Good Tig Notaro

The elusive Chicago harpist's one and only full-length album, originally issued on Steve Wisner's short-lived Mr. Blues logo and later picked up by Rooster Blues (but not available on CD as yet). Cut in 1975, this set shows that Charles never left the 1950s stylistically – backed by a nails-tough combo, he pays tribute to both Sonny Boys and his ex-boss Jimmy Rogers while betraying more than a hint of Little Walter influence.

With music instantly accessed at the touch of a button, it seems that the urge to pigeonhole bands as quickly and neatly as possible has been driven to ever more extremes in recent years. Good Tiger, however, forge their own path. Blending their influences in a manner that defies lazy classification sets them apart from their contemporaries, imbuing everything they do with a distinctive sound and feel, and with We Will All Be Gone, Good Tiger have dramatically built upon their stunning debut, 2015's A Head Full Of Moonlight. "I think that what a musician wants to do musically is always pretty fluid and can change from day to day," states guitarist Derya "Dez" Nagle.

Although it ran parallel with the back-to-basics feeling that permeated the early '70s, Good Dog Banned arrived at a distinctive strain of organic rock that was much more joyous and good-timey than many of their musicians-in-arms. Their one stab at rock & roll immortality, Good Dog Banned seems oblivious to any sense of anger at the "failure" of the '60s dream to take complete effect as of 1971. Whereas some '60s expatriates were decrying the cultural revolution, Good Dog Banned were singing "Things Ain't so Bad," heading down to the river and drinking wine. There is no nostalgia, no cynicism present. The band was untethered, ingenuous. Perhaps it could be viewed as rose-colored hippie denial, but in retrospect, the pure, unselfconscious charisma and the lack of piety that Good Dog Banned inject into their only effort makes it seem less of its time than other bands of this ilk…

Not a Good Sign is a project by AltrOck and some bands’ members of the label. Marcello Marinone, Paolo «Ske» Botta and Francesco Zago, after a successful collaboration in Yugen and Ske, propose a new blend of their musical attitudes. The result is an ominous, fascinating sound melting vintage keyboards, powerful guitars and voice, besides ethereal and autumn nuances, supported by a compelling rhythmic drive. The band takes their name from one of their own songs but the expression also alludes to their take on the present economic climate across the globe, a situation that in turn mirrors the dark mood on the debut album. At the forefront of their sound is a wide array of vintage keyboards that includes Hammond organ and Rhodes and Wurlitzer pianos…

This excellent album was released in 1972 on Atlantic Records and was the one and only release from a fusion band from Philadelphia. Mainly instrumental (with some vocal accents) Good God's record contains tightly arranged and very original dose of energeticjazz rock with some progressive and even hard rock influences. The songs showed the instrumental virtuosity and imaginative approach with strong guitar parts leading the way. The group did a fantastic job on Frank Zappa's ‘King Kong’ and John McLaughlin's ‘Dragon Song’, although other four compositions were no less memorable. Most probably it was the greatest 'forgotten' progressive-fussion album ever! Unfortunately, the band sunk without a trace.

New York-bred and Denmark-based saxophonist, Marc Bernstein, has built a rich recording catalog over the last 20 years, centering projects around inspiring musical voices and friends including Tom Harrell, Billy Hart, and David Kikoski. For the eight originals, along with a version of Windmills of Your Mind, making up Hymn for Life, Bernstein focused on the 'Good People' around him and in particular, the mesmerizing vocalist Sinne Eeg, his former student, now colleague at the The Southern Danish Conservatory and Denmark's most prominent jazz vocalist.

Serious Business is not a funny album. More accurately, playing this album will not induce the brand of gut-busting, teary-eyed revelry that an episode of Chappelle’s Show or a YouTube clip of Anna Karkowska’s vibrato will. It is funny like the idea of a Rothko turning the stomachs of well-heeled gluttons at the Four Seasons is funny, or how anything Andy Kaufman ever suited up for is funny. It might be a little uncomfortable, rings clear in its truth, and sometimes reveals itself gradually.

Another gem from the creative Beegie Adair and her trio. This time, she is accompanied by Jeff Steinberg and his orchestra. A loving tribute to Tony Bennett and his illustrious career. As usual, Beegie includes one selection on the album where she plays solo piano and she picked 'I Left My Heart In San Francisco'. A beautiful rendition. This is a great album tinged with jazz overtones without losing the melodic memories of Tony's original sound. The orchestra is perfectly balanced and adds just the right touch while still allowing the familiar Beegie Adair Trio sound to shine through. If you are new to Beegie's music, this album will make you a convert to her impeccable sound and those like myself, have added it as another gem to her large catalog of great music.