Never Lose Hope (Reimagined) By Matias Bacoñsky

 

Never Lose Hope (Reimagined)

By

Matias Bacoñsky

Written by

Steve Sheppard

 

This is a fascinating new single from Matias Bacoñsky called Never Lose Hope (Reimagined), the sheer volume and depth that this new composition exudes is literally impressive. The artist has been on an ever fascinating arc of discovery through his works since Life and Death back in 2016, since then everything he touches is heartfelt and poignant and deeply moving, he is therefore back with another powerful new arrangement entitled Never Lose Hope (Reimagined).

From the off the piano instigates a careful narrative filled with trepidation and concern, but there is an underlying sense of something else being birthed within the deeper weave of the music, it is the one thing that on this currently greed riddled and nasty world, we seek the one thing that we hold high above the hate, and that’s hope.

Here perhaps Matias Bacoñsky is offering up an anthem for a comeback to express that not all is lost, the piano is the masterful force that narrates this film score potential epic, whilst the orchestration and ethereal vocalisations raise the energy of the piece to its highest possible level, as we are treated to one of the most powerful opuses he has thus far created.

Bacoñsky is known for his emotive performances, but here on this new single he may be offering up a symphonic gesture that could speak a thousand words in one musical moment, this is exactly how any good instrumentalist should build and progress a composition, and as such I predict another chart hit for Never Lose Hope (Reimagined) by Matias Bacoňsky. 

Nocturne By James Michael Stevens

 

Nocturne

By

James Michael Stevens

Written by

Steve Sheppard

 

My music relationship with James Michael Stevens surprisingly only goes back as far as 2020 and an album called Italian Preludes, Nos. 1-8 - Solo Piano. This seems somewhat remarkable when you consider that some 55 albums later I am delighted to find I am reviewing the most prolific recording piano artist on the planet known to me once more, with his latest soothing release entitled Nocturne.

I don’t know how James does it, but to his credit time and time again he produces something utterly beautiful and tender to listen to, and with Nocturne that pattern continues unabated. The start is a familiar playing ground for the artist as he mixes his major and minor to create a loving composition called Sleep My Love.

Dreamy Nights and Candlelight is a favourite of mine and probably of yours as well readers and listeners of sublime piano based music, there is a gentle increased upscaling on this offering that is fascinating, and the mood it creates is very redolent of the subject matter.

The next composition has a decided mournful repose, but a picturesque one never the less and called 'Neath a Lydian Sky. The Lydian mode is a major-scale-based musical mode distinguished by a raised fourth scale degree, giving it a bright, ethereal, and slightly unresolved sound, and James has it perfectly depicted on the cleverest of compositions from the album.

This next piece felt and sounded somewhat familiar to me, a slight nod to a classical piece I have heard before in the past perhaps, but I still just can’t quite pick out in my mind’s eye, regardless of my memory lapse, this is a stunningly beautiful offering called Musings at Purple Shore, one that offers much to be enjoyed, in what was without doubt one of the prettiest performances from the entire album.

The trickling musical narrative and tonal structures on this next track were some of the crispest I have heard for many a year on the piece Misty Stream, the fluency was a delight and the dreamy chord changes equally so, once again the artist dances with light and shadow on this stylish track.

Nestled in the centre of the album is the composition called Midnight Iris, there was a beautiful dualistic reality forming within the weave of this piece, one that cleverly interplayed with a tone and timbre, giving us a symbiotic mood of music, from the garden to the piano bar and back.

Elegy at Sunset Forest has that delightful regal energy about its composition that you just can’t help but like, this splendid proud performance is like watching the sunset through the trees of the aforementioned Forest, being part of that very experience with the musician yourself whilst listening.

The next track has some interesting nuances with its structure and called Waiting in the Shadows, the melody on this specific offering is utterly outstanding and beautifully crafted, manifesting wondrous juxtapositions of major and minor with utter glee.

Our musical boat has arrived in the deeper waters of the release where we will find the offering entitled Blue as the Midnight Hour. Almost blues, almost jazz, almost a lullaby, perhaps all three but then one can hear within this attractive musical narrative something special taking shape from the place of the heart called love.

The penultimate offering could be described as one of the more reflective offerings from the album, but Stevens is so good at switching to that mode that any of the aforementioned tracks could perhaps be described like that, this one called Somewhere a Serenade is particularly homely and heartfelt, and very warming to listen to.

The concluding tale of tone and timbre is entitled Dreams of Yesterday, a truly easy on the ears piece with which to finish the album with indeed. With the flowing styled arrangement and the thoughtful structures, this parting gift was the perfect end to what once again has been another delightfully heart-warming album from the artist.

Nocturne by James Michael Stevens is one in a long line of quite amazing solo piano albums by the artist, but his ability as a pianist and a composer is so good, he always keeps his fans and listeners in the land of piano love. When a new album is on offer, a warm smile always crawls across my face, because the peace and tranquillity that follows is always remarkable, thus I predict another solid hit is on the cards with ease for Nocturne by James Michael Stevens.

