Brief Notes On New Jazz Releases

Here are notes on a few new jazz releases you might be interested in checking out.

Sylvia Brooks: “Live With Christian Jacob” – This new album from vocalist Sylvia Brooks was recorded live at Herb Albert’s Vibrato Jazz Grill, and finds her revisiting some material she released on her studio albums. Joining her on this release are Christian Jacob on piano, David Hughes on bass, Kevin Kanner on drums, David Witham on keyboards and accordion, Jeff Bunnell on trumpet and flugelhorn, and Brian Scanlon on tenor saxophone and flute. She opens the album with a delicious rendition of “When The Sun Comes Out,” written by Harold Arlen and Ted Koehler. It’s a song she recorded for her debut album, 2009’s Dangerous Liaisons. There is something sexy about this rendition, in the horns and in her vocal approach, particularly the power behind it. And of course it features some really nice work on piano. She follows that with another song composed by Harold Arlen, “Blues In The Night,” this one co-written by Johnny Mercer and included on Brooks’ 2012 album Restless. This is a cool version right from that moment when the bass begins that great line a few seconds in. So good. And check out Jeff Bunnell’s work. But of course it’s Sylvia Brooks’ excellent vocal performance that is at the heart of the track. She is in total command, and especially I love her delivery of the word “blow” in the line “Wherever the four winds blow.” Just the way she holds onto that word, she holds us all in her grip simultaneously. She puts her own spin on “Cold Cold Heart,” a song by Hank Williams that she included on her 2017 album The Arrangement. This track features a great saxophone lead, and a bit of scat from Sylvia Brooks at the end. There are also a few original compositions on this disc. The first, “The Red Pig Flew Up The Hill,” was written by Christian Jacob, and was included on the 2019 Christian Jacob Trio album, The Originals. Sylvia Brooks gives a spoken word introduction to this one, but does not sing on it. It’s the disc’s only instrumental track, and as you might guess from its title, it’s a fairly fun one, and provides moments for each of the musicians to shine. The second original number is “The Flea Markets Of Paris,” written by Sylvia Brooks and Christian Jacob, and included on Brooks’ 2022 release, Signature. This one features some good work on accordion, and some warm, beautiful work on piano. And speaking of beautiful, how is this for a beautifully sad line: “I was here years ago back when he loved me.” The final original track is “Holding Back Tears,” also composed by Sylvia Brooks and Christian Jacob, and also included on Signature. In this pretty number, Sylvia Brooks asks, “How do you let go of something/That grabs ahold of your heart?/Why did I let that something/Fall apart?” The album concludes with a strong rendition of “Come Rain Or Come Shine,” featuring one of the album’s best vocal performances. This album was released on September 10, 2023.

Angela DeNiro: “Swingin’ With Legends 2” – In the late 1990s, vocalist Angela DeNiro released Swingin’ With Legends, with the Ron Aprea Orchestra. Now DeNiro, with the Ron Aprea Big Band, has released a second volume. It contains mostly covers, along with one composition by Ron Aprea. The album opens with a seriously cool rendition of “New York City Blues,” written by Quince Jones and Peggy Jones. Angeles DeNiro delivers a phenomenal vocal performance, and there is a tremendous energy from the brass section as the number kicks into higher gear a minute in. Things start to swing then. There is excitement and joy to this rendition, it feeling like a celebration of the city, of the movement and motion of the people there. Check out Bryan Davis’ work on trumpet. Then “You’d Be So Easy To Love” begins with a wonderful clarinet solo by Ken Peplowski, before this track too takes on a good energy and starts to swing, featuring a good bass line that keeps everything moving. Angela DeNiro delivers some fun scat in the track’s second half, and you can hear her smile in every syllable of the lyrics after that section. Randy Brecker’s excellent work on trumpet sets a beautiful and thoughtful tone at the beginning of Angela DeNiro’s rendition of “Hello Young Lovers.” Then suddenly the song takes off like a rocket, zooming across the landscape. Wonderful stuff here, with Randy Brecker delivering more great work. There is also a whole lot of energy to the rendition of “Willow Weep For Me” on this album, this version moving faster than most, and Angela’s scat is lively and also pretty. And check out that saxophone! Todd Bashore’s work here is fantastic. Then Lew Tabackin begins “It Might As Well Be Spring” with a great tenor saxophone solo. This track also features a beautiful and warm vocal performance from Angela DeNiro, and then halfway through, the pace picks up. “Two For The Road” features another of this disc’s best vocal performances. The drum work stands out on “On Green Dolphin Street,” a track that swings. Todd Bashore again delivers some excellent work on alto saxophone, and that scat section flies along with a great energy. Angela DeNiro then slows things down for a gorgeous rendition of “My One And Only Love,” which features some nice work on piano. The composition by Ron Aprea is “For Phil,” a song written for saxophonist Phil Woods. Angela DeNiro recorded this song before, including it on Shining Hour. This new version features Todd Bashore on alto saxophone. The album concludes with “The Curtain Falls,” with Angela DeNiro turning in another wonderful performance. This album was released on June 18, 2023.

