argue with a saxophone. But it is that guitar lead that I especially love. And when the guitar and saxophone work together, everything is right with the world.

"I Like The Sunrise," the album's title track, begins like a storm approaching, thunder brought on by the percussion, a captivating opening. Then light suddenly streaks in, and Hannah sings the song's first lines, "I like the sunrise/Because it brings a new day." Hers is a gentle performance, with an easygoing sense. From that interesting storm at the beginning, we seem to awaken into a dream. Yet there are remnants of that storm playing at the edges occasionally. This is such an interesting rendition, another of the disc's highlights. It's followed by "Take Love Easy." Here Hannah sings, "Never let your feelings show," yet we feel that every word, every syllable is full of feeling, full of emotion, full of truth. I love that, and I love her approach. This track features some wonderful bass work, including a lead halfway through. Hannah Gill wraps up the album with "Azure," which begins with guitar and then some whistling, which takes us to another time, another place, and does so with ease. "Drifting, dreaming," Hannah sings. And that's just how the song feels. We are happy to drift with her, and with the guitar that supports her. Here she delivers another remarkable vocal performance. There is more whistling at the end, leading us off into the distance.

CD Track List

1. So Far, So Good
2. I Ain't Got Nothin' But The Blues
3. Love You Madly
4. I'm Just A Lucky So-And-So
5. I Didn't Know About You
6. I Got It Bad (And That Ain't Good)
7. Azalea
8. Do Nothing Till You Hear From Me
9. I Like The Sunrise
10. Take Love Easy
11. Azure

I Like The Sunrise is scheduled to be released on June 19, 2026 on Turtle Bay Records.

Brief Notes On New Jazz Releases

I hope everyone is hanging in there. Music is probably the thing that will keep us together, pull us through these dark and depressing times. Here are notes on a few jazz albums you might want to check out.

Ricky Alexander: "Ragology" - Clarinet player Ricky Alexander takes us on a delightful trip to the early days of jazz, focusing on great ragtime gems, yet with a fresh approach that gives the music an immediacy rather feeling like a history lesson. Ricky is joined by Jerron Paxton on banjo and vocals, Conal Fowkes on piano, Rob Adkins on bass, and Kevin Dorn on drums. The album opens with "Wildcat Blues," and my mood is lifted within the first five seconds. There is some delicious work on piano, but it is Ricky Alexander's playful, cheerful work on clarinet that especially stands out and makes things swing. This music makes life sound better. "Slidin'" follows, and here we get a cool lead on bass in the first half of the track, a nice surprise. I also love the percussion, with some unexpected touches. They take things in a different direction then with "Dizzy Fingers," the piano at the start reminding me of certain sing-alongs when I was very young. And then we get into the heart of the number, with some wonderful stuff from Ricky on clarinet, that instrument like a character who has decided to lead a peculiar dance. And what choice have we but to join in? That's followed by "The Buffalo Rag," and here I'm especially drawn to the work on banjo. There is even an excellent lead on that instrument. But perhaps the song that has the strongest effect on me is "Nola," which straight away takes me to a magical, innocent and joyous place, the way, say, something on The Muppet Show might do. It is like a sweet dance, the banjo again playing an important role. "You And A Canoe" takes us into more contemplative, reflective territory, with a different vibe to the bass, with gorgeous, deep tones. "Blackstick" is a cool, fun number featuring excellent stuff on clarinet, as well as a strong lead on piano. Oh yes, everything sounds right. I'm ready to follow this music wherever it might go. The banjo is then at the center of "Ragtime Oriole," Jerron Paxton delivering some great work. Then things are hopping and swinging with Ricky Alexander's rendition of "Little Bits," another of the disc's highlights. Again, this music seems to have the power, the ability to make life better, to push it in a better direction. The joy continues with "Shreveport Stomp," the music itself seeming to dance. Ricky Alexander wraps things up with "Sweetheart O' Mine," this track featuring vocals. "Like the roses need sunshine/I need you, sweetheart o' mine." Indeed! And we need this music. This album was released on February 20, 2026.

