Grateful Dead: “Dave’s Picks Volume 52” (2024) CD Review

The new volume in the Grateful Dead series of concert recordings contains the complete show the band performed on September 11, 1983 at The Downs At Santa Fe, along with a few songs from the pre-Drums portion of the second set from September 10th. I normally don’t think of 1983 as a peak year for Grateful Dead shows, but the music on these three discs is phenomenal, and the show includes an absolutely outstanding “Morning Dew.”

Disc 1

The first disc contains the entire first set, and you can feel the excitement in the air even as the band tunes before the first song. They kick things off with “Alabama Getaway.” I love it when they rip into a set with this kind of energy. Just listen to the roar in Jerry Garcia’s voice at one point. And then Brent Mydland’s lead on keys keeps things at a good, high level. “Alabama Getaway” leads straight into “Greatest Story Ever Told,” as it often did in those days, keeping things moving forward with a rock energy, Brent’s backing vocals having that great raw quality. There is a brief pause before Jerry leads the band into “Dire Wolf.” This version has a delicious, bouncy vibe. Jerry’s vocals are strong, fueling this version and pushing it into gear. It’s a pretty fantastic version for that reason, one to get your body shaking.

Bob Weir then leads the band into “Hell In A Bucket.” Its opening moments have a somewhat different feel from later versions. The song was only a few months old at this point. And it feels fresh here. There is a certain excitement in its delivery. “There may come a day I will dance on your grave/If unable to dance, I will crawl across it.” There is a loose energy to the song, but that’s all right. After a bit of tuning, Jerry chooses “West L.A. Fadeaway,” that song approximately a year old at that point. Both “Bucket” and “West L.A. Fadeaway” would find places on In The Dark four years later. At this point, “West L.A. Fadeaway” has a great, cool, mean vibe. “I saw an old mistake walking down the street today/I didn’t feel that good about it/I didn’t have one good word to say.” This is a great version, one of the highlights of the first set. Jerry delivers something special here, and the band jams on the song a bit.

“Me And My Uncle” follows. It might not be the best version I’ve heard, but I really get into Phil Lesh’s bass line here, focusing on that for a while and digging the groove. That leads straight into “Mexicali Blues,” a song that is always fun. “Thinking and drinking are all I have today.” I love Jerry’s guitar work during that lead. That jam in the middle is what makes this version stand out. There is something light and cheerful about it, and they ride that vibe for a while. They follow that with a really good rendition of “Althea.” Man, Jerry was on at this show. He delivers another excellent vocal performance here, with some great phrasing, and a playfulness heard on certain lines. Everything seems to be working perfectly The band then eases into “C.C. Rider,” which quickly develops a good groove. “Everything’ll be all right,” Bob sings, and how could it be otherwise? Especially when they start jamming. They take this song to some unexpected heights, while maintaining that groove. This track is a total delight. They then wrap up the first set with an energetic “Might As Well.” What a fun way to send folks into the set break. “Never had such a good time in my life before!” Fantastic. “We’re gonna take a short break and watch the clouds roll by,” Bob tells the crowd.

Disc 2

The second disc contains a good chunk of the second set. The band kicks things off with “Help On The Way,” coming at us at a good clip. The set break did not mellow the band out, clearly. The chains are breaking, and the beast is coming loose. “Help” leads naturally into “Slipknot!,” this version with heat and power, little explosions popping off on the asteroid we’re riding on some delirious collision course with whatever deities are bent on thwarting the intentions of mortals. Ah yes, the band has something to say about that, and will almost certainly have its way. This is no path to defeat. The gods give way, perhaps even dance out of the way. Why not? Look around, all the elements are in motion, dancing, shaking, smiling, even if on the edge of oblivion. Look oblivion straight in the eyes and smile. Then turn away and dance in another direction, toward where things are brighter, welcoming. The land now becomes familiar. And as everyone gathers for a celebration, the band goes into “Franklin’s Tower.” There is such joy here. “Listen to the music play.” They jam on this song, and then give it a gentle ending.

