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.

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.

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.

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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