René Marie’s Sound of Red – a splendid, sincere and sobering record for troublesome times

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We are just a few hours away from the 59th Annual Grammy Awards and this year The Music and Myth is taking a particular interest in the ceremony. For the first time in years, I’ve found myself actually rooting for someone.

Longtime readers of my website will (correctly) point out that I don’t take NARAS very seriously. In fact, I go out of my way to ridicule their shortsightedness and blatant disregard for the breadth and variety of the music industry. However, even I can’t deny the level of exposure a win can bring and there is one particular record I think is highly deserving of the largest possible audience.

While, historically, the nominees in the Best Vocal and Instrumental Jazz categories consist of the same twenty names popping up in rotation alongside the ever-present Chick Corea, every so often, a truly outstanding work will find its way on the ballot. That was the case with Gregory Porter’s Liquid Spirit in 2014, whose undeniable value and crossover appeal were recognized by NARAS and rewarded with a Grammy. This year’s standout is René Marie’s Sound of Red.

The charming, energetic vocalist was nominated once before for I Wanna Be Evil, an Eartha Kitt tribute record, ultimately losing out to Beautiful Life by Diane Reeves. This time, Marie makes her debut as a composer and what a spectacular way to introduce the world to her songwriting ability.

I’ve discussed all the nominees and their respective works in The 2016 Music and Myth Awards. While they’re all unsurprisingly praiseworthy, Sound of Red just has that unmistakable aura of a musical milestone. So, in this article, I’d like to take a closer look at this album I’ve been listening to incessantly for the past few weeks.

Sometimes, when I play an album, I can tell from the first notes that I’m listening to something special. That was the case with Patricia Barber’s Smash, Sofia Rei’s De Tierra y Oro or Tyshawn Sorey’s The Inner Spectrum of Variables. Now, Sound of Red joins this elite group of love-at-first-sound records, an achievement it owes to its powerful and memorable opening track.

In the song’s very first second, the singer’s voice establishes the setting as “a lonely night”, providing the cue for the band’s forceful introduction. Already, the listener’s attention is undivided and it remains that way throughout the album’s eleven tracks.

The first thing that stands out, aside from Marie’s beautiful voice and captivating diction, is just how incredibly capable her band is. Pianist John Chin, bassist Elias Bailey and drummer Quentin Baxter provide a complex backdrop for Marie’s poetry, raising the bar when it comes to timing and force and absolutely exceeding at enhancing the impact of the vocalist’s delivery.

This band has impressed me in every single song. I’ve tried to pick out a favorite among them, but couldn’t. Collectively, this might be the most powerful, cohesive unit in the modern jazz scene and, with her natural wit and enthusiasm, Marie makes for the perfect leader. On the title track, her voice is complemented with an enjoyable saxophone solo courtesy of guest musician Sherman Irby.

An engaging bassline introduces “If You Were Mine”, a simple, old-school tune that continues to establish the band’s ingenious interplay and serves up perhaps the record’s most vibrant piano solo. On “Go Home”, pianist Chin completely switches gears and demonstrates his feel for melody, evoking an early-Tom-Waits vibe to accentuate Marie’s raw and sentimental statements. In a clever spin on the adulterous affair motif, the vocalist casts herself in the role of a reluctant “other woman” singing:

I see where this is heading

And I’d love to go along

But you’ve got some ties that bind you

To a place I don’t belong

I know your heart is aching

And you think I’ve got the cure

But once the dawn is breaking

You might not be so sure

Later, she urges the object of her affection to “go on home to the woman you love, tell her you didn’t mean to be unkind, go home […] before I change my mind.”

Though I’m not a big fan of power ballads, this unorthodox approach and impeccable delivery makes it one of the best tracks on what is already shaping up to be a superlative record.

The highlight of said record is, in my opinion, the intense and dynamic “Lost”, a veritable tour-de-force of musical storytelling. It’s hard to pick out the best on an album where every song sounds like a new genre classic but “Lost” is exceptional in its cadence, complexity and humor. The middle section – starting with the piano solo all the way through Marie’s scat singing and, ultimately, her hilarious evocation of “The Battle Hymn of the Republic” – is the greatest thing I’ve heard in months. The band amps up before the bass halts the pace and Rene’s battle hymn reawakens the dormant narrative. Just an all-out flawless piece.

With its mesmerizing vocals and straightforward lyrics, “Stronger Than You Think” has all the makings of a hit that transcends the genre, while the honest and whimsical “Certaldo”, featuring guest guitarist Romero Rubalbo, does a fantastic job of capturing the atmosphere of charming Italian small towns.