The band then eases into “Let It Grow.” This is a really interesting rendition, finding a great rhythm, and building powerfully so that we wish this could burst through into some other dimension, taking us right along with it. And we, along with the thunder, shout “I am!” Feeling like we could enter battle with the thunder and emerge victorious, the lights bursting behind the clouds, we ride atop chariots driven by wild wolves. And they lead us into stranger territory, fearless and eager. The drums somehow activate the heart of the beast, something that may swallow us all, but we welcome the challenge. And then suddenly a light breeze comes through, calming the universe. Soon we’re back inside the fray, inside the storm, ready to get atop it again. And when it’s over, we take a moment to breathe, to gather ourselves together.

Then we’re off in another direction, with “He’s Gone,” and things are gentler, soothing. “Nothing left to do but smile, smile, smile.” This is a seriously cool “He’s Gone,” with a nice vocal jam toward the end. It begins to drift off, yet holds within it the promise of some new excitement. And soon “Drums” emerges, with a beat at the beginning that might make you think of “Samson And Delilah,” but just for a moment. Things soon go in a different direction, and we’re dancing before the volcano. Coaxing the monster awake, or petitioning it to be still? Whichever, things slip to the side, change patterns, goals, and for a time everyone is together, traveling a fun course. The thunder now rumbles up below us, we can feel the vibrations, ride them, though at times feeling small amid its power. “Space” seems to come from the darker side of “Let It Grow.” A twisted, devious variation, with curved talons beckoning us to step into its realm, while chunks of ice are broken apart to open up a course. Little fiery creatures light a path forward, daring us to follow them. And when we accept their challenge, they begin to meander, perhaps losing a bit of the thrill of the game, though only for a moment.  For then they draw a door through which to pass into the great beyond.

Disc 3

The third disc contains the rest of the second set, beginning as the band starts to emerge from “Space,” dancing at the edge of the doorway before gathering up the necessary force and bursting through into “Truckin’.” This one comes rolling at us with a great mass, and it’s not long before we’re a part of it. The line “Get back truckin’ on” goes from intention to advice to mantra. And then things really begin to gain power and drive, and suddenly we find ourselves moving into “Wang Dang Doodle.” Bob starts the lyrics, but something is up and the band jams instead for a bit. It’s an interesting version, the band taking the opportunity to explore the groove, take it for a ride into unusual areas, the blues spreading out across the skies. Then we are into the lyrics. Are there two different sources here, for the sound suddenly changes at one point. There is an undeniable power here too. “We’re gonna have a real swell time.” No question.

Jerry leads the band into “Morning Dew,” and now we hear that ache in his voice, which comes at just the right time, helping to make this rendition gorgeous, moving, frightening. It could be that we are close to our destruction once again. “Where have all the people gone today?” There is both power and beauty to this rendition. “I guess it doesn’t matter anyway.” And then his guitar sounds so lonely, tentatively calling out into an empty universe. Is it too much to hope for a response? But no, there is an answer, through perhaps it comes from within, from that hope we just can’t divest ourselves of, no matter how grim the circumstances. That builds to something pulsing with a life of its own. This is incredible. It feels like the climax of the set, but Bob decides it’s time to dance again, and the band goes into Chuck Berry’s “Around And Around.” Somehow there is still energy, and on a dime, the band shifts into “Sugar Magnolia” to wrap up the second set with a great joy. The encore is “U.S. Blues.” Ah, who doesn’t have them ol’ U.S. blues now that the country has decided to embrace fascism? What went wrong, America? Well, fuck ‘em, I’m going to dance through this too. This is a fun rendition of “U.S. Blues,” and it does feel like we’re dancing on the rim of oblivion. “Summertime done come and gone, my oh my.”

