2019 has been another fabulous year of music. The health of this extraordinary art form is now, more than ever, strong and powerful under many aspects, as the caliber of the records reviewed by our website this year clearly confirms.

At Bluebird Reviews, we are honored to review, year after year, music artists of exceptional ability that help to provide, through their amazing artistic skills, the best possible platform to inspire the current generation of musicians from all around the globe and the future generations to come.

Chicano Music has gone through a lot of transformations and highs and lows, in the last half a century, sometimes in a good way, some other time not really up to the standards that the genre's Kingpin, Lalo Guerrero, reached in the late 40's.

It is therefore refreshing that a record that sticks to the traditions and the foundations of Chicano Music, with a little contemporary twist, like Johnny & Jaalene sees the light of the day right now, in 2018.

If there is one thing that you can never control in life, it is destiny and its unpredictability. When in 2017 the rising young Mexican music artist Nacho Cano (aka Twin Cabins then aka Harmless) became the victim of a car accident, where a drunk driver ran him over at 50 mph while he was on his bike, that episode must have felt like a crucial turning point in Cano's life, a life that he might as well have almost lost, in that morning on September 2017.

Despite the brutality of the accident and being also still in recovery from broken ribs, reconstructed face surgery and sever damages to his legs, Cano/Harmless did not lose his will to make music and use music, perhaps unconsciously, as a vehicle to ease the pain he was going through and to help him to gradually re-connect with the world outside.

One of the secrets behind the success of a great album is the ability to keep the sound fresh and vibrant throughout the record, at the same time entertaining the listeners and jiggling different musical layers that magically fits inside one another, like a perfectly shaped sonic Matrioska.

This is something that the Leicester-born and London-based troubadour Jack J Hutchinson and his band of brothers Boom Boom Brotherhood fully manage to achieve in their debut album called Set Your Heart For The Sun.

It's rather refreshing and inspiring to listen, in these days and age, a rising star of Blues/Rock like the Australian Guitar Prodigy Matty T Wall taking a gamble on releasing an album-homage to his Blues music Heroes like Transpacific Blues Vol. 1.

Since the release of his hugely successful 2016 debut album Blue Skies, which saw Wall gaining the interest and appreciation of the whole Blues/Rock music worldwide press, the last 3-4 years of the Australian artist's career have been constantly on a high, between touring extensively the whole of Australia and releasing the 2018's follow-up album to Blue Skies called Sidewinder, who was also highly praised by music experts and fans of the genre too.

One thing that many musicians wouldn't dare too easily to do, it is for them to have the bravery to re-tune completely and in a different direction the center of their personal music styles or, at least, the music genre they have become mostly known for.

It was for this very same reason that, when our website had first the opportunity to listen to the new EP called Standards Vol.1 from American composer, guitarist and producer Rafiq Bhatia, mostly known for his amazing work with the Avant-Garde Rock band Son Lux, we were completely and pleasantly taken by surprise by Bhatia's new project.

In these days and age and in an art form like music, constantly looking for new and exciting layers of sound or melodies that need to capture the imagination of the listeners, it is rather refreshing to hear a collective that it is, instead, rather focusing on following their own instincts as musicians, privileging their natural, artistic evolution like the Swedish Daniel Karlsson Trio.

With their previous album called 5, a record that received numerous and unanimous plaudits from the worldwide press and by their generous amount of fans spread all over the world on its release, it must have not been easy, for the Scandinavian Jazz Aces, to resist to the temptation to record a new album that would have followed a similar sonic path of its illustrious predecessor.

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