The Earth shook beneath me

The full moon glazed above

The cobbled stones, the narrow streets,

Of course I fell in love

Of course she did. Of course we do! As a lover of all things Italy, I can completely relate and the song brings back some wonderful memories. Indeed, una canzone molto divertente.

“The Colorado River Song” is an unassuming track born from playful improvisation on a road trip, as the artist herself recounts during this excellent NPR gig. Reflecting the joyful, unrestrained energy of a fun day out, this song wouldn’t be out of place in Louis Armstrong’s repertoire. It also provides a welcome break from some of the heavier tracks like “This Is (not) a Protest Song”.

The mood turns serious in this ode to people on the fringes of society, written as a result of “some personal situations that developed in [the composer’s] own family”. This raw, beautiful ballad with shades of country music stands as perhaps the unofficial anthem of the record. A sobering song for troublesome times, Rene’s non-protest anthem is another one of the record’s highlights.

Perhaps because of its position behind such a powerful, socially relevant track, “Many Years Ago” remains rather understated with its bygone-era blues, in spite of the fact that’s it’s an absolutely lovely song.

The record closes with the dynamically contrasted “Joy of Jazz” and “Blessings”. The high energy and unabashed optimism of the former serves to increase the disarming beauty and tenderness of the latter. I’m not ashamed to say that I was literally brought to tears by this song, which is notable given that it happens so rarely, especially for someone who listens to countless hours of new music every week. Indeed, the effect of the vocalist’s tender, honest delivery is enhanced by the fact that she is just a genuinely likable person, making her blessings sounds as if they’re coming from a friend, not a performing artist.

In “Blessings”, Rene Marie delivers one of the most beautiful closing songs I’ve heard in many years of studying music. It left me feeling good and fulfilled and left the artist with a new lifelong fan.

With lengthy tracks that have ample time to set up a premise and deliver the narrative at a satisfying pace, with a band that seems to have an almost supernatural understanding of its vocalist’s strengths and a lead singer who can convincingly express the whole spectrum of human emotion, Sound of Red is a masterpiece and one of the best albums of the last five years. Absolutely flawless!

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The 2016 Music and Myth Awards

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It’s almost the end of January, which means it’s time for the fourth annual Music and Myth Awards, wherein I nominate The Music and Myth’s favorite vocal and instrumental records of the preceding year. The concept is simple: a music lover’s honest, subjective and – given that I listen to countless hours of new music per week, dare I say – informed opinion.

The tradition started with my displeasure over the fact that NARAS failed to nominate Patricia Barber’s outstanding Smash for best vocal record of 2013 and has since evolved into a sort of anti-Grammy round-up article. I usually start by taking a quick look at the Grammy nominees in the best vocal and instrumental jazz record categories and trying to predict the eventual winner, before revealing my own winners and attempting to justify my picks.

So, let’s take a look at the Gammy line-up for this year. As always, there’s cover-records galore and the usual NARAS-approved crowd, consisting of musicians who seem to hold season tickets to the nominations. I feel like I have to repeat this every year: this is not a knock on these musicians or their beautiful records, rather on NARAS and their restrictive view of the music industry. I don’t think there’s a single musician or band that hasn’t been nominated – probably multiple times – over the last few years. Given the wealth of talent in this particular genre, I find it hard to believe that every year the “very best” music is produced by a sample of about two-dozen musicians. Anyway, it is what it is, so let’s move on to the round-up.

In the Best Instrumental category we find last year’s winner, John Scofield, with his record of quirky and sometimes outright funny reworkings of country music classics. In the cleverly titled Country for Old Men, Scofield covers everyone from Hank Williams to freakin’ Shania Twain and does so with impeccable technique and finesse. It’s a thoroughly entertaining effort, but ultimately one that doesn’t develop beyond the limitations of its concept.

Meanwhile, Peter Erskine’s not-so-cleverly titled Dr. Um, with its tribute to Weather Report-type fusion certainly adds some color to this ballot of straightforward and straight-faced piano-driven records, but it’s also the only one of the five that makes me wonder what it’s doing in a supposed selection of the best in the world.

There’s a lot of piano on this year’s ballot, with three marvelous and diversified exhibitions of the instrument’s evocative power. Book of Intuition by Kenny Barron is captivating, dynamic and splendidly crafted while Sunday Night At The Vanguard by Fred Hersch is pensive and subtle, making knowledgeable use of space and atmosphere. My personal favorite, however, is Nearness by longtime collaborators Joshua Redman (on saxophone) and Brad Mehldau. There is something refreshingly raw and unpredictable in its sound and the duo’s impressive chemistry makes for a fascinating dialogue. My head says they should win, but my instinct tells me the award will go to Hersch. So far, I’ve been one-for-one every year, so let’s see if I get it 50% right again this time around.