This disc contains some filler from the second set of the previous night’s show, beginning with a delicious rendition of “Cumberland Blues” that’ll keep you bouncing and bopping and grooving. The band then goes into “Playing In The Band,” and it’s a party at first, one that covers much ground, that of all of humanity in fact, if they desire it. Once everyone is there, we can begin to explore new territory. Sentient lights of green and blue pop at our periphery, and ropes of flowers wrap around our limbs, pulling us into new dances. Things are moving quickly, a frantic vibe that makes me think we are approaching an end of some sort. But we pass through that end into something else. Parts of us remain intact, while other parts are altered, with new forms emerging, shards and fragments and limbs and hazy memories, and these begin to swirl, to coalesce, to take on new meaning. And the band settles into a moving, haunting “China Doll” that puts us on uncertain ground until the beauty of the song’s title line, and then somehow everything is okay. That leads into an interesting jam, and as that in turn begins to go into “Drums,” the disc comes to an end.

CD Track List

Disc 1

1. Alabama Getaway >
2. Greatest Story Ever Told
3. Dire Wolf
4. Hell In A Bucket
5. West L.A. Fadeaway
6. Me And My Uncle >
7. Mexicali Blues
8. Althea
9. C.C. Rider
10. Might As Well

Disc 2

1. Help On The Way >
2. Slipknot! >
3. Franklin’s Tower
4. Let It Grow
5. He’s Gone >
6. Drums >
7. Space

Disc 3

1. Truckin’ >
2. Wang Dang Doodle >
3. Morning Dew >
4. Around And Around >
5. Sugar Magnolia
6. U.S. Blues
7. Cumberland Blues
8. Playing In The Band >
9. China Doll

Dave’s Picks Volume 52 was released in late October. My copy arrived sometimes while I was in Massachusetts, and so I didn’t get it until November 13th. This release is limited to 25,000 copies. Mine is number 13722.

Old Californio and The Firkins at Project Barley Square, 11-23-24 Concert Review

Old Californio performing "Ring Of Fire"

I’m always happy when I get a chance to see Old Californio perform. They don’t play often enough for my needs. And last night there was the added treat of The Firkins. It was my first time getting to see that band in concert. The show was at Project Barley Square, a brewery down in Torrance. I know, I know, it sounds like a distant land, like another state, but it was worth the drive. It took an hour and fifteen minutes from the valley, because Saturday no longer means no rush hour in Los Angeles. Or perhaps it was that light mist that was slowing things down. Who knows in this weird place? When I arrived, Dead & Company was playing on their sound system, a nice rendition of Dylan’s “When I Paint My Masterpiece,” so I immediately felt at home. Whenever I visit a new brewery, I’m not sure what to order, and often make my beer selections based on the name. That was certainly the case last night. I chose an IPA called Neverland, largely because of The dB’s song (they played that song at the show I attended a week earlier). Turned out to be a good choice, for it was delicious.

The Firkins

The Firkins were up first. They were scheduled to start at 7 p.m., and at 7:03 they were ready to go. They kicked off their set with a good drinking song that featured some great stuff by Sophia Delgado on electric guitar. It soon became apparent that the group focused on drinking songs. Much like The Baseball Project plays only songs related to baseball, The Firkins played only – or mostly – songs related to drinking. Makes sense, given the name, right? And fitting, considering we were at a brewery. Their set included songs like “Straight Out Of The Barrel,” “Hamilton’s Tavern” and “Here For The Beer.” Even songs with titles that might not immediately strike you as drinking songs turned out to be related to alcohol. For example, “Liar’s Club” was about a beer joint, and “Victory At Sea” is the name of a drink. So there. Their material was a lot of fun, though “Victory At Sea,” a rare slower number, ended up being one of my favorites. In “Here For The Beer,” Gloria Delgado sang, “I came here for the beer,” and then asked, “What else would I be doing here?” Ah, the beer was good, no question, but I was there for the music, which was even better. They did a couple of non-alcohol related covers, including “Stop Driving Like An Asshole,” the I See Hawks In L.A. song, which they played in memory of Paul Lacques, and “Take The Skinheads Bowling,” the Camper Van Beethoven song. Bands used to frequently cover the latter, but not so much in recent years, and I was happy to hear it again. After “Stop Driving Like An Asshole” (which is a song that is often running through my head as I make my way along Los Angeles streets), Gloria told the crowd, “Be careful out there, people.” The Firkins ended their set with a kick-ass fast-paced totally delicious gem that featured Sophia on mandolin. Their set ended at 7:58 p.m.