When We Meed Again by Curtis Macdonald

 

When We Meet Again

By

Curtis Macdonald

Written by

Steve Sheppard

 

There are few artists who have been so consistent over the many years I have been following them musically as Curtis Macdonald, he has been in the industry for some three decades, even from my first album of his Shadow Crossing in 2002, time and time again he produces upmarket classy work and never fails to satisfy the need of really good instrumental music fan with a tender mood, and this new single continues that lengthy legacy and is called When We Meet Again.

The first few opening bars are a symbiosis of keyboards and pads as the direction of the track kicks in, then percussion adds its rhythm to the proceedings and another TV theme is in the making, there is something about Macdonald’s music that always makes you feel like you have been given a warm hug.

The tender onward progression is a delight, and the tonal backdrop and pads offer an almost 90’s feel to the proceedings, this calm yet moving reverie is like visiting a scrapbook and gazing fondly over all the years of laughter and joy that have flowed between the cracks of time and tide.

Curtis Macdonald is in the foreground of this new movement now called New Age pop without a shadow of a doubt, and long may he remain so, and I think therefore that When We Meet Again will add another notch in his musical belt, and a truly good chat position along the way. 

More Now Everywhere by Andy Mitran

 

More Now Everywhere

By

Andy Mitran

Written by

Steve Sheppard

 

I have been in rapture for years with the releases of Al Jewer and Andy Mitran, my first taking me all the way back to 2003 and the album Two Trees. They produce some of the finest, what could be, and sometimes more than often is alluded to is, as some of the best contemporary instrumental music on the planet in this modern age of ours, but when they go solo that effect doesn’t change one iota, as we are about to dive in deep with Andy Mitran and his solo album More Now Everywhere.

The opening piece of this 11 track release is entitled Shape Shifting, here you will find some of the most dreamy keyboard working you could ever wish for on this oasis of a composition, however one of my personal favourites would be the following offering called Ocean and Sky, with a fretless base and electric piano, magic is made here in a track that reminds of their joint release in 2018 called Transmigration.

That floating feeling stays with us on another favourite of mine called Atmosphere, the synth and guitar combo here, produced for me another incredibly palpable track, one that would stay in your mind for the whole day and take up residence, and in parts reminded me slightly of some of the more ambient aspects of the UK’s synth supremo Kevin Kendle at times.

With tracks like the effervescent Breakers, we have a charming driving offering, adding in a rhythmic drum, whilst on offerings like Emergence, room and space can be easily found for the listener, the delicacy of the harp here added an extra layer of calm, while the brass contained within offered a balanced composition one slowly becoming aware, in the most patient track off the release.

To See is nestled in the middle part of the album and has a truly ambient texture to its compositional structure, whilst Isolata adds a little extra rhythm and guitar into the mix with consummate ease, the synth work here is also clever and crafted well to fit with the overall theme. 

The next track is a far differently styled piece, and I’ll think I will feature it in my smooth Jazz show next month, it is called Memory Road, this is magical, a walking bass starts us off and then a smooth jazz fused piece drives us home with delicate pertinent synths, and a stunning guitar performance from Kraig McCreary, made this piece for me one of the stand out tracks from the album.

In the deeper waters of the release we come across a globally infused creation called More Than Once and this thrilling arrangement of instrumentation manifests something quite enthralling, and utilising a frame drum, talking drum, udu, guiro, Chilean bombo, marimba, synths, guitars, strings, reeds, brass, and acoustic bass, now this is what you call the ultimate multi-instrumentational offering.

The penultimate narrative is entitled The Woven Path, this is where everything becomes interconnected, it is with ease the most spiritual piece of the release, with the ethereal sounds and soothing keyboard, which sets us up perfectly for the final chapter of the album entitled The Last One, how appropriate indeed, this clever and relaxing instrumental composition narrated by a commanding piano concludes things perfectly for the listener.

This is a special album, one can tell with ease that this entire collection of superior instrumental music comes from the heart centre of the musician, and he has to be applauded for that, he also cites one of our personal heroes in his final comments when he says, and I quote, “Lastly, I want to thank Eckhart Tolle for the valuable lessons about the power of the moment and creating a significant change for the better in my life”. I can only add to that saying More Now Everywhere by Andy Mitran is a guaranteed hit, and Andy you are here to enable the divine purpose of the universe to unfold. That is how important you are!

You and I By Jennifer DeFrayne

 

You and I

By

Jennifer DeFrayne

Written by

Steve Sheppard

 

The second single release from sublime pianist Jennifer DeFrayne is now upon us, and is from her exciting new album Soul Love, which is coming in June. This piece of piano magic is called You and I, a lush and colourful creation that utterly signifies that she is back upon the music scene in a big way, and this tapestry of tonal delight is the bed that we can drift along to in these early summer days.

You and I contains the skill sets once more of her team of superb musicians in their own rights, and the combinations by such artists like Charlie Bisharat and Michael Manring offer much indeed, as do the others on the piece that with ease raises the bar of beauty for this composition specifically.

The song itself is a smooth carpet of fluent tone and timbre that drifts across the horizon like a sailing ship at sunset, always present, but always steadily moving forward, the mixture of strings and piano here is undeniably creative and deeply moving.