On the vocal side we’ve got Catherine Russell’s old-school and upbeat Harlem on my Mind that finds the singer at the top of her game, while perennial nominee Tierney Sutton puts forth The Sting Variations, a charming collection of songs from the English musician’s repertoire that ultimately suffers from the same drawback as Scofield’s cover album, namely the failure to outgrow its gimmick.

The Branford Marsalis Quartet teams up with Kurt Elling to offer the stylistically exquisite Upward Spiral. Of course, Marsalis and band are top-notch while Elling has perhaps the most educated voice in the business, so this alone makes for a record that aims for musical perfection. While the record exceeds in everything it seems to attempt, it’s exactly this focus on technical faultlessness rather than clever storytelling that I think hinders it from being a truly memorable work.

As opposed to other years, however, there are two thoroughly unforgettable records in the vocal category, and I’ll take a bit of a closer look at both of them.

Let’s start off with Gregory Porter’s Take Me To The Alley, which I’ve already written about this summer. Now, Porter is the kind of musician who’s reached a stage in his career where everything he touches turns to musical gold. He has a unique voice, a singular style and songs that have mainstream appeal, pushing him more and more into the pop landscape. If you don’t believe me, here’s Gregory singing “Purple Rain” with German pop icon, all-around entertainer and modern-day Spice Girl, Helene Fischer. Something tells me we won’t be seeing a Catherine Russell/ Helene Fischer duet anytime soon.

Like Liquid Spirit before it, Take Me to The Alley is absolutely gorgeous start to finish, its simple tunes made memorable by Porter’s warmth, sincerity and almost supernatural talent for creating memorable melodies. This is the kind of record you can play for someone who hasn’t heard a single note of jazz in their entire life and be comfortable in your certainty that you’ve just converted them (then, when you’ve got them securely hooked, you hit them with the Zorn catalog).

Here is what I wrote about it in my review:

Perhaps [Porter’s] greatest talent is his ability to keep doing the same thing while thoroughly avoiding to fall into the trap of repetition. With Take me to the Alley, Gregory Porter’s chosen creative path is clearly marked. Even if he doesn’t stray from it for the rest of his career, I for one am happy to follow.

Normally, I would have predicted that NARAS hands him the award just based on the album’s potential mainstream appeal but they already gave him a Grammy for essentially the same record only a couple of years ago.

In my opinion, a more deserving winner would be René Marie for the outstanding Sound of Red. In her first record of fully original material, the intelligent and charismatic vocalist sings her heart out in an impressive collection of powerful and memorable compositions, a veritable tour de force in storytelling and emotion.

I absolutely fell in love with this record from the first note and had a hard time deciding between it and my eventual pick for Best Vocal. It matches Take Me to the Alley in candidness and warmth, but clearly surpasses it in scope, due to Marie’s impressive emotional range. While Porter’s delivery can often fall into a formula, albeit a very pleasant one, Marie seems to adjust her articulation to match the essence of every song. It’s a stunning feat of characterization. I usually ridicule NARAS at every turn and trust neither their expertise nor their commitment to music, but I sincerely hope they make the right choice this time and hand the award to René Marie.

And now, on to the second part of the article for the actual Music and Myth Awards for 2016.

Best Vocal Record: Esperanza Spalding – Emily’s D+Evolution

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As I’ve mentioned above, I had a very difficult time choosing between The Sound of Red and Emily’s D+Evolution. Both are stunning, fearless, challenging works of exceptional beauty and intelligence and both carry the pronounced signature of their respective creators. While I instantly fell in love with The Sound of Red, it took me a while to warm up to Esperanza’s new endeavor. Her bold and unpredictable creative direction is a big departure from what the audience has come to expect based on her previous outings, but that is exactly what makes it so memorable. Once I played it a couple more times and got used to the structure, the record almost violently seized my attention, demanding to be experienced and respected. Esperanza’s study of the Emily persona is gripping in the most intimate way, the songs are enduring and remarkable for their ingenuous complexity. Here’s what I wrote about it in my review:

After a four-year break, Esperanza put forth her most ambitious work yet. Emily’s D+Evolution is essentially a concept record, a collection of compositions that perfectly reflects the vision and boundless energy of an artist at the peak of her creative force. It’s a record that bridges so-called genres, joyfully experimenting with the possibilities of the composer’s talent and managing the rare feat of sounding at the same time enlightened and naïve in its lyricism.