The Flying Horse Big Band: “A Message From The Flying Horse Big Band” – The new album from The Flying Horse Big Band celebrates the music of the Jazz Messengers, a group that started in 1947, led by drummer Art Blakey, and continued, in various configurations, for several decades. This album gets off to a great start with “Free For All,” composed by Wayne Shorter and used as the title track to a 1965 Jazz Messengers album. The arrangement here is by Michael Philip Mossman, who briefly played with the Jazz Messengers. The track features some excellent work on saxophone, plus a cool lead on guitar. And just before the end there is a good drum solo. Michael Philip Mossman also did the arrangement for this album’s rendition of “Gregory Is Here.” “Free For All” is followed by “Hipsippy Blues,” written by Hank Mobley, and included on the 1959 live album At The Jazz Corner Of The World. This is an incredibly cool number, with a delightful bass line, a great trumpet lead, and an overall wonderful vibe. This track swings and grooves, and should help push aside your blues. This one also has a nice drum solo toward the end. The arrangement is by Harry Allen. “Room 608,” composed by Horace Silver, was released as a single in 1956. This track, arranged by Mark Taylor, cooks, and features some great stuff on saxophone. The bass and drums keep this one moving, and your blues will be quickly left behind. Yeah, this music will lift your spirits, no question. “This Is For Albert” begins on bass and drums, sneaking in, then opening up like a sun rising over the city. It has that warmth, and is in no hurry. This piece was written by Wayne Shorter, and included on the 1963 album Caravan. Things start really moving again on “Mosaic,” a tune composed by Cedar Walton. There is a lot of great stuff happening on this track, but I tend to focus on the drums, which seem to want everyone engaged in a wild, joyous dance. Your body will want the same thing while this track is playing. And, yes, there is a delicious drum solo in the second half. The arrangement is by Don Sickler. The tempo relaxes then for “Peace,” written by Horace Silver. Another fun and fast-paced number is Wayne Shorter’s “Lester Left Town.” I love the way this one moves, the brass section taking us on a great ride. This is one of my personal favorites. It’s followed by “Whisper Not,” which features a good bass line and excellent work on saxophone. It was written by Benny Golson. The album then concludes with “On The Ginza,” a lively number composed by Wayne Shorter. This album is scheduled to be released on November 27, 2023.