From the inception of the track, one is held and comforted within one of the artist’s warmest piece of all time, the symbiotic impassioned manifestation is beautifully played, and DeFrayne on piano is really finding her way in this brave new world of instrumental music that is now upon us all. You and I by Jennifer DeFrayne isn’t just a guaranteed hit, it is a musical panacea to cure your woes and stresses, and gifts you several minutes of joyful bliss.

What Have We Done to This World by Stacey Lord

 

What Have We Done to This World

By

Stacey Lord

Written by

Steve Sheppard

 

A new artist here for me, but with a message that most normal people would think of an anthem, yet politicians would run and hide in the corner of the darkest room, and count there greed filled coffers in the silence of the greed of the destruction that they have caused. Yes this is a powerful song, but I wouldn’t call it a protest song, it’s far stronger than that and it is one that demands to be listened to.

Here on What Have We Done to This World by Stacey Lord, she literally rips the pages out of the book of truth and rams them in everyone’s face, and screams do something about it whilst doing so. As I write I live in a country that is being greatly affected by a manufactured war by the greediest nation on earth, this song needs to be brought to the main stream as an anthem of the voice of the people, to say STOP enough is enough.

Musically this is stunning, and I may say thank you so much for making a brilliant piece of music like this come in at some 6 and a half minutes long, to me this shows conviction and a belief in the narrative. Joni Higgins-Wilson our singer here is outstanding; her tone gives the listener a poignant moment of pause and reflection through her vocal style.

Harvey Summers & the Sing Space (Bexhill) children, form a choir for the chorus, there is something redolent of the 60’s about that chorus, it is so compelling, again anthem like, but their vocals were very powerful and pronounced superbly, which only elevated the entire project further. Harvey Summers wrote, mixed & mastered the music, which is without doubt one the most passionate singles of 2026.

What Have We Done to This World is an environmental and socially conscious song that combines emotional lyrics with cinematic musical elements and in my view is one of the most cogent and intelligent singles I have heard for literally ages. This song is something that should be featured on every TV station around the world, and should be flying up the charts, and maybe more on the horizon can be seem for What Have We Done to This World by Stacey Lord.

Almost Here By Kerani

 

Almost Here

By

Kerani

Written by

Steve Sheppard

 

It’s not until I looked, but it had been a while since I had heard from Kerani, in fact back in 2024 and her album Silent Heart, but two strange years have been added to this crazy worlds historical narrative, and in 2026 I am elated to be listening to and writing about the last masterpiece by one of the finest female instrumentalists in the 21^st century Kerani and her latest release Almost Here.

This classy new release is packed with top class items, such as the moody and deep opener entitled Glass Between Us, the elements of tension here are built perfectly by the artist on synths and keyboards, and the distant percussive nuances only add to that. Here is a track which highlights unresolved and hidden issues, which cast a sense of foreboding and suspense upon proceedings.

Kerani is well known for her work in the neo classical genre, but here she seems to meld into many genres, cinematic, soundtrack, a meditative texture at times, then glorious almost full on classical styled motifs, in a very impressive collection of creations. One of my personal favourites was the ambient yet inspiring Frozen Spaces, then onto Ember Morning, that more deliberate classical style is evident here, and introducing a cello solo and hobo, plus of course Kerani’s signature cinematic style on piano in a glorious offering indeed.

The title track can be found next and called Almost Here, for me this is one of the best title tracks the artist has ever manifested, a movie style opus yes, but one that just holds back enough for that resolution to be hinted at as a very real later conclusion, reminding me in context of that of the artist and former Deep Purple keyboardist Jon Lord did, on his classically inspired Pictured Within album many years past.

Of the more classically emphatic compositions this one truly moved me and at certain stages had elements of both Vaughn Williams and Eric Whitacre within the weave of the piece, this track for me is probably the best composition I have ever heard from Kerani, the soaring juxtaposition between flute and strings emphasising release and joy with such beauty, hurrah for Lifting the Veil a dramatically glorious track indeed.

The concluding narrative is entitled High Air, here the artist once more mixes the high notes of release with the darker back drops of a more academia styled manifestation, thus another cinematic piece if born, but here’s one that signifies that the track may have found the final solution to that of the aforementioned piece Almost There, in a dramatic soundtrack styled final offering.

Almost Here by Kerani in my view is one of the finest bodies of work I have heard from the artist since her release Small Treasures back in 2018, this is splendid in every aspect, it is a fine example of utterly transcendent neo classical crosser music, and an absolute must have for any aficionados of the more classy instrumental styled opuses, without a doubt this is top notch and should be a huge chart hit for Kerani and Almost Here.

Fragile By Forrest Smithson

 

Fragile

By

Forrest Smithson

Written by

Steve Sheppard

 

I must declare from the very off that I am a huge fan of the work of Forrest Smithson, his electronic and ambient vibes have been thrilling my musical palate for years now, ever since 2013 and the album Dreaming Time and of course my favourite of all releases of his Ooti from 2015, but time flies past, and some 11 years later I am here bathing in the sonic bliss of a new release from the master called Fragile, and this could very well be the artists apex recording of all time.

