Leon

When You See Yourself is the highly anticipated new album from Kings of leon, and the band’s 8th studio album. This new collection was recorded at Nashville’s famed Blackbird Studios, and produced by Grammy Award-winning Markus Dravs (Arcade Fire, Coldplay, Florence + the Machine). When You See Yourself propels Kings of Leon into 2021 with a modern evolution of their sound.

Leon Russell never quite hit all the right notes the way he did on his eponymous debut. He never again seemed as convincing in his grasp of Americana music and themes, never again seemed as individual, and never again did his limited, slurred bluesy voice seem as ingratiating…

Leon Russell's CD "Snapshot" comes unheralded. There are no musicians listed, no writers' credits for the songs. But the music has delightful gems. The double-entendre titled "Come for You" bounces joyfully with romantic bliss as the background singers, stinging electric guitar and Russell's growl-sing make the track shine. "Honey & Eli" is another of my favorites with Russell's signature piano – his fingers seem to bounce along the keyboards – and soul horns to create an intoxicating mix, "I see sweet love there in your eyes; true love cannot be denied." Another gem that should not be confused with the Hank Williams' classic by the same title is the religious but not preachy "I See the Light." Russell is in reflective mood here on the Almighty and the afterlife with a slower beat and his vocals soulful and passionate, "I see a place there in the distance now, a sweet delight, his precious love abounds, I hear his words and then I feel alright; I speak his name; I see the Light." The rest of the CD is a mix with some predictable melodies, but also some joyful surprises. "Lost Inside the Blues" is a strong track. The CD concludes with a Russell instrumental "Friendly Fire." "Snapshot" is a strong set, well worth exploration by fans of Russell and heartfelt roots music. Enjoy!

Leon Thomas' debut solo recording after his tenure with Pharoah Sanders is a fine one. Teaming with a cast of musicians that includes bassist Cecil McBee, flutist James Spaulding, Roy Haynes, Lonnie Liston Smith, Richard Davis, and Sanders (listed here as "Little Rock"), etc. Thomas' patented yodel is in fine shape here, displayed alongside his singular lyric style and scat singing trademark. The set begins with a shorter, more lyrical version of Thomas' signature tune "The Creator Has a Master Plan," with the lyric riding easy and smooth alongside the yodel, which bubbles up only in the refrains. It's a different story on his own "One," with Davis' piano leading the charge and Spaulding blowing through the center of the track, Thomas alternates scatting and his moaning, yodeling, howling, across the lyrics, through them under them and in spite of them…

Leon Russell never quite hit all the right notes the way he did on his eponymous debut. He never again seemed as convincing in his grasp of Americana music and themes, never again seemed as individual, and never again did his limited, slurred bluesy voice seem as ingratiating. He never again topped his triptych of "A Song for You," "Hummingbird," and "Delta Lady," nor did his albums contain such fine tracks as "Dixie Lullaby." Throughout it all, what comes across is Russell's idiosyncratic vision, not only in his approach but in his very construction – none of the songs quite play out as expected, turning country, blues, and rock inside out, not only musically but lyrically. Yes, his voice is a bit of an acquired taste, but it's only appropriate for a songwriter with enough chutzpah to write songs of his own called "I Put a Spell on You" and "Give Peace a Chance." And if there ever was a place to acquire a taste for Russell, it's here.

Midway through the Mandingue groove inferno that is “Dakan Sate, Korotoumi” I knew I had found a gem. Hypnotic guitar solos, heavy bass riffs, psychedelic organ lines, and funky horns… what more could you want?

The late Leon Thomas was a vocalist who has proven to be influential among jazz and blues saxophonists, guitarists, and pianists, who've admitted their debt to his innovation. However, though there are many vocalists who have benefited from his style as well, he is seldom acknowledged for his highly original - and idiosyncratic - contribution to them. One can only speculate as to why, though Thomas' full-throated style which employed everything from yodels to Joe Turner-ish growls and shouts may have been too wide for anyone to grasp in its entirety without overtly sounding as if they were aping him. Blues and the Soulful Truth is among the artist's most enduring performances, either as a leader or sideman…

Ferdinand Ries may once have been celebrated as ‘one of the finest piano-performers of the present day’ (the 1820s), but he is now remembered chiefly for his association with Beethoven. Yet the music here is never slavishly imitative: Piers Lane makes a persuasive case for rescuing these works from the pages of musical history.