After their set, I got another beer, this one called WT Firkin, an Irish stout. Having just seen a cool set by The Firkins, how could I not have ordered that beer? I liked the venue, by the way. The folks there were friendly, and there was a casual vibe. The only thing I couldn’t wrap my head around was that there was a television that was right next to the stage, and it was not turned off during The Firkins’ set. A college football game was on, and I was hoping that when that game ended, the television would be turned off in time for Old Californio’s set. But another game started, the USC/UCLA game, and so there was no chance of it being shut off for that. It’s a cool venue, but that television should be placed elsewhere.

"Willin'"

At 8:31 p.m., Old Californio was ready. “Thank you for your patience,” Rich Dembowski told the crowd, and the band then kicked off the set with a good cover of Little Feat’s “Willin’.” “And if you give me weed, whites and wine/And you show me a sign.” I don’t know if you can get whites (or White Crosses) anymore, but I remember ages ago being at a truck stop and purchasing pills that were called simply “Stay Awake!” And I did. Woody Aplanalp delivered a great guitar lead toward the end of the song. They followed that with “Mother Road,” a strong, energetic number from Westering Again, this one too featuring some great stuff on guitar, as well as good harmonies. By the way, the band was a four-piece last night. No keyboard. Rich Dembowski was on lead vocals and guitar, Woody Aplanalp on electric guitar and backing vocals, Bob Roach on bass and backing vocals, and Justin Smith on drums and backing vocals. From Metaterranea, they chose “Destining Again,” one of my favorite songs from that album. Afterward, Rich mentioned that audience members could find the album on their favorite streaming services. True, but it’s best to own a copy of the album. It’s definitely one worth adding to your collection.

"Because"

 

Someone playfully called out for a bass solo, a request that was ignored. The band then played their rendition of “Ring Of Fire.” If you haven’t yet seen these guys do this Johnny Cash song, you’ve been missing out. They put their own spin on it, and it’s fantastic. And last night it turned into one hell of a great jam, with Woody in particular delivering some outstanding work on guitar. That was followed by “Keep On Rollin’,” which featured some wonderful harmonies. Woody was really in top form last night, delivering more spectacular work during the band’s cover of “Everybody Knows This Is Nowhere,” the title track from what is my personal favorite Neil Young album. Another excellent cover followed, the band’s take on The Beatles’ “Because.” Again, these guys put their own spin on it, Justin giving it a rhythm like a train at the start, and all of us in the audience eager to hop aboard. As you might expect, the vocal work was the focus there, the band really shining in that regard. Rich also played harmonica on this one. That was followed by “Are You Coming Home,” another excellent song from Westering Again.

"Gold Plated"

They played quite a few covers last night, including wonderful renditions of Lucinda Williams’ “I Lost It” and John Prine’s “The Speed Of The Sound Of Loneliness,” the latter in particular featuring sweet harmonies. They followed that with “Allon Camerado,” a song from their 2011 release Sundrunk Angels. I love that moment when they let loose and get wild with this song. So good! And then they gave us covers of the Mother Hips’ “Gold Plated” and Neil Young’s “Hawks & Doves.” “Hawks & Doves” is an interesting song, with its shouts of “USA! USA!” I always assumed Neil wasn’t at all sincere when he sang lines about being proud to live in this country. But who knows? Not everyone appreciates this song, but Old Californio did a really good job with it. The guys then discussed what song to do next. They did not have a prepared set list. What they chose was “Shorten Your List,” the lead track from Old Californio Country, released in 2022. It was a perfect choice for these strange days, with lines like “Disillusion’s my only friend” and “Shorten your give-a-shit list/Accept the world for the mess that it is.” It was an audience favorite last night. They then wrapped up the set with an excellent rendition of “Lie To Me” that featured some fantastic drumming and a bass lead. Hey, that guy finally got his wish. Toward the end, Rich and Woody traded guitar licks, which was a lot of fun. The set ended at 9:57. There was no encore.

