Singer songwriter Ego Ella May has a way of making you feel you’re in the middle of a conversation with her. You don’t care what’s it about as long as you’re along for the ride. That’s to say her languid vocals and superb songwriting make for a potent combination. Off the heals of her deeply satisfying 2019 release “So Far”, she’s back with “No Honey For Wounds”. The eleven track release features an array of talented producers but make no mistake who’s the star here. “Song For Bobby” finds her lamenting about a relationship that has come to an end. “Girls Don’t Always Sing About Boys” showcases May’s ease in gliding the listener through personal as well as social topics and sounding equally enjoyable along way. Both tracks feature an infectious bottom heavy groove topped off with warm chords courtesy of UK producer Eun. “Science” produced by Alfa Mist kicks off with a gorgeous melody followed by spacey synths creating the illusion that you’ve momentarily transported to the galaxy. This tremendous body of work instantly ranks as one of the best releases of the year. Ms May is on the fast track to star status.

You know you’re onto something when you release two lps with little fanfare and yet they become instant underground hits. That’s what happened to the group known as Sault. Producer Dean “Inflo” Wynton Josiah and songstress Cleo Sol have made quite the impression not only with their first two lps “5” and “7” but separate careers as well. Inflo has produced for Michael Kiwanuka and Little Simz. Sol has recently released her solo album, which is also produced by Inflo. While the first two lps had a soulful dance appeal, their third lp “Untitled (Black Is)” is stripped down unabashed soul at its best. The theme of the disc is Black pride and whether it’s poignant interludes from Sol or the powerful compositions throughout the message shines loud and clear. “Hard Life” has an unrelenting drum snare beat that finds Sol singing about the struggle to be heard and that a change is coming. “Bow” is percolating with afrobeat rhythms and the additional vocals of Michael Kiwanuka. “Miracles” is classic emotive 70s soul at it’s purest form. With Sol’s seductive vocals supported by enchanting backup vocals, you’ve been lured into the belly of the recording and your only wish is that it doesn’t end. Inflo’s prodcution and arrangements are flawless. Each track flows to the next one and by the time you’ve reached the end you know you just got off an amazing ride. In a year filled with outstanding recordings, “Untitled (Black IS)” is without a doubt one of the best albums of the year. Given all that’s happening around the world it couldn’t have arrived at a better time.

“Stand Up For Love”, the fifth album from The Haggis Horns finds them getting back to basics. Which is stripped down hard driving funk and soul. “Don’t Give A Damn” features John McCallum’s vocals in top form soaring over the gritty funk groove. They slow the tempo a bit on “Suzi Traffic” and “Give It Up” thereby giving you a moment to catch your breath before they kick back into high gear. The title track demonstrates they can rock a reggae groove as well as they can bring the funk. This release is a reunion os sorts with several original members on board for this session. They’re cooking on all cylinders and deliver another crowd pleasing lp.

Saxophonist Muriel Grossmann has been releasing quality recordings since the early 2000s. Her blend of spiritual jazz compositions evokes images from the recordings of Coltrane’s special quartet and Pharoah Sanders to modern day premier musicians Nat Birchall and Matthew Halsall respectively. “Elevation” combines some of her work from her 2016 album “Natural Time” and her 2017 album “Momentum”. Grossman’s regular band is in top form as each member pushes the other. The title track finds them launching into action. Guitarist Radomir Milojkovic rhythmic explorations are clean and light yet the result is quite powerful. “Rising” picks up where the opener leaves off. Drummer Uros Stamenkovic’s propulsive playing keeps everyone on their toes. Bassist Gina Schwarz playing is melodic and delicate. Front and center is Grossmann who’s spirited soloing is hypnotic. She pulls you in and commands your attention from start to finish. In summary this is a recording you can lose yourself in and emerge deeply satisfied. The compositions are first rate and engaging. It’s hard to imagine why Grossman isn’t more well known. Let’s hope this release goes a long way to rectify that.

When the trio known as Khruangbin burst out the gate with “Con Todo El Mundo” in 2018, there was a collective praise. Their stylistic formula of psychedelic funk and vocal harmonies became an instant hit. Their sophomore lp “Mordechai” picks up where their debut left off. The opening track “First Class” is symbolic of their sound. An atmospheric tune filled with tight melodic guitar grooves and a thumping bass. “Time” has a touch of a boogie groove. The guitars are scaled back a bit but the groove is infectious nonetheless. “Connaissais de Face” has a slow burning tempo that serves as a canvas for a whispering vocal dialogue between two people. If you loved the first record then you can rush out and grab this one. There’s little doubt these grooves will get their hooks in you. You won’t resist.