Speak of vibrant pieces and one will appear, and it does so in the guise of the title track Fragile, there are elements of the Ooti album here with other keyboard sounds, even a guitar deep in the weave, but the up-tempo energetic nuances of this incredible opener certainly set the scene for a wondrous ride indeed.

Fragile is a complex album, but easily accessed by any lover of truly good instrumental music, classy and beautifully organised pieces like August reflect the past brilliances of Smithson’s sheer electronic genius, whilst the offering Auramind gifts the willing listener an almost spiritual moment of meditative bliss with its fluent yet ambient harmonics and tonal delights.

This 9 piece release is packed with some of the best creations within the electronic and ambient genres; the depth of tracks like Within is utterly palpable and deeply moving, one could easily get lost within its mysterious confines, here is a track that could be utilised in a science fiction movie, the synths are a beautiful complexity of a ripeness of sound, and an interwoven narrative of an anticipation of something unfound and perhaps until now unknown, and yes, this is my personal favourite from the album.

As we move from the middle of the album a true electronic gem can be found in all its ambient glories, an ethereal quality can be garnered here that is symphonically amazing and uplifting, and called Voyager, one can enjoy the floating synths and the galactic feel of the creation as we drift ever onward through this incredible cosmos of sound and vibration.

Ambience can be found in another personal favourite of mind, the more new age sounding Everpresent moment. This creative mastery is a veritable mixture of three prolific styles and combinations, just goes to show what a natural and heart felt musician Forrest actual is, on the most moving offering of the release, one that I will play repeatedly on my personal playlist of calm and relaxation, the natural sounds included here were so beautifully recorded and set to perfection, that it lifted the overall texture of the track to a new height.

There are some lighter tonal delights within this release that need to be appreciated by its audience, like the charming almost hypnotic effect of the track Importarium. Then one could drift into the John Carpenter styled manifestation called Prepared location, however Forrest offers us here a more complex creation, and one that varies in its overall narrative to deliver its structure and journey.

The concluding composition is entitled Pinnacles of Awareness and for me it was one of the most spiritually alive moments from the album, deeply meditative and powerfully rooted in the mysterious elements of self-discovery and well-being. At some 17 minutes long it is a true long form opus of grandeur that needs not to be skimmed over, but listened to on repeat; it is truly an epic of gargantuan proportions.

Fragile by Forrest Smithson is in my view the artists best work to date, I don’t say that lightly having been a fan of his music for some 13 years or so, but his compositional structure, the production and balance in both ambient new age and electronic music, make it easier for me to state that here is an album destined for the top spot in the charts, and maybe more, kudos Forrest Smithson. Fragile is simple awesome.

Love And The Sea By Shambhu

Love And The Sea

By

Shambhu

Written by

Steve Sheppard

 

Shambhu has been described as a new-age jazz guitarist blending acoustic guitar, ambient, and world influences, I would go further and say he is one of the finest exponents of truly good instrumental guitar work there is in the world today, and after reviewing much of his work over the years that have passed, I am extremely pleased to be doing the same thing again, as I gaze at one of my favourite subjects, the ocean, and I gaze longingly at this new single called Love And The Sea.

I look upon Shambhu’s work as an investment into your well-being, the tones and musical vibrations that emanate from his instrument of choice are of a superior quality, and on this single there is a rhythm that is almost like the undulation of the sea as it moves back and forth, one could feel a defined movement and a delicacy of tonal direction.

Then just over the mid-way point, the piece increases in elevation and adds in another layer of rhythm just before the two minute mark, where one can feel a sense of unbridled happiness and love, then beautifully from the 2.30 minute moment, a lush solo can be heard and experienced as the eventual coda drifts off onto the horizon of tomorrow.

Love And The Sea by Shambhu is another sublime new single from the artist, a guitarist who plays with his hands and manifests beauty from his soul, a musician that has the halcyon touch of magical proportions within his musical aurora. Without doubt I predict yet another hit for Shambhu with Love And The Sea, it’s that good. 

Mykonos By Rick Sparks

 

Mykonos

By

Rick Sparks

Written by

Steve Sheppard

 

I have been lucky enough to have reviewed much of Rick’s music over the past 12 years since the arrival of my first Sparks album called Endless back in 2014, Half Moon Bay from 2018 being one of my all-time favourites, but now we turn our gaze to the singles of which Rick has started to increasingly release to his eager fans and general public, and thus in 2026 I have the usual pleasure to write about another Greek Island, this time not my home in Cyprus, but Mykonos, which sits in the Aegean Sea and is a popular summer destination for travellers from all over the world.

Rick’s latest single, which happens to be from his forthcoming album “Eventide”, reflects the peace and quiet and soothing calm from one of the smaller Greek Islands, the music reflects this. For context, you can cross Mykonos in under an hour by car, crossing my country of Cyprus (east to west) can take 3–4 hours. Here Rick takes that charm of the island and manifests something utterly transcendent, from the guitar opening, the soothing pastiche of the pads under the bed of the song, and the chiming night life styled tones of the keyboard.

