The Record Roundup


ELEW Plays Rosenwinkel – Cubism

Heartcore Records

Jazz pianist ELEW (a/k/a Eric Robert Lewis) likes to stray from the boundaries. From sideman duties for the likes of Wynton Marsalis and JLCO, Roy Hargrove, Esperanza Spalding and other jazz notables, he leaped into “rock jazz” and pop music. He plays piano without a bench, occasionally reaching in to pull the strings. ELEW is also given to interpretations of well-known artists’ work. On Cubism, his subject is guitar legend Kurt Rosenwinkel. Rosenwinkel is known for his extensive and intricate use of layered electronic effects. Interestingly, ELEW employs only a solo piano, finding all he needs there, simplicity meeting complexity.

– Bruce Collier

Jazz at Lincoln Center with Wynton Marsalis

Jazz and Art

Blue Engine Records

Wynton Marsalis and Jazz at Lincoln Center Orchestra (JLCO) joined for this studio recording of 10 tracks, inspired by modern and not-so-modern artists. The pieces are musical interpretations and appreciations—the list of artists includes Stuart Davis, Winslow Homer, Piet Mondrian, Norman Lewis, Romare Bearden, Wilfredo Lam, and Sam Gilliam. Most of these men were painters, many were African-American or Latino. Even a brief check over their works shows bright, sometimes glaring color, bold, dramatic composition, and full-blooded vitality—sorta like jazz itself. Marsalis solos on several pieces, variously written by Bill Frisell, Doug Wamble, Vincent Gardner, and others.

– Bruce Collier




Pensacola’s Precubed evolves in a big way with Floors. Less post-rock and more electro-pop seems to be the simplest way to encompass the new direction. But for longtime fans, the biggest surprise will be the addition of vocals—honest to goodness vocals. There is something about the tone and production of the vocals combined with a move beat-heavy style that helps Floors find a foot in both the past and future directions of indie electronic music.

– Nikki Hedrick

Jenny Scheinman & Allison Miller

Parlour Game

Royal Potato Family

Indie jazz violinist Jenny Scheinman joins with indie jazz drummer Allison Miller, with Carmen Staaf on piano and Tony Scherr on acoustic bass, for Parlour Game. This was my first encounter with Miller, but I’ve always liked Scheinman, whose tireless command of her music conjures up folk, swing, reflective strolls, abandoned festival dancing, and anything else imaginable from a stringed instrument. There’s some tremendous riffs and trade-offs here, some funky fiddle and piano groves, and lots o’ fun. At the time of this review, the quartet was preparing to play at Newport Jazz Festival. Oh, to be in Rhode Island.

– Bruce Collier

The Superelevators



From just across the Florida-Alabama state line rolls this energetic three-piece explosion. Using unconventional genre designations like “punkblues” and “deathblues,” the group delves into a bit of everything on their six-track debut. Slide guitar in a punk song? Punk vocal delivered over an electrified blues song? Perhaps it’s simply southern-fried punk rock that has more in common with the MC5 than modern pop-punk. It’s gritty, tongue in cheek, and showcases how diverse they can be in their musical approach.

– Nikki Hedrick


Creedence Clearwater Revival

Live at Woodstock

Craft Recordings

In 1969, CCR dropped not one or two but three classic LPs, so if they sound a little worn out and uninspired on their Peace and Love Fest set… just kidding. They kick ass.

– Chris Manson – 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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