Andy Pratt: “Trio” – Guitarist Andy Pratt’s new album contains a good mix of material, from Gershwin and Porter to a movie theme by Jerry Goldsmith. Joining him on this release are Joe Policastro on bass, and Phil Gratteau on drums. The album opens with a Gershwin number, “Soon,” which begins with some solo guitar work. I’ve said it before, but you can never go wrong with Gershwin, and this is a delightful way to kick off the album. There is both warmth and joy to his guitar playing, and the track is almost certain to lift your spirits. The bass and drums get a chance to shine in the second half. That’s followed by “Little White Lies,” a song written by Walter Donaldson. Joe Policastro begins this one on bass, delivering a wonderful introduction, and his work throughout the track is a large part of its appeal. Also part of the draw here is Andy Pratt’s vocal performance. His voice tells us he knows the score, but would make the same choice again and again, and so there is a great feel to the track. “I try, but there’s no forgetting/When evening appears/I sigh, but there’s no regretting/In spite of my tears.” The vibe then changes with “When Joanna Loved Me,” a song written by Robert Wells and Jack Segal, and made popular by Tony Bennett. Here the nostalgia and yearning are clear in Andy Pratt’s voice. “When Joanna loved me/Every town was Paris/Every day was Sunday.” This is a beautiful rendition. Andy Pratt changes gears again with “Patricia,” which begins with some good work on drums. And it is the rhythm that is the focus here, and you might find yourself swaying to this track. Andy Pratt delivers some excellent guitar work, particularly during that lead in the middle. Then he gives us a wonderful vocal performance on “We Three (My Echo, My Shadow & Me).” He picks up the pace with Cole Porter’s “From This Moment On,” providing a fun rendition that features some excellent guitar work and a delicious rhythm. So when at the end he sings, “Every care is gone/From this moment, from this moment, from this moment on,” we believe him. The movie theme that Andy Pratt covers on this album is “Love Theme From Chinatown (Main Title),” composed by Jerry Goldsmith. It has a somewhat different vibe on guitar, but this track captures that mood perfectly, and features a strong lead on bass. Andy Pratt wraps up the album with a couple of songs written by Burt Bacharach and Hal David, “There’s Always Something There To Remind Me” and “Something Big.” When I was growing up, Naked Eyes had a big hit with “There’s Always Something There To Remind Me,” but before that it had been a hit for both Lou Johnson and Sandie Shaw. Andy Pratt slows the tempo a bit for his rendition, delivering a thoughtful and moving version. His version of “Something Big” has a cheerful vibe. “Now there’ll be joy and there’ll be laughter/Something big is what I’m after now.” This album is scheduled to be released on January 12, 2024.

Sam Ross: “Live At The Mira Room Vol. II” – In 2021, pianist and composer Sam Ross released a disc titled Live At The Mira Room, containing six original compositions. He has now followed that with a second volume, also containing all original material. Sam Ross plays both piano and electric on this disc, and is joined by Simba Distis on upright bass and electric bass, and Dr. Mimi Mured on drums, both of whom also played on the first volume. The album opens with “Breakfast For Dinner,” which begins with some solo piano work, having a light and rather cheerful vibe. Approximately a minute in, the bass joins him, and the track takes an undeniably cooler turn, while that light feel is maintained. And then after another thirty seconds or so, the drums kick in, and that’s when things really start to move. The crowd responds enthusiastically. Things are grooving and swinging, these three musicians getting loose. That’s followed by “New Shoes,” this one set in motion by the bass. It has a soulful, kind of laid-back vibe and attitude, and quite sure of itself. It has that kind of character, you know? And check out that great lead on bass. It is then that things get interesting, the way both the piano and drums take that opportunity to get a bit wild. I especially love that work on drums. The audience rightly applauds that section. This is one of my personal favorites. “What is TOP” has interesting opening section, the piano repeating a few notes. Things soon get exciting, and again the crowd is unable to keep from reacting, from responding. The trio is seriously cooking now. There is a delicious bass lead partway through, and that drum work is fantastic. There is a surprising pause and turn in the second half, catching the crowd off guard. It’s all just so damn good. Near the end, the piano returns to that bit from the opening, while the bass and drums let loose again. Then we get “New Socks.” Makes sense, right? We got new shoes, so we need the socks to go along with them. For this one, Sam Ross is on electric piano, and he begins this one, delivering some catchy and funky work. There are two different sections to this piece, and the trio shifts back and forth between them. These guys seem to be having a great time, and the crowd begins to clap along at a certain point. Sam Ross is also on keyboard for “Dear Chick,” the album’s closing number, a tribute to Chick Corea., another track to feature some excellent work on bass. I particularly love the section with the keyboard and bass responding to each other, and then working together. This album was released on November 3, 2023.