Old Californio Set List

1. Willin’
2. Mother Road
3. Destining Again
4. Ring Of Fire
5. Keep On Rollin’
6. Everybody Knows This Is Nowhere
7. Because
8. Are You Coming Home
9. I Lost It
10. The Speed Of The Sound Of Loneliness
11. Allon Camerado
12. Gold Plated
13. Hawks & Doves
14. Shorten Your List
15. Lie To Me

"I Like Beer"

"Willin'"

 

"Mother Road"

"The Speed Of The Sound Of Loneliness"

"Shorten Your List"

Project Barley Square is located at 1109 Van Ness Ave. in Torrance, California. And though it took me an hour and fifteen minutes to get there, it was only forty minutes to get home.

Doris Troy: “Another Look” (2024) CD Review

Doris Troy, known as “Mama Soul,” had a huge hit in the early 1960s with “Just One Look,” which she wrote with Gregory Carroll. In the late 1960s, she was signed to Apple Records and released a self-titled album on that label in 1970, that record featuring songs she wrote with George Harrison, Ringo Starr and Stephen Stills. Pretty cool stuff. As the seventies progressed, Doris Troy’s sound changed, as she incorporated elements of disco into her music. Another Look is a collection of songs recorded in that period, including one that was previously unreleased. The album includes liner notes by David Nathan, who co-wrote one of the songs in this collection and produced sessions with Doris Troy. He also co-produced this compilation.

The disc opens with “Can’t Hold On,” a song that was released as a single in 1977. “There ain’t no need to worry,” Doris Troy sings early in this one. That’s the message we get from disco music in general, isn’t it? And so it’s perhaps the perfect music to enjoy when we need a break from the re-run of this country’s horror show. While there may in fact be need to worry, it turns out that worrying does nothing to solve the problems. So instead let’s dance! It’s an enjoyable song, with a soulful vocal performance. This disc also contains the 12” version of “Can’t Hold On,” which was also released in 1977. This version is significantly longer and includes a short drum solo, which I love. There is also some really good guitar work in the second half, helping to make this the better version, at least to my ears.

“Another Look,” the collection’s title track, is interesting, for it began in the early 1960s as “Just One Look,” and is here given a fresh sound and a new (and fitting) title. This one is a good deal of fun, with a delicious, funky bass line. At the end the backing vocalists repeat, “Just one look/That’s all it took,” reminding us of the earlier version. This was released as the flip side to “Can’t Hold On.” The 12” version of this song is also included. It’s a minute longer, giving us a little more time to get into that groove. “Another Look” is followed by a cover of The Eagles’ “Lyin’ Eyes.” I am not an Eagles fan, but you can forget all about the Eagles while listening to this rendition, which features a soulful vocal performance, along with some good backing vocal work. This version even gets a little funky toward the end, and is so much better than the original. It was released as a single in 1976. This collection also includes the longer version of “Lyin’ Eyes,” which is approximately five minutes.

“Give God Glory,” which was the flip side to “Lyin’ Eyes,” is a totally fun gospel number, featuring more delicious bass work. This one comes on strong and at a good clip, the kind of music that might have made a believer of me had it been played at the church I went to when I was a child. It’s followed by “You Got Me Baby,” a disco number designed to get you out on the floor, shaking whatever it is you have. Suddenly, a couple minutes in, we get a saxophone lead, adding another delightful layer to this track. And at more than six minutes, the track is long enough for you to get a decent workout on that dance floor. According to the disc’s liner notes, this track wasn’t released until 2018, which is crazy! There is some sexy vocal work toward the end. The disc also contains what is referred to as the short version of “You Got Me Baby,” which was previously unreleased. This version also has the sax part, and though it is called the short version, it is still five and a half minutes long, not much shorter than the other version.