Mykonos by Rick Sparks therefore is a perfect representation of the subject matter by the artist, perhaps of the lights of the harbour at night, the soft lapis seas caressed by a blanket of stars, or the charming iconic Mykonos Windmills, all of which are beautifully illustrated by one of the finest single releases of his career on Mykonos by Rick Sparks, which of course is a guaranteed chart hit and perhaps more for the artist.

Tranquility By Jenn Steege

 

Tranquility

By

Jenn Steege

Written by

Steve Sheppard

 

This specific combination of talents first came to my attention some three years ago when Jenn Steege wold release a single called Time in a Bottle featuring Mary Ellen Loose. Fast forward three years later and we have another opportunity to sample such beauty yet again, through the medium of her latest offering entitled Tranquility.

Here once more the artist uses ambient textures, and slow phrasing to create a peaceful atmosphere, Mary Ellen Loose is the perfect symbiotic partnership from which brilliance is born within this new and startlingly beautiful single. Jenn’s music has often been described as music that is soothing, reflective, and meditative, and this new manifestation does not veer off course one little bit through the arrangement.

Tranquility is a timeless drifting piano and flute narrative that anyone who listens to it will float on a bed of delightful tone and timbre too, and likely never want to return, there is a certain ambience here that is incredibly reflective, akin to finding that precious moment you just never want to end, that halcyon segment in life that can never be repeated perhaps.

This is actually a remarkable offering from the duet; it does indeed promote calm and peace, but moreover builds upon a steady reflective backdrop and never lets go, the piano at times illustrates a raising of awareness within the performance, and the flute grounds the listener with some of the most mellow performances one is ever likely to hear in this genre.

Tranquility by Jenn Steege is one of those lucky pieces that could be called timeless, this is a track that will never grow old and wither away, because each note is created in between the tick and tock of the clock. I can see this becoming an important part of someone’s daily meditative processes and listening enjoyment, and thus I pronounce that Tranquility by Jenn Steege should sought out and added to your playlist of ambient choice, your mind  body and soul will love you forever for it.

Lamento en suspiro menor By Javier Márquez

 

Lamento en suspiro menor

By

Javier Márquez

Written by

Steve Sheppard

 

Back in 2021 I remember coming into contact musically for the first time with the artist Javier Márquez, the album in question then was The Shelter Point, a powerful emotive release. Here some 5 years later I am lucky enough to be writing about the artist’s latest single Lamento en suspiro menor, and it was one of the most transcendent moments of the year with ease.

The multi-instrumental nature of this track is utterly charming, and the arrangement and calm production make this new manifestation from the artist one of the finest example of global neo classical fusion I have heard for many a year. Javier says it best when he states that “Lamento en suspiro menor is conceived as a process of sonic healing: a bridge between absence and acceptance, where emotion is transformed into sound, and endures as a contemplative experience”, a perfect explanation of this great beauty that rolls out before me and into my heart and mind.

Instrumentally minded thoughts go out to the sublime performances on this single, namely the tender tones of the piano of Marco Guerrero, the moving rendition of the violins of Encarnación Almansa and Modesto Berná, the depth of the viola of Esperanza Ortiz, and the reflective deepness of the cello of Antonio Fernández, and of course the composer himself on duduk, the masterful Javier Márquez.

For me this fluent masterpiece is everything it says it is and more, it does indeed bridge the gap between absence and acceptance, but more over it is a manifestation of something so beautiful and radiant, and without doubt it is a prime example of the utterly amazing gifts of the human mind-set. To be able to achieve this level of blissful class and superior tonal delight is something to indeed be proud of. One hopes that this is going to sail high up and the charts and hopefully rake in award after award it is that good, and it is definitely that moving and emotive that it would be advisable to add Lamento en suspiro menor by Javier Márquez to your playlist of choice as soon as humanly possible.

Finding You By Jennifer DeFrayne

 

Finding You

By

Jennifer DeFrayne

Written by

Steve Sheppard

 

For me this review is something special as it reminds me of my first forays into the world of review writing for musicians which started some 13 years ago now, By A Wire would be the first review completed by me after moving to the country of Cyprus to live, so her music has a special place in my heart, and now I fast forward to today, to 2026, and I am gifted with another delightful repose into the world of piano and additional instrumentation, as we take a look at her latest single from her forthcoming album Soul Love called Finding You.

Jennifer DeFrayne has manifested a smooth piece here for us to revel within; its calmness is a delight to behold, the fluency of her skills on the piano are utterly magical and sublime. Jennifer is joined by an array of transcendent musicians as well which lift this piece up to the heights of being a truly great offering from the instrumental genre, and include base performer Michael Manring, the legendary Charlie Bisharat on violin, Sara Milonovich on fiddle and Jeff Haynes on percussion.

The song itself is an expression of love, and about finding that special someone in your life, and its beauty and compositional colour and textures illustrates that narrative so wonderfully, this is the lead single from her new album and personally, I think it has the perfect hallmarks to make it all the way to the top of the charts, and who knows perhaps even an award or two might come the way of the artist for Finding You by Jennifer DeFrayne.