Black Friday Record Store Day Adventures, 2023

My adventures this time around took me to just one store, and it was Licorice Pizza in Studio City. Usually I start my day at Freak Beat (when it is Record Store Day or Black Friday, that is, not just any day, but that actually would be nice, to be able to start every day at a record store), but there were two records that I absolutely had to have in my collection from the Black Friday list, and Freak Beat got only one of them in, while Licorice Pizza had them both. The records in question were both Jerry Garcia albums. The first, Pure Jerry: Marin Veterans’ Memorial Auditorium, San Rafael, CA February 28, 1986, is limited to 7,500 copies, and this is the one that Freak Beat had. The second, So What, which is what I’m listening to at the moment (it is so good, Jerry jazz, you see, but of course the Dead really, in a sense, were all about jazz), was limited to only 2,400 copies and is the one I was more excited about (if I had to choose, which I didn’t, and that’s a relief), and this one Freak Beat did not get any copies of. Oh man, listen to that bass solo. That’s Jim Kerwin. I’m on the second track, “Bag’s Groove (take 5).” Anyway, rather than picking up the one record at Freak Beat and then later hoping to snag So What at either Licorice Pizza or Amoeba later in the day (which is what I would normally do), I decided to just begin my day at Licorice Pizza. I arrived a little before 6 a.m. The street was empty at that hour, except for a few cars all parked in a row at one point along Ventura Blvd., and of course those cars belonged to the six people already in line. I pulled in behind them, grabbed my chair, and set up. Seventh in line. Not bad. But I wasn’t sure how many copies of each of the Garcia releases the store had, so after a moment I started talking to those ahead of me in line. Good folks. We all had different tastes in music, which made things easier for all. No one in line was getting the Garcia records. (The first side of this double album ended, and rather than flip the record over, I am listening to this first side again, wanting to really dig into it, you understand.) So I felt a bit more calm. Word had it they would let ten people in at a time, and then it’s sort of a free-for-all, so I had to check in with whoever might get in line behind me too. But it was a while before anyone else arrived. It was 7:30 a.m. when the next few people showed up, so of course I thought how I could have gotten another hour of sleep. No matter. None of those three was getting Jerry Garcia. We got to talking about music, about concerts, about concert ticket prices, and how things have changed since the days when I first started attending shows in the early 1980s. Some of you might remember that time, before the internet, before tiered ticket pricing, back when ticket fees were one dollar per ticket, back when Ticketmaster did not have a monopoly on things. Back when we waited out in line for tickets, and those at the front of the line would be at the front of the venue for the show. Sort of like waiting in line for Record Store Day releases, folks getting to know each other, talking about their passion for music, for certain bands. This is one of the places where we can still get a taste of the old days, twice a year. By 8 o’ clock, there were several more people in line. And it was then we all had to feed the meters, which begin at 8. My meter at first did not register that I had placed a couple of quarters in it, and then the green light flashed, but the screen was black, so I had no idea how much time I had. I put more quarters in, probably more than were needed, and got back in line. Everyone in front of me had chairs too, but as it was getting closer to the time the store would open, some folks were already on their feet.