Jun Iida: "Bellflower" - Jun Iida is a trumpet player and composer who released his first album in 2023. His new album features mostly original compositions. He is joined by Chris McCarthy on piano and electric piano, Masami Kuroki on guitar, Giulio Xavier Cetto on bass, Jongkuk Kim on drums, Takafumi Nikaido on congas, and Zelda Harris on vocals. The album opens with "Rivers And Bridges," which has a certain energy to its motion and yet also soothes us, just like a river. And there is a joy to Jun's trumpet work, an eagerness to see where things will take us. The energy increases, and this track features some excellent work on bass and drums, as well as nice leads on guitar and piano. The music carries us along, sometimes over rapids, but never with any worry. This is a totally enjoyable ride. The bass then gets "Hotaru Nights" going, and soon there is a delicious groove, a youthful, fun vibe. Something about this track makes me smile every time I listen to it. Certainly part of it is that playful and cool guitar work. And Jun Iida's trumpet lead lifts us up, urges us to play ourselves. The album's sole cover is Nujabes' "The Final View," this version perhaps just a bit mellower than the original, but with some fantastic work on drums. A cool tune, no question, and when it begins to fade out, it feels too soon. Then "Next Time" sends me into memories, things I might have done differently, and into the near future as well, wondering if I'll make the same mistakes. "Marco The Phoenix" begins with some interesting work on bass, and soon takes us into a magical dance. It features some excellent drumming, and presents a positive world. "Will They Remember?" features spoken word vocals by Zelda Harris. "If you haven't already, please remove all restraints/Allow for the flow of tears and the rush of fears/And in the event that the capacity to hold it all together comes to a complete stop/Remembrance will always be here." I know we struggle here, but there are places on this planet right now where I'm shocked anyone is able to hold it together. Jun Iida delivers some fantastic work. "Chasing Peace" has a relaxed, mellow vibe, and features some beautiful work on trumpet, as well as a lovely lead on bass and some warm work on piano. Jun Iida wraps the album up with its title track, his trumpet work conveying a sense of longing that is timeless. This album is scheduled to be released on June 19, 2026.

Carolyn Lee Jones: "Eklektika" - On her new album, jazz vocalist Carolyn Lee Jones touches upon different musical styles. You'll notice at the bottom of the CD cover it says "Jazz Retro Pop Bossa Nova," which should give you an idea of what she's up to here. The songs chosen for this album are mostly covers, along with one original composition. Joining her are Brad Williams on piano and keyboards, and Andrew Griffith on drums, along with several other musicians on various tracks. She opens the album with a smooth, sweet rendition of "Skylark," with something of a Latin feel to the rhythm and a really nice vocal performance. Just listen to the way she sings "And in your lonely flight/Haven't you hear the music in the night." Ah, yes, we have. This track features a good guitar lead by Roger Boykin, some wonderful stuff by Brad Williams on keys, and a cool bass line from Young Heo. That's followed by a touching rendition of "Detour Ahead," featuring some beautiful vocal work and a lovely lead on piano. "Wake up/Slow down." Willie Winkle is on bass for this one, and for "Take Me Where The Moon Lives," which has a joyful vibe. A song that you might have you snapping your fingers, and even gently swinging. Mario Cruz adds some wonderful work on saxophone. And at the center is Carolyn Lee Jones' vibrant performance. "Loving is the answer to all of life's mysteries/So take me where the moon lives/Darling, hold me please." That's followed by "That's What Being In Love Is All About," which was written by Roger Boykin, who plays guitar on this track. "My life is full of bliss/Every time we kiss." Ah, yes. There is a soothing vibe to this song. "When you're feeling blue/I will comfort you." This music does the trick. And then we're treated to a wonderful rendition of "Embraceable You." As I've said before, you can never go wrong with Gershwin. And here Carolyn's gorgeous, captivating vocal performance is supported by just piano. Peter Rioux is on piano for this one, delivering some excellent work. This is one of my favorite tracks. Peter Rioux also plays piano on "Out Of Nowhere," this version having a kind of snappy, breezy vibe. James Driscoll is on bass, and Shelley Carrol is on saxophone, coming in partway through and adding another delightful layer. But perhaps my favorite part of this track is that section where Carolyn is supported by just bass. That's followed by "Tell Me All About It," Carolyn revisiting this song. It has a bossa nova vibe, and features Todd Parsnow on guitar, Jonathan Fisher on bass, Shelley Carrol on saxophone, and Jorge Ginorio on percussion. Then we get the original composition, "Morning In Crown Heights," which Carolyn Lee Jones wrote with George Gagliardi (who died in late 2024). The opening lines made me laugh aloud: "We're here together, it's Sunday morning/And though it's Brooklyn, it's paradise." I love that. Anywhere can be paradise if I'm with that special someone, perhaps even Brooklyn. Especially if there is some delightful piano work accompanying us. Shelley Carrol adds some really nice work on saxophone. On "Heart's Desire," Carolyn's vocals are supported by just Brad Willians on piano. It is another beautiful performance, one of reflection and wisdom. This album is scheduled to be released on June 15, 2026.