Collaboration By David Mash

 

Collaboration

By

David Mash

Written by

Steve Sheppard

 

It has been amazing to connect with such a great jazz performer of the genre like David Mash, he is a composer, producer, guitarist, and electronic musician of great quality, and the eagerness to which I set forth to write a review for his latest release called Collaboration is one of excitable energy. His last creation in 2025 Back to my Roots was a sublime piece of work. This musical voyage of plenty doubly so, it is 4 four tracks of some of the finest multi-instrumental jazz work I have heard for years.

The opener is the lively and passionate, a full force gale of Ictus Sanctus; this album highlights Mash’s long-standing focus on blending electronic sounds, jazz composition, and live instrumentation, working with collaborators he’s connected with throughout his career. Ictus Sanctus is likely a nod to Mashes old progressive jazz band of yesteryear, and is a stunning fluent cohesive blend of musical segments and instrumentation, especially the totally rhythmic pulsating pastiche of the brilliant Ricardo Monzon on Percussion.

Collaboration the title track, is simply smooth and transcendent, this is one of those jazz songs you could listen to all day and feel more chilled with each bar, with each note and progression. Mash on guitar here is ultimately sublime, this track is the mantra for the album, the central theme of the release with musicians interacting, ideas blending and magic being made, and at times it reminded me of the live work I remember back in the ‘80s from jazz funk band Level 42, but smoother in context.

Then we have a real treat, now everyone should know that I am a long form music fan by now, I have a radio show based on the style, and an album of my own with four long form pieces on, and I know exactly how hard it is to create something so vast, but Mash does it here with utter ease. Personally I love this piece, it’s called TNS and I have now invested 44 minutes and 10 seconds of my life into listening to it, and doubtless there will be more time spent within its musical confines, its superb and a prime example of how to manifest a truly classy long form offering. The meaning of it, my research came across was completely understandable from a musician’s perspective, and a Transcutaneous Nerve Stimulator is a device given to relieve pain by sending low-voltage electrical pulses through the skin. This is a piece that one could leave on whilst reading, sitting in a bar drinking or having a coffee out somewhere, anything really that would enhance the moments of utter bliss that this track provides, at times memories of when Stevie Wonder created a long form piece of Living in the City, come to mind, or when Level 42 had the audacity to manifest a 10 minute version of Hot Water, all amazing soulful offerings like TNS. The lush soundscapes on offer on this track need to be listened to thoroughly and in depth, from the percussion to the keyboard work, and something as an electronic musician I love the synth side of things, add all of those jigsaw pieces of musical craft together and you are left with a wonderfully magnificent offering like TNS, with ease coherent for its entire duration, and one of the best long form pieces I have heard this century without a doubt.

The album concludes with the funky offering, and something I hadn’t heard of for a while, the track Bionic Man. There is even a reggae feel to this offering that manifests a warm vibe to the piece that makes it so charming; here we have a groove-driven rhythm that is undeniable, perhaps this last manifestation highlights Mashes love of technology and music, and the symbiotic relationship it can have.

Here is a superb album that one can be happy to invest in, David Mash one of the masters of symbiotic jazz fusion had gifted his fan base something truly special, hats off to the team behind it George Russell Jr on Piano, Sean Skeete on Drums, Winston Maccow on Bass, Ricardo Monzon on Percussion and Bruce Nifong ob Sax, Flute, and EWI, and all on one of the best Jazz releases of the current century, it’s that good, and a sure fire hit for Collaboration by David Mash must be on the cards.

Where Love Begins Again By David Clavijo

 

Where Love Begins Again

By

David Clavijo

Written by

Steve Sheppard

 

David Clavijo is a composer of utter beauty, his compositions often transcend brilliance and within the weave of each musical narrative, one can literally feel the emotion as a palpable sense of passion within the arrangement. I first came into contact with him back in 2019 with the album The Landing. Today Clavijo brings us an important piece called Where Love Begins Again, celebrating love with the birth of his new child, en extension of his beauty now resides on the planet too.

David’s pieces are always emotional, cinematic, and instrumentally focused, today is no exception, but the symphonic beauty of this piece is delicious in every aspect, and opens slowly akin the eyes of a new born child. The crescendos rise and fall with the triumphant arc of great beauty, and grow constantly within the narrative as the child begins to explore.

Here on this incredible offering we have a dualistic movement of reflection and emotion and pure unadulterated love, the piano is tender in its progression and the heartfelt segments of elation and pleasure can be felt within the orchestrated and proud elements within the piece.

This is a remarkable achievement from the artist, he has opened his heart and manifested something breath taking and beautiful for us all to enjoy, on his brand new single Where Love Begins Again by David Clavijo.

Left Impressions By Chris TB

 

Left Impressions

By

Chris TB

Written by

Steve Sheppard

 

Lately a lot of new artists to me have been finding there way onto my desktop, this latest release being one of them, and it thrilled me no end to jump into its refreshing and exciting contents, I am referring to the album Left Impressions by Chris TB, a thrilling roller coaster of instrumental music, and a ride of great quality.