Side 2 is on now, and there is a picture of Jerry on the label in the center of the record on this side. A nice touch, a nice surprise. The vinyl, by the way, is classic black, like Jerry’s T-shirt. At 8:30, I put my chair and backpack in my car, put another quarter in the meter (just to be safe), and went to stand with the others. It was a few minutes after 9 when the door opened. But I was stopped from going in. Only five at a time, I was told. She had miscounted, because six people were in there. The seven of us had planned on helping each other find what each wanted, and one of the women in the store held up the Grateful Dead boxed set for me to see. I thanked her, but said I couldn’t afford that (wish I could). Soon I was let in, and new friends handed me both Garcia albums. Now it was time to casually go through the stacks to see if I wanted to get anything else. Of course I wanted a lot of other records, but because of the Hollywood strike I haven’t worked in months and really shouldn’t be buying anything right now, and also I have no room in my apartment (as my girlfriend likes to remind me – where do I plan on putting more records? No idea). I did really want to get the new Aimee Mann seven-inch, but the store got only one copy, and the guy who was first in line grabbed it. I did get my hands on several things from my wish list, but one-by-one put them back, until I had just the Garcia records and The Monkees record in my hands. Oh man, the musicians are cooking on this song, “Milestones.” I am so glad I got this record. Anyway, The Monkees record for sale was the band’s first album, which I own on cassette, on CD, in a CD boxed set, and on vinyl. I certainly did not need another copy of it. But The Monkees were my first favorite band, from the time I was six years old, and my appreciation and love of their music has only grown in the years since then, so of course I bought it. I think this is my third vinyl copy of it, maybe fourth. Don’t judge me.

The gatefold for this Jerry Garcia record has some thoughts from David Grisman, Ornette Coleman and Bruce Hornsby, along with pictures of some of Jerry’s artwork. It’s a really nice package. I keep hoping that Ornette Coleman record with Jerry playing on a few tracks will be re-issued one Record Store Day. I didn’t buy that record (Virgin Beauty) on its initial release, and wish I had. It seems like something that deserves a special release and would get enough interest from collectors to make it worth it. Well, it seemed that those other people in line got everything (or nearly everything) they wanted, for everyone was smiling. Buying some special record releases has that sort of effect. Everyone was excited to get home and start listening to records. I got very little sleep last night, but have no desire to make up for it now. There is a lot more great music to listen to before I consider something resembling sleep.

Red Rockers: “Condition Red” (2023) Vinyl Review

Before the Red Rockers had a mainstream hit with “China” in 1983, they were a punk band, made up of Darren Hill on bass and vocals, John Griffith on vocals and guitar, James Singletary on guitar and vocals, and Patrick Butler Jones on drums and percussion. In 1981, the group released its first LP, Condition Red, on 415 Records. It featured mostly original material, along with one very cool cover. Now the record has been re-issued, and it’s on clear red vinyl and contains three bonus tracks. It also includes a large booklet with photos and extensive liner notes, describing not only the band but a bit about the New Orleans scene at the time. The album has been remastered by Justin Perkins at Mystery Room Mastering, and it features a new mix by the band. Though the band’s hit, “China,” is certainly not a bad tune, every track on this record is better than that song. This reissue is dedicated to Patrick Butler Jones, who died earlier this year.

Side A

A kick-ass beat gets “Guns Of Revolution” started before the guitar tears in. “Scared little rich man/You’d better start running/Guns of revolution.” This song has that delicious energy that is part of the appeal of punk music. “Teenage Underground” also starts with the drums. “I don’t need society/Well, I don’t care what’s right or wrong/I’ve got everything I need.” This song takes us back to those days when we were sure of ourselves, when we knew who we were. The song drives forward with all the energy we had at the time. It’s a fantastic song. That’s followed by “Peer Pressure.” I never really felt any sort of peer pressure when I was growing up, so maybe I was lucky, because I certainly heard about it. There were plenty of drugs around, but no one was pushing it. Anyway, this song rocks, and is driven by anger.

Punk music often has more to say than other genres of music, and this band is not shy about addressing political and social subjects. In “Can You Hear,” they sing, “Now that we’ve broken the silence/It’s time to move on again/And now there’s much more violence/Start all again.” And the song asks, “Can you hear the people?” This song has a very cool bass line. That’s followed by “Grow Up,” which comes on hard and fast. “Everyone around me says it’s time that I grow up/Get a wife, get a job, I say that’s not enough/Well, I’ll stand in line, and I’ll play their game/No matter how old I get, I’m still the same.” Oh yes, this is a song I would have blasted in my teens had I owned this album then. And why didn’t I? I don’t think this one got much airplay in central Massachusetts at the time. Then “Know What I Think” begins with a good drum beat. Interestingly, when the other musicians come in, the beat changes. There is a good amount of attitude and anger to this one, and it’s the one to feature the line, “You die a rocker, you die red.” The line before it also stands out: “You try to kick us in the head.”