In the end, I chose this record first and foremost because it sounds like nothing you’ve heard before. Sure, the influences are there and they are undisguised, but the result feels fresh and exciting. In this profound yet playful record, Esperanza has not only found her own voice, it feels like she has invented her own language too. Absolutely breathtaking!

Best Instrumental Record: Tyshaw Sorey – The Inner Spectrum of Variables

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If the pick for best vocal record was difficult, this one could not have been easier. From the first time I heard it in August of last year, I knew somewhere in the back of my mind that this would be the Music and Myth’s best instrumental record for 2016. I kept waiting to see if I would stumble across a work that might equal or even surpass it. Not even close!

Tyshawn Sorey’s monumental composition for double trio (piano jazz and classical string) is a universe of its own, similar in scope to last year’s winner, The Epic by Kamasi Washington, but completely different in almost every other aspect. Its blend of jazz and classical, of composition and improvisation, technique and imagination makes it as much a work of science as it is a work of art. Here’s what I wrote about it in my review:

Of course, the beauty of Sorey’s Variables is that, as the name suggests, the symbolism can take whichever shape the listener’s mind can conjure up. This allows the audience to participate in the work on an almost creative level, in a way achieved only by the topmost expressions of art. In this author’s opinion, the very best examples of literature leave enough room for the reader to fill with the contents of his or her imagination. Tyshawn Sorey’s compositions demonstrate that this effect can be achieved in music also.

[…] The Inner Spectrum of variables is a visionary work, masterfully imagined by a composer whose genius extends even beyond the brilliance exhibited by many of his distinguished peers and flawlessly executed by a band whose virtuosity is uncontested.

That’s a wrap for this year’s Music and Myth Awards. What did you think of the records? Have you already heard them? Are you planning to check them out in the future? Who do you think will wake away with a Grammy and what are your choices for best vocal and instrumental record of 2016? Sound off in the comment section!

The 2014 Music and Myth Awards

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The 2014 Music and Myth Awards

2015 is here! With the 57th Grammy Awards fast approaching, it’s time for the yearly Music and Myth Awards (which I affectionately call the “Anti-Grammys”) For those who are just tuning in: the Music and Myth awards came to be as a result of my immense frustration with the National Academy of Recording Arts and Sciences omitting to nominate Patricia Barber’s outstanding Smash for best vocal record of 2013. I decided to start my own independent awards, coming in the form of written recognition of the world’s best vocal and instrumental records of the year. Last year, I chose Smash by Patricia Barber and Iva Bittova by the Czech musician of the same name.

The article will be divided into two parts: in the first, I will make my Grammy predictions in the best vocal jazz record and best instrumental jazz record categories (since those are basically the only ones I care about), after a careful analysis of the ten nominated records.

Last year I correctly predicted that Gregory Porter’s Liquid Spirit would get best vocal, but I picked Gerald Clayton’s Life Forum for best instrumental, which ended up going to Terri Lyne Carrington’s Money Jungle. As such, I have a 1-1 record so far. Let’s see how my predictions fare this year.

In the second part I will announce my choices for best vocal record and best instrumental record according to The Music and Myth, along with a short explanation of exactly why I picked those particular records (justification is definitely lacking when it comes to the Grammys).

Let’s clarify some things first: Even though my website is heavily jazz-oriented, The Music and Myth Awards are not restricted to jazz. However, creative complexity and what I like to call “narrative coherence” are definitely a factor, so don’t expect to find much dubstep, punk rock or gangster rap.

Now, some might question what even qualifies me to grant an “award”. I’m a science fiction writer and independent music journalist, what could I even have to offer? A quick google search for the word “award” gave the following result:

noun

  1. 1.

a prize or other mark of recognition given in honour of an achievement.

I have no physical prize to offer, but I do have my recognition, along with a music lover’s profound respect and admiration. Consequently, The Music and Myth Awards are as legitimate as any large-scale accolade. No distinction, large or small, can claim to be entirely objective. That is simply not possible. In the end, it’s just somebody’s opinion. And here is mine:

Grammy Predictions

My major grief with the Grammys has been what I’ve perceived as a very narrow outlook on the musical landscape. If nothing else, my work with The Music and Myth has taught me that there is a vast number of enormously talented musicians out there. Yet, a quick glance at the yearly lists of Grammy nominees reveals the same names over and over again – for a whole decade. Not only that, you will often find a particular nominee on another nominee’s record, playing a certain instrument or featured as a special guest vocalist. As an example I will use four-time Grammy winner Dianne Reeves’ Beautiful Life. The record is produced by last year’s “best instrumental jazz record” winner Terri Lynne Carrington and features special appearances by last year’s “best vocal jazz record” winner Gregory Porter, Gerald Clayton (nominated last year), Esperanza Spalding (2013 winner) etc.