Jennifer Madsen: "Girl Talk" - Vocalist Jennifer Madsen delivers delicious renditions of beloved standards and pop numbers, backed by a big band that includes Brent Edstrom on piano and keyboards, Clipper Anderson on bass, Mark Ivester on drums, Ronnie Strauss on percussion, Corey Christiansen on guitar, Austie Robinson on trumpet, Tom Young on trumpet, Daniel Burt on trombone, Joe Chisholm on trombone, David Halliday on saxophone, Randal Clark on saxophone, and Candido Abeyta on baritone saxophone, along with special guests on certain tracks. Jennifer Madsen opens this album with a cool rendition of "Besame Mucho," with some playful elements at the beginning to help set the tone. She delivers a tremendous performance here, one that is gorgeous, fun and powerful. David Halliday delivers a good, though brief solo on saxophone. The group gives us a totally enjoyable rendition of "Girl Talk" that struts in like it owns the place. And why not? The band sets the tone before Jennifer's entry on vocals. "It's just a game/We call it Girl Talk." There is a wonderful playful quality to her delivery at times, such as when she sings, "Oh my gosh, he's so cute/I went out with him twice and it was crazy." The track also contains a nod to "My Favorite Things." And I love the ending, with that delicious bass work. "You Turn Me On, Baby" is a delight, a cool gem that features some wonderful work on piano and bass, along with some great stuff from special guest Sean Jones on trumpet. And how adorable is Jennifer Madsen at the end as she sings, "You've got me spinning around"? Then life becomes an intriguing dance in her rendition of "You And The Night And The Music." "Listen, listen to the music," she sings seductively, and she has us. The whole band has us. "There's Gotta Be Something Better Than This" is a lively, exciting number featuring some excellent work from guest Sean Jones on trumpet. That's followed by a really nice rendition of "Misty," Jennifer's voice supported just by Brent Edstrom on piano. And then we get a surprisingly funky rendition of "My Funny Valentine" that features a nice lead on guitar. That's followed by a seriously cool rendition of "Any Place I Hang My Hat Is Home" that features one hell of a good vocal performance, as well as some excellent work on piano and by guest Brian Woodbury on trombone. Brian Woodbury also adds some great stuff on "Comin' Home Baby," another cool track. Jeff Coffin joins the group on saxophone on a fun rendition of "Spinning Wheel." The album concludes with "The Look Of Love," with guest Ryan Keberle providing some strong work on trombone. This album is scheduled to be released on June 26, 2026.

Leigh Pilzer: "Keep Holding On" - Saxophone player and composer Leigh Pilzer's new album features original material delivered largely in a trio setting. Leigh Pilzer is on baritone saxophone, Paul Bratcher is on organ, and Greg Holloway is on drums. They are joined by trumpet and trombone players on some of the tracks. The album gets off to a great start with "Swinging At The Station," created in tribute to Takoma Station Tavern. We get an excellent drum solo within the track's first minute, so of course I'm completely in love with this piece. Paul Bratcher delivers a strong lead on organ, and Leigh Pilzer keeps everything moving in just the right way with her delicious saxophone lead. That's followed by "Js And Ks," a total delight that begins on organ. There is a light, playful aspect to this track that is appreciated. Jen Krupa joins the trio on trombone, and a large part of the track's appeal is the interaction between saxophone and trombone. As you might be aware, the two musicians are both members of the Diva Jazz Orchestra. Jen's lead is also a joy to listen to. Then "Musing Music" has its own playful aspect, its own charm, just as its title might lead to believe. I especially love the conversation between saxophone and organ in the second half. Kenny Rittenhouse joins the trio on trumpet for "What's Up, Puppy," a piece that feels like a wonderful stroll down a city street, swinging a walking stick or umbrella and beaming at everyone you see, and even at the buildings. Life feels right, this music tells us. That's followed by "Keep Holding On," the album's title track, and this one also has a cheerful bent to it, particularly to the rhythm. Life is so damn short, and there is a lot of awful stuff these days demanding our attention, our little time. This song offers encouragement and a friendly hand. The need might be greater now, but this tune has what feels like a timeless appeal. The mood changes with "When It's Gone," which addresses loss and explores the different moods and reactions that follow. But do not fear, it is not a depressing track. This track features guest Ally Hany Albrecht on trumpet, delivering some wonderful work, and includes some fantastic drumming. "Zingamomma" is as fun as its title suggests, and also has a good deal of soul. It was composed by Paul Bratcher, and features some delicious work from all three musicians, feeling like a good jam, with that kind of energy. There is a delightful sense of play to "East Coast Andy," the saxophone sometimes feeling like it's describing a character, and sometimes feeling like the character itself. This track also contains an excellent lead on organ. Joe Jackson joins the group on trombone on "Sideburns," a tune with a classic vibe, taking us to another time, or rather, dancing us to that time. The album concludes with "G's Bop," composed by Greg Holloway, who gets it going with a brief drum solo. This is a lively number, and it features Kenny Rittenhouse returning on trumpet. And there is some fantastic drumming in the second half. This album is scheduled to be released on June 19, 2026.