The first side wraps up with two bonus tracks. The first is “United We Stand,” which begins like an anthem, “United we stand, divided we fall/United we stand, divided we fall.” Then it kicks in and takes off. That line is delivered again, but now at a faster speed. This song rushes along with a great power. “Everyone looking for a better way/The name of the game is to be yourself.” The second is “Voice Of America,” the song that actually ended up as the flip side to “China” on the single in 1983. I didn’t own the 45, but some folks must have been surprised when they turned that seven-inch over and heard this song. “Voice of America, voice of the free” is shouted almost like a threat. This one also features some good stuff on bass.

Side B

The second side opens with “Dead Heroes.” Interestingly, this song begins with an instrumental nod to “The Battle Hymn Of The Republic” before kicking in. It is the first of a few songs on this side that are about fighting and dying for the U.S.A., encouraging “Be a dead hero for the U.S.A.” It’s a powerful song, featuring some great stuff on guitar. “Tell me why/I got to kill/That’s the American way.” Then before end he says he wants no part in that: “I don’t want to go/I don’t want to fight/I don’t want to die.” That’s followed by the album’s only cover, a fun punk rendition of Johnny Cash’s “Folsom Prison Blues.” The band changes the line to “But I killed some bitch in Reno just to watch her die,” but it sounds like the word “bitch” is clipped, sort of edited. Jello Biafra joins the group on backing vocals on this track, adding to its great appeal.

The album’s title track, “Condition Red,” is another fast-paced number, a song that feels like it could toss your body around the room. “Oh, you can’t run/No, you can’t hide/The walls are closing in.” That’s followed by “Hold On,” a song about feelings of wanting to end it all. “I don’t know if I can hold on/I know there’s something wrong/I don’t know what I’m gonna do.” It’s a heavy number, and I love the way the backing vocals and lead vocals interact. “White Law” is another powerful number, this one about racism and violence. “You don’t know what you’re living for/You don’t know what you’ll die for/You killed a man/It was a white man/You killed a man/You are a black man.” Then in “Live Or Die,” they sing, “Sometimes you know when you’re in trouble/Sometimes you’ve got to get away/You can tell when they’re on to you/Sometimes it pays to run away/Here comes my replacement/I’ve been on watch all night.” This song rocks. This music doesn’t hold back. “Live or die/Gonna fight for my country/Live or die/Gonna fight ‘til I’m free.” The record concludes with a bonus track, “Missing In Action.” As it begins, some of that guitar work seems to be influenced by the Buzzcocks. This one too has to do with fighting for the country. This was the beginning of the Reagan years, after all, and things were getting warped. “Now I work for Uncle Sam/I had to leave a wife at home/God knows she’s all alone/This has never happened to me/I’m in the middle of a shooting spree/And now I’m missing in action/I’m not where I want to be.”

Record Track List

Side A

1. Guns Of Revolution
2. Teenage Underground
3. Peer Pressure
4. Can You Hear
5. Grow Up
6. Know What I Think
7. United We Stand
8. Voice Of America

Side B

1. Dead Heroes
2. Folsom Prison Blues
3. Condition Red
4. Hold On
5. White Law
6. Live Or Die
7. Missing In Action

This special expanded vinyl edition of Condition Red was released on October 20, 2023 through Liberty Spike Recordings.

Darryl Kissick: “Goodbye Patterns” (2023) Vinyl Review

Darryl Kissick is a singer and songwriter based in Regina, Saskatchewan. He released his first album, Much Later, in 2017, and followed that in 2021 with My Sunshine.  His new album, Goodbye Patterns, is a bit of a departure, in regards to the subjects the songs cover. For this one, he decided to write about the supernatural and the strange, rather than write about his own experiences. Yet these topics lend themselves, as does all good science fiction, to saying something about our more routine existence, our natural lives. Joining Darryl Kissick on this release are Avery Kissick on drums and percussion, and Andrea Hedlund on violin and vocals.

