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The Record Roundup

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Manuel Carvajal

Broken Clocks (for the Disturbed Dreamer)


I’m not going to hang the folk label on Carvajal’s expressive EP because that would draw up certain expectations.  It wouldn’t be untrue to use the label, simply unjust to the layered haunting songs, so I’m going with the mostly made-up descriptor of “dark acoustic rock.” That sounds about right to convey moody, stripped-down songs that have more in common with A Perfect Circle than Bob Dylan.

– Nikki Hedrick

Miles Davis and John Coltrane

Miles Davis & John Coltrane – The Final Tour

Columbia Legacy

Volume 6 of the Miles Davis Bootleg Series chronicles a 1960 European tour by Davis and Coltrane, with Stan Getz and Oscar Peterson sitting in. The 24 live tracks (Paris, Stockholm, Copenhagen) cover a lot of familiar territory for both artists, but both seem to be itching for a change—witness their energized covers of “So What,” anything but laid back. That’s only one example of what sometimes seems a competition between the two—unnecessary in my opinion, but I’m not Miles Davis. There’s a bonus track of an articulate, revealing interview with Coltrane.

– Bruce Collier

Bill Frisell

Music IS

Okeh/Sony Music Masterworks

What’s better than a new Bill Frisell album? A new Bill Frisell solo album. Music IS offers 16 tracks, including an alternate recording of “Nothing But the Bill.” The playlist is all original songs, some new, some adapted for this solo outing. Frisell is as close to a monk as any guitar player around, and he reportedly prepped for this one by playing a weeklong solo gig in New York just to feel “a little off balance.” He’s dead on target here, with a room-filling, heart-tugging sound that can bring tears to your eyes, then make you want to dance.

– Bruce Collier

Jeremy Pelt

Noir en Rouge, Live in Paris

High Note/Savant

This album was recorded at Sunset/Sunside Jazz Club in Paris, with trumpeter Pelt joined by Victor Gould (piano), Vicente Archer (bass), Jonathan Barber (drums), and Jacquelene Acevedo (percussion). The eight-track set starts off brisk and happy (“Make Noise!”) and Pelt keeps the action continuous, giving maximum trumpet for the money while allowing his virtuosi to shine individually. The recording captures that slightly crowded, rattling feel of a live set in a small club—you know the audience isn’t far away from the musicians. Even in the soft passages, Pelt’s tone stays shiny and mellow, like the best hard bop.

– Bruce Collier

Symbiotic Curse

Through Blood Soaked Eyes


With some Pensacola roots and local guest vocalists, Symbiotic Curse’s debut five-song EP is out to catch the attention of metalheads across the region. Blending unforgiving tempos, death metal influenced rhythms, and some melodic elements, they don’t fit neatly into one metal sub-genre.  If you like heavy music—the kind that fires up mosh pits, inspires headbanging, and is useful to scare Spring Breakers—this album is worthy of multiple plays.

– Nikki Hedrick




Destin-based sibling duo is all about vocal harmonies backed by acoustic guitar.  Given the limited options of contemporary Christian music in the area, they are a welcome addition to the music scene.  Clear, clean vocal tones and an upbeat approach make me hopeful that Vest will continue to record and perform in the area.

– Nikki Hedrick – Since 1997, P&P has been the definitive place for music fans to find out when a new album is coming out. Also stay up on the latest reissues and music‑related DVD/Blu‑rays and books. Elton John says he uses to keep track of new music, and Entertainment Weekly has included it on its list of “The 100 Greatest Web Sites,” one of only 17 music sites to be selected.

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