In the history of music, there have been so many Unsung Heroes, artists that have worked behind the scenes of some of the most important records worldwide for so many years and never been recognized themselves as artists in their own rights.


In 2020, it is almost impossible to find an unsung Music Hero of such an artistic depth bigger than the American pianist and composer Mike Garson, with 60 years in the music business and a career-span that, to define impressive, it wouldn't be out of context at all.

A live album is always a cornerstone, for an artist, no matter the genre played. It is that moment of vocal and sonic catharsis where an artist can get back to the core of his/her artistry and liberate that freedom of expression that constitutes the artistic essence of every respectable musician.


Blues/Rock Powerhouse Albert Castiglia, therefore, couldn't choose a better, more clear title for his new live album, called Wild And Free, a record where Castiglia unleashes completely his musicianship and mirrors accurately one of the highest points of the Florida-based artist's career to date.

For a band formed back in 2007, L.A. based Folk/Roots collective Dustbowl Revival doesn't seem to lose any musical ground at all, as the years go by but instead, their brand new album recently released and called Is It You, Is It Me, it displays a band willing to experiment different layers of sounds accompanied by lyrics of strong impact, imaginative and emotional at the same time.


To those readers that may be not fully aware of the artistic quality and the background of this formidable sextet, Dustbowl Revival is a band that has brought their music to many countries around the globe, touring for more than 200 days every year, sharing stages with some of the most important artists of this generation, like Wilco and Mavis Staples, just to mention a few.

There are not many music genres in the world able to translate, solely through the power of an instrument, the complete array of emotions of an artist as much as Jazz or Avant-Garde are able to.

Since their very beginning, both genres have always allowed total freedom of expression to a music artist without being forced to use spoken words, but relying uniquely on an instrument, like the piano, in the case of the Japanese-born Award-winning Jazz/Improvisation artist Naoko Sakata, to paint a sonic picture of moods, feelings and states of mind of a musician.

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.

Making Art, it is all about allowing an artist expressing his or her freedom of expression through different forms and shapes, sometimes using different tools, so to be able to free the artist's creativity even in a more multi-faceted way.


What mentioned above, it sums up pretty much the artistic path followed by the Spanish film-maker and Singer/Songwriter Fany De La Chica, through her debut album just released, called Dressed For A Sunday.

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.

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