The opening offering is entitled Impressions, this rhythmic pastiche of tonal delights is a truly powerful and exciting mix of keyboards and percussion, reminding me a musician I haven’t heard for years in the UK’s Ramsay Gee.

The following narrative would turn out to be my personal favourite from the album; the track is called City Awakens, the slow onward build from the inception of the piece was steady but full of tone and style, one which would grow as the day in the composition would unfurl, on one of the finest examples of instrumental music I have heard this year, with elements of the legendary 2002 group weaved within.

Curiously we’re actually about to enter summer here in Cyprus, but taking the context of the song for what it says on the can, the track Summer Slowly Slips Away is a beautifully composed opportunity for a reflective composition to play out, and it certainly does that, this for me is a late October piece, the leaves start to change and there is something different about the days ahead, beautifully written and composed by the artist indeed, and could with ease be a TV theme.

In Abundance once more has that steady build we have come to expect by bands like the aforementioned 2002, the slow pull towards a multi-instrumental delight, a slight symphonic element, a tender crescendo, and with ease the most ambient track off the album.

There is a dream like quality to the next piece called Meaningful Places, then with the addition of a rhythmic percussion we are gifted a track that is light in its energies, but has a great quality about its arrangement and compositional structures, electronic piano, a bass line that seems to walk, and thus you have another fine example of truly textured instrumental music.

The piano holds this next piece in full view on the offering Dreams of Better Times, guitar, a delicate rhythm and percussion are soon added in another track that once more could easily be adapted for a television show with ease. This is easy listening music at its very best.

Another favourite of mine is the penultimate track off the album and called What Could Be. I sat for a while with this one, before I remembered the same energy of compositional structure had in fact reminded me of another instrumentalist from North America called Timothy Wenzel, for me this is an exciting comparison as Wenzel is a very accomplished instrumental artist, and Chris TB on this very composition has manifested something very interesting and compelling as well, a thoughtful and almost enticing narrative can be explored here.

We conclude this musical voyage with the track With Gratitude, there is something anthem like to be found here, one that perhaps offers up an ending or signals a resolution of sorts, regardless this is a sublime way with which to complete the piece, and the keyboard swirling story line reminded me in part of US instrumentalist Holland Phillips in style.

Left Impressions by Chris TB has to be one of the most interesting albums I have had the pleasure to review this year, there are so many aspects to it, so many nuances to be enjoyed, from electronics, to new age, from soundtrack to TV theme music, literally by getting this release, and placing it on your player of choice, you will have found an album that you will never tire of, I see big things ahead on the charts for Left Impressions by Chris TB.

Death of a Dream (Reimagined) By Matias Bacoñsky

 

Death of a Dream (Reimagined)

By

Matias Bacoñsky

Written by

Steve Sheppard

 

Matias Bacoñsky is an Argentine pianist and composer; his genius lies in the realms of creating amazing electronic-orchestral music, and as an artist known for blending emotive piano lines with cinematic symphonic textures. He has been on my musical radar ever since 2016 and his album Life and Death. Today Matias Bacoñsky reveals perhaps his darkest work yet, as he brings us Death of a Dream (Reimagined).

This is indeed one of his most powerful works to date, its atmospheric and emotional layered synths, soft pads, gradual builds, and its eventually serene coda gifts us the listener one of the most compelling recordings of his career. This piece of music was originally released on the aforementioned 2016 release, however this time around the quality is a more polished production with added orchestration.

Contextually I found within the weave of the creation a palpable spiral of emotions, emotional closure and a transformative energy, perhaps a quiet aftermath of something that was once very meaningful. Something that hardly gets mentioned these days is the art work, I’m still old school and I adore the art that comes with the single, I am not going to tell you what it is, but I hope when you purchase this track you will open up the art work, and gaze at it whilst listening to the music, it works incredibly well.

The entire work is pretty well laid out and constructed superbly by a musician who clearly knows how to compose music, arrange it, and make it as dramatic as possible, a true artist of his trade indeed. The four precepts of a truly great composition are all met here on Death of a Dream (Reimagined), the emergence of the offering, the build and progression, the peak and the dissolution.

There can be no doubt that Death of a Dream (Reimagined) by Matias Bacoñsky has continued the onward path of success for the artist, and this new reimagined version is a credit to his dedication to his art and should be a huge success on its own right in the charts.

Piano in the Wilderness By Craigology

 

Piano in the Wilderness

By

Craigology

Written by

Steve Sheppard

 

Today an interesting album landed on my desktop for review, that of Piano in the Wilderness by Craigology. Interesting, why I hear you musing, simply because the artist has become known to me, more for his funky jazz vibes than that of the ambient solo piano that resides upon this wonderful new album,  and I must say, after concluding my now third listen, I am incredibly impressed with its beautiful collection of ambience.

Working Remotely is a relaxing way with which to begin our piano journey with the artist, the gentle onward narrative gives the listener a smooth base from which to make a musical standpoint, but for me personally track 3 illuminated my senses and left me thinking that I had listened to a true masterpiece. This tonal gem is entitled Marooned and contains a delightful change in chords and structures of tones from minor to major and back again, gifting the listener an uplifting yet reflective moment of piano magic to thoroughly enjoy, and for me one of the best tracks from the artist that I have ever heard.