At first glance at “Symphonie Pacifique”, the new release from pianist Greg Foat is the bright and colorful art work. One listen and these thematic compositions appear to mirror the cover art as well. There are more upbeat compositions here than previous releases yet still maintain his usual brillance. Evidence is immediate with the title track, a joyful tune filled with exuberant lush soundscapes. “Yonaguni” is another highlight due to the two cellists on board and the choral vocals. Foat’s joyful melodiic flourishes takes the tune to greater heights. On “Island Life” he shifts the tempo down a bit and creates a cinematic gem filled with lavish harmonic textures. “Lament for Lamont” is a melancholy tribute to composer Duncan Lamont. The rhythm section of bassist Phil Achille and drummer Moses Boyd make for a first rate ensemble. Foat is proving to be a gifted composer as every track is a joyful listen. He continues to expand his musical vision and incorporate new elements.  Simply a tremendous record that you shouldn’t miss.

Flautist and Saxophonist Chip Wickham explores the celestial realms of the universe with his latest release “Blue To Red”. Wickham’s spiritual path through Indian and Middle Eastern culture has been paved by legends like Alice Coltrane and Yusef Lateef. In addition his recent collaborations with Matthew Halsall has also molded his musical journey. The disc kicks off the ethereal title track, augmented by the heavenly harp of Gondwana Orchestra’s Amanda Whiting. “Route One” features Dan Goldman’s dazzling Rhodes melodies, which are an effective foil for Wickham’s flute phrasings and Whiting’s harp. Goldman’s blissful keys sets the tone on the tranquil “Cosmos”. The rhythm section of drummer Jon Scott, bassist Simon Houghton, Whitng and Goldman are splendid throughout. Wickham’s flute rises to the occasion and provides the listener on a glorious ride through six engaging compositions. This is another spiritual jazz triumph that you shouldn’t miss.

Roos Jonker & Dean Tippet are a singer songwriter team from Amsterdam. They’ve been collaborating as a duo since 2009. Their warm and compelling vocals caught the attention of Benny Sings, eventually becoming members of his group “We’ll Make it Right”. Now the duo present their deeply melodic release on Sonar Kollektiv. On the Bossa flavored “The One” they blend folk and minimal pop over a sweet guitar rhythm. “Script” is a swaying lullaby that finds their vocals floating over a soft piano melody. Jonker is featured on “Dean”, a blissful jazz pop arrangement with wah wah guitar rhythms laced with subtle piano and harp. Jonker and Tippet’s vocals are hypnotic separately. Together they’re simply mesmerizing. Without raising their vocals beyond a whisper they create ten alluring compositions that linger long after the song is over. This is a sheer delight that will certainly stroke your heartstrings.

With each new full length recording Ross McHenry is demonstrating that he’s a premier bass player and composer on the rise. “Nothing Remains Unchanged” is McHenry’s fourth album for First Word Records. He’s joined once again by Pianist Matthew Sheens but Eric Harland replaces Myele Manzanza on drums and premier tenor saxophonist Ben Wendel sits in for the first time. Together they make a formidable quartet and the music certainly reflects that. “Complicated Us” starts us off with a warm harmonic interaction between Wendel and Sheens that sustains throughout. Harland’s gentle brushes and subtle cymbals intensifies as the track nears it’s end. “Woods” is tailor made for Sheens glorious piano melodies and Wendel’s swirling horn flourishes. Over the course of ten minutes “This I Give To You” begins as a gentle ballad that builds into an exhilarating crescendo. You won’t find fault with any track here. McHenry hits the mark with another superb recording that’s adventurous and engaging. He’s becoming one of the most prolific musicians on the scene today.

“Jazz Is Dead” is the brainchild of Adrian Younge and Ali Shaheed Muhammad. Their previous release was the self titled “Midnight Hour” from 2018 and this release follows the same formula. That is an organic collection of jazz funk session recordings backed by their own rhythm section. Fronting these sessions are a number of legendary musicians certain to elevate any recording. “Hey Lover” is mid-tempo jazz funk with a hypnotic drum snare beat that features the signature voice of Roy Ayers. “Apocaliptico” is psychedelic jazz rock from Asymuth that’s reminiscent of their late seventies catalog. “Nao Sala Da Praca” is filled with warm samba rhythms enhanced by the vocals of Brazilian icon Marcos Valle. With notable appearances from Gary Bartz, Doug Carn and Joao Donato, rest assured these compositions live up to the hype. Where “The Midnight Hour” featured twenty tracks this release has just eight but in this case less is certainly more. Clearly the time spent digging through the crates and tapes of seventies hidden gems has paid off. A terrific collection of authentic soul, jazz and Brazilian compositions that you shouldn’t miss.