Side A

The album opens with “In Denial,” which takes time to develop a certain mood before the vocals come in. Yet it is a rather short song. “In denial/Break the cycle.” When the vocal part is over, so is the song. So this track functions as sort of an introduction. It’s followed by “Not Myself.”  Those opening instrumental moments speak of mystery, of something eerie approaching. Then a solid beat comes in, sort of dispelling that initial sense. But there is some unease here, as he tells us: “I’m not myself these days/I’m someone else.” This track features some nice work on violin that also begins to put us on edge. And soon we start to get an idea of just who this person is now. “My fingers exposed/Skin falls away/Teeth grow.” Ah, how would a lycanthrope feel? And would he be able to keep his sense of humor?

I love the strange sort of folk pop vibe of “The Stranger” right from the start. Darryl Kissick places us in an odd world in a song like this one, just at the edge of our reality, and so a world that feels true even as it feels weird. “The room grows small/As you talk of prophecies/Can’t tell what’s true as/You grin and bare your teeth.” Ah, perhaps it’s all true. The bass line at the beginning of “Alien” seems to signal that it might lead into a punk realm, but instead, it gets into somewhat psychedelic territory for a bit. As the vocals comes in, that rhythm is steady and prominent. Interestingly he sings, “Alien just needs a friend/Flies lower to see you,” reminding me of something Jonathan Richman might sing, as he does about the abominable snowman in the supermarket. Of course, the tone is quite a bit different from Richman’s work. That’s followed by “Nowhere,” which creates an eerie atmosphere, one of mist, with something glowing in the distance. There is a sense of fear, but also sadness. This instrumental track comes to an abrupt end, as we then shift into “In The Middle,” which puts us on more solid ground. Though the lyrics take us away from that: “Saw a vision/Another dimension/Now you don’t recognize yourself.”

Side B

The second side opens with “Eloise.” The vocals have a smooth, gentle sound, while the guitar threatens to cut through. Then that instrumental section has something of a playful vibe about it for a bit before turning more serious again. The song takes more interesting turns after that, at one point feeling like it’s about to shut down. I like how this music can surprise us. “Eloise” is followed by “Feet Fixed,” another track that creates a strong sense of atmosphere in its opening moments, growing pretty with that violin work before the vocals come in. The voice seems to come from just beyond us, or above us. A voice that may originate on the other side, or perhaps in our heads, haunting and compelling. “Let you go/Feet fixed/Shadows grow.” Then “Past Lives” has a sweeter, more friendly vibe as it begins. “Fills your head/And rolls off of your tongue/Spirit says/We’re never really done.”

The opening moments of “Heaven” grab us. Again, we’re unsure what path this one will take us down. Soon a good groove is established, and the word “Heaven” is sung. “Hey man/Hang on/Heaven/Is waiting.” It sounds pleasant, gentle, even uplifting. But the music right after that tells a different story perhaps, with a harsh edge, making us question what we just felt. Then that groove is re-established. But after the second verse, we can no longer be sure where we are. Darkness and pain are around us. The song slowly fades, as if descending into a hole that goes on forever, taking a portion of us with it, until all that remains is static, and maybe a presence within it. That makes us think of lines from “Eloise”: “Somebody/You only hear through static.” We begin from a different point now, the past being forgotten, having been sucked away. Ah, but there is a light, there is beauty, and so there is hope. We are in more familiar territory as “Samuel” begins, back on solid ground, with another strong bass line. But after that first verse, things change. A clock ticks oddly as we find ourselves holding our breath until the groove returns.

Record Track List

Side A

1. In Denial
2. Not Myself
3. The Stranger
4. Alien
5. Nowhere
6. In The Middle

Side B

1. Eloise
2. Feet Fixed
3. Past Lives
4. Heaven
5. Samuel

Goodbye Patterns was released on October 6, 2023. By the way, the album’s cover artwork was created by Darryl Kissick’s father back in the 1970s.