Before that the more melodic vibrations of pieces like A Midnight Moment, create a lush classical mood in an almost surreal and sepia landscape, whilst Memories from Tomorrow manifests a similar mood, but with a slightly more elevated tempo than the aforementioned offering.

On Water Bird I found a piece that could possibly be a good single, its natural melody and rhythm flows quite beautifully, but the tender tempo gives the listener a caring meditative piece, an offering redolent of the subject matter, as one watches ducks or swans drift on the glistening surface of a lake perhaps.

Talking of meditative pieces here is one with a repeating motif that fits the bill and called Archipelago. An archipelago is a group or chain of islands clustered together in a sea or ocean. The islands can be small or large, close together or spread out, and they often share geological origins or ecological features. Craigology has created a narrative here that allows us to drift by many of these in total peace and calm.

The slow beginning on Salmon Run is a beautiful thing, there is an under pinned tenderness here that contains a wonderfully textured juxtaposition of tone and timbre, combining intent and a deliberate onward moment, and a piece that has a delicious melody to.

The concluding manifestation is probably one of the most ambient pieces I have heard from the artist and called Claw Marks. Reminding me at times of a combination of US pianist Michael Harrison and the late but great Harold Budd, with its gentle projected ambient structures and sensitive tonal delights.

Piano in the Wilderness by Craigology was a very enjoyable experience, one that whilst surprised me, it did so pleasantly, so much so, that I actually listened to it four times in a row, and each time I found it more relaxing and calming with each note played. Personally this soft ambient pastiche is what I prefer on a solo piano album, and as such I can see that Craigology should have a bit of a hit on this hands with Piano in the Wilderness, he certainly deserves it.

American Heartland By Todd Mosby

 

American Heartland

By

Todd Mosby

Written by

Steve Sheppard

 

Todd Mosby has been on my musical radar for some 10 years now, with my first release obtained being Eagle Mountain back in 2016. However we take a slightly different course with this latest release from Todd called American Heartland, with an album that caters for multiple genres. This is a 12-track collection that unites contemporary jazz and folk, new age, solo acoustic guitar, and blues in such a smooth and classy way.

The entire collection of superior compositions starts with the piece Clouds above Golden Fields, if any a track would create such a delightful sense of ambience with a folk element this is it. One can literally feel the charming wide-open landscapes through this acoustic guitar driven opus.

There are more rhythmic Latin styled jazz tracks like the fluent Palomino, with its bossa nova samba jazz ethic, and then swiftly onto Witchi Tai and Witchi Tai (postlude), I believe this could be referring to the Native American peyote chant, regardless the first part is a more vibrant oasis of crafted intelligence, the later a soft and more charming reflective offering.

Mosby certainly does capture the soul of Missouri on this album, with gems like my favourite Glenn Campbell track Wichita Lineman originally released in 1968. This is a brilliant smooth jazz, cross folk creation, one that has a lot of beautiful qualities about its arrangement, including some exceptional vocals from Lola Kristine. I have long been a fan of this specific piece, and to hear a version of it I like apart from Glens is a very good thing indeed.

The more acoustic flavours of tracks like On The Farm captures rural life perfectly and offerings like Joanies Town offer a slightly more vibrant pop ethic into this marvellous stream of musical consciousness, a little funk and a wonderful trumpet of Dan Fornero.

The title track pulls us in further and of course called American Heartland, the alternating bass lines for movement among the upbeat tempo truly reminds me of one of the best bands ever in Steely Dan, and once more Mosby reigns supreme on electric guitar, enabled beautifully by the stunning Tom Scott on saxophone, on this the most exciting and vibrant composition from the album.

All The Stars Tonight is one of those smooth jazz tracks you never want to end, Mosby on guitar is sublime, a smooth hand indeed, one could with ease enjoy a night time introspection under open skies to this classy track, whilst the driving bass line from none other than Michael Manring raises the bar another notch entirely.

In the deeper weave of the album we sample a crossroads of a piece with the bluesy number A Full Moon Rising. For fans of solo guitar, this is a prime example why Todd Mosby is a master of his instrument in this multi-paced creation. The penultimate offering is called Land Of Green, referring to the lush qualities of the area of St Louis area in the summertime, the layered and light brass here creates added warmth, whilst Tom Scott on saxophone, literally knocks it out of the park on this funky little manifestation.

We conclude the album with a tribute to an incredible song called Both Sides Now. Released originally by the quite incredible Joni Mitchel, originally released back in ‘69, and here some 57 years later performed sublime by Mosby and the band, and the breath-taking vocals of Lola Kristine.

American Heartland by Todd Mosby isn’t just a good album it’s a wonderful cornucopia of multi-genre delights, and one of the finest I have heard for many a year, there truly is something for everyone here, and as such I look forward to seeing its success on the charts in the near future, as the ethereal encores of brilliant albums like this should be celebrated and enjoyed forever.