Recorded at the same time as “You Got Me Baby” was a cover of “It’s All In The Game,” a song that had been a hit for Tommy Edwards in 1958. Doris Troy’s rendition is quite a bit different, particularly in the beat and pace. This track wasn’t released until 2020, and then only digitally. The musicians stretch out on this one too, turning in a version that is six and a half minutes. That’s followed by “What’cha Gonna Do About It,” a song that Doris Troy wrote and originally recorded in 1963. Some funky bass starts this 1980 version off right. On this track, Doris backed by the group Mystic Merlin. As the song progresses, it develops a gentle reggae rhythm. This version was not released until 2018. Also included here is the 2018 remix, which was released in 2020, though only digitally. The reggae thing doesn’t really happen in this version. “Smilin’” is another fun one. Doris Troy wrote it with Vy Higginsen, who joins her on vocals, and the two have a playful thing happening that is delightful. That song segues smoothly into “Let Me Make Love To You.” This is one of my favorite tracks. It was originally included on a 2011 compilation.

CD Track List

1. Can’t Hold On
2. Another Look
3. Lyin’ Eyes (Short Version)
4. Give God Glory
5. You Got Me Baby (1979 Disco Version)
6. It’s All In The Game (1979 Disco Version)
7. What’cha Gonna Do About It (1980 Version)
8. Smilin’/Let Me Make Love To You
9. Lyin’ Eyes (Long Version)
10. Can’t Hold On (12” Version)
11. Another Look (12” Version)
12. You Got Me Baby (Short Version)
13. What’cha Gonna Do (2018 Nefer Music Remix)

Another Look was released on March 15, 2024 through Omnivore Recordings.

Charles Xavier: “Pandemic Piano” (2022) CD Review

After the country went completely sideways on Election Day, it seemed fitting to revisit Charles Xavier’s excellent 2022 release, Pandemic Piano. Because once again, many folks are feeling isolated and worried. The ambient music on this album helps calm us so that we are in a better place mentally to face the coming storms. In need of that sort of thing myself, the day after the country got the results of its pathological examination, I popped this disc in. It features all original compositions by Charles Xavier, who not only wrote and performed the material, but produced and mixed the album, and released it on his independent music label, Happy Note Records.

The album opens with “You Know,” and as it begins there are waves of melancholy, but as it progresses, those are joined by warmth and hope, though still existing in a dark and lonesome place, a place that we’ll be calling home soon enough, I expect. Yet, some comfort is offered here, and that is what we take hold of. “Perfect Mold” follows, and a sharp rain falls upon us, though we make no attempt at first to seek refuge, for standing within it there is beauty. And you know, things suddenly lighten up at the end, a sort of awakening. Charles Xavier released an album titled Perfect Mold a decade or so ago, with quite a different version of this piece. There is something of a lonesome feel to “Grand Happiness” too, but a power comes from within. I suppose we must all find that once again. We thought we’d come through that test, most of us, and now we must face a repeat of that harsh reality. But, you know, it turns out we’re not alone. Just listen as that light pierces the sky just over that hill; we can see it as we listen.

As “Swallow” starts, things softly spring to life around us, reminding us that we will get through the current troubles. Take a moment to appreciate those signs of joy, of perseverance, even those tiny drops hitting the surface of a woodland pond, or even a city street puddle. Then we move into stranger territory on “Covid Oddity,” as he plays keyboard on this one. I’ve said it before, but I do hope someone writes a comprehensive book about the music that came as a result of the pandemic. This track has something of a science fiction vibe, touching the unknown, which seems to surround us before moving on. Charles Xavier switches back to piano then for “Little Portugal.” One striking memory of the pandemic is seeing news from around the world regarding how people tried to connect and spread joy through music, even when the clubs and bars were closed. And that’s what I think of when listening to this track. It was a frightening time, but there were moments of tremendous beauty and humanity.

“When I Think Of You” feels a moment of transition, as day into evening, conveying the hopes and desires that accompany the change, any change. The music begins to wash over us, like a cleansing, removing the worries and pain of the day. And we step into a potentially magic time. On “Africa” there is such great warmth. And if you close your eyes, you can feel it hitting your body, dancing upon your skin, encouraging you to rise up into it. There is no lonesome feeling here. The light of this music covers a wide expanse, and we feel that many others experience what we ourselves feel. That might be enough to reconnect us to humanity. Then “I Sat Outside There” takes us into different territory, away from familiar surroundings, away from the earth, as if we can walk within rays of light or become part of some ethereal force, perhaps even shape it in some way by the end.

“Morning” begins slowly, like the dawn. A thought here, a movement there. There is no rush to spring awake. Emerging from a dream, we are perhaps hesitant at first to step into a new day, unsure what it may bring. There are hints of sadness and beauty both. But even if we wished to, we’d be unable to halt its progress, and so we focus on the beauty and try to let the rest slide past us. And then with “Evening” it feels we are looking back, reflecting on that beauty, which has changed through our experience and through our own feelings about it. Perhaps something has been lost along the way, but there is a lot to hold onto as we get ready for the world to slip into darkness. And there is life in it yet, as we soon discover, for something else comes awake, darts about in the twilight.

Charles Xavier turns electric again on “Sexual Vibration Chakra,” experimenting with different sounds and tones and ideas, seeing what effect each will have. There seem to be multiple voices, thoughts, light and darkness engaged in a kind of slow, explorative dance, winds blowing from the open mouths of lesser deities. That’s followed by “Mary’s Pond.” There is something playful here, like we’ve stumbled upon a new place and at first are unsure of our footing. After a bit, we simply plop ourselves down, and find there is a welcoming magic to the area, now that we’re a part of it. Charles Xavier returns to an electric sound for “Stories New, Stories Old,” which has an interesting combination of sounds, of attitudes, partly alien, but with a 1970s vibe, and we’re able to relax somewhere in the middle. There is more a sense of urgency as “Expectations” starts, a feeling of movement, of need. It’s a more choppy movement, as if uncertain which path to move down. But there is light in the distance in all directions, so there is no worry.

“Ascended Masters” might feel hesitant too at first, but with a very different feel, a lighter step, made with wonder and curiosity, and ultimately a desire to connect to something beautiful, to touch it, to move with it and within it. That’s followed by “Profile Rock,” with warm waves coming in upon us. Our presence maybe diverts them, at least partially, for we are stone and skin, and the change in direction confuses things for a moment. The creatures rush about to make new sense of the world, and then a sort of wisdom is reached. With “St. John’s Cathedral,” a door opens into a room that at first seems empty. Our steps echo. But soon shadows and lights come to life, welcoming us. There are moments when we could slip into the shadows, be enveloped by them. The last of the album’s main tracks is “Round Hill,” a beautiful piece, like a dance with the elements, where even resting is part of the movement.

The remainder of the album is a series of shorter pieces, all between thirty and sixty seconds long, brief explorations of a thought or feeling, an interesting way of wrapping things up. The first is titled “Think About Light,” and when it begins it feels that it is already in progress. We are dropped into the middle of something as it is being worked out. It soon becomes lighter, almost delicate, and then is over. There is a darker feel to “Ying Yang I,” as its pulse captivates us. That pulse continues in “Ying Yang II.” “Jewels I” seems incomplete, the beginning of something, of a memory. “Jewels II” has a different vibe, the light playing upon it. There is a gentle and contemplative, yet curious vibe to “Introspective Loving Man.” “Trust I” feels like a passing thought, a moment taken from the day. “Trust II” becomes rather beautiful. And the album  ends where it began, the final track being “You Know II.”

CD Track List

1. You Know
2. Perfect Mold
3. Grand Happiness
4. Swallow
5. Covid Oddity
6. Little Portugal
7. When I Think Of You
8. Africa
9. I Sat Outside There
10. Morning
11. Evening
12. Sexual Vibration Chakra
13. Mary’s Pond
14. Stories New, Stories Old
15. Expectations
16. Ascended Masters
17. Profile Rock
18. St. John’s Cathedral
19. Round Hill
20. Think About Light
21. Ying Yang I
22. Ying Yang II
23. Jewels I
24. Jewels II
25. Introspective Loving Man
26. Trust I
27. Trust II
28. You Know II

Pandemic Piano was released on September 9, 2022 on Happy Note Records.