Brian Blade is nominated for Landmarks but also appears on Chick Corea’s Trilogy, alongside Christian McBride, who was nominated with his record last year. You get the picture…

Since the Grammy Awards are by far the biggest of their kind, this creates the impression  that there is a small elite of musicians acting on some higher musical “plane”. That is simply not the case.

One other issue that I had last year was the lack of “new” music being considered, with many of the records (and one of the eventual winners) being cover- or so-called “tribute” records. I don’t presume to disqualify a record from consideration on the basis of it being a cover album, but even Al DiMeola admitted in an interview I did with him that it was much more difficult to summon up the creative force required to write completely new music than to develop existing melodies – and that was while he was promoting his own album of Beatles covers.

Again, I’m not stating that a cover record can’t be excellent, or worthy of the highest recognition, but I feel like creativity should definitely be a factor when considering the best of the best. That being said, let’s take a look at this year’s nominees and see if we can predict a winner.

Since we were speaking of covers, three-time Grammy award-winning pianist Billy Childs is nominated for Map to the Treasure, Reimagining Laura Nyro where a plethora of guest musicians (including Diane Reeves and Esperanza Spalding) are featured on the pianist’s arrangements, which certainly honor the legendary’s musician’s stellar compositions, but ultimately fail to really re-imagine them.

Also in tribute-land, the daring and charismatic René Marie pays homage to Eartha Kitt in I Wanna Be Evil, an outstanding tribute album, but just that. Tierney Sutton is once again present, this time with the tender Paris Sessions, an elegant, minimalist record featuring the singer’s marvelous voice on the backdrop of Serge Merlaud’s guitar and Kevin Axt’s bass. Meanwhile, Dianne Reeves’ Beautiful Life is gorgeous, but not groundbreaking and a bit too “calculated”.

I think the Grammy will go to Gretchen Parlato’s Live in NYC. This well-executed live recording brings forth some of Parlato’s best songs from her previous albums The Lost and Found and In a Dream. I can’t really explain why I feel Gretchen will take it, but it just “feels” like the music industry itself wants to grant her the award, just like last year “felt” like Porter’s year. The record is good and once you get accustomed to Gretchen’s unique delivery (which can be a bit of an acquired taste), you will discover depth, intelligence and most importantly, a strong sense of personal identity.

In the instrumental category we’ve got the raw and captivating Floating by Fred Hersch Trio, where the pianist returns to the studio to record perhaps his most sanguine outing. Jason Moran presents All Rise: A Joyful Elegy to Fats Waller, which is undoubtedly joyful and delightfully quirky but otherwise not outstanding. Enjoy the View deserves high praise for excellent compositions and fantastic interplay between Bobby Hutcherson, David Sanborn and Joey DeFrancesco, but lacks an overall narrative cohesion.

Personally, I would give the award to Brian Blade’s Landmarks, the most pensive and emotional of the records but I think the NARAS will use last year’s pattern, where they give the vocal award to the up-and-comer and  the instrumental to the veteran, so I predict that Chick Corea’s Trilogy will be the winner (which is also great news for Brian Blade, who plays drums on that record). In all fairness, Corea’s monster three-record magnum opus is an imposing work and I think the NARAS will want to honor Corea as a sort of “lifetime achievement” Grammy after nominating him sixty-one times and granting him twenty little gramophones. Let’s see if I’m right!

Now, let’s take a look at the winners of the most coveted “boutique” award in the music industry. Interestingly, both records are special edition works and both are deserving of large-scale exposure, so let’s hope the musicians decide to go that route as well.

The Music and Myth Awards go to…

Best Vocal Record: The Song Project – Vinyl Singles Edition (Tzadik)

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Sometime in late December I found out that John  Zorn decided to release this limited edition vinyl and I breathed a sigh of relief. No other musical project has haunted me throughout last year like this one. So far, The Song Project existed only in the form of concerts, like this marvelous performance in Warsaw. It was killing me that these songs hadn’t been captured on record, because I was itching to give this project “best vocal record”. It just felt wrong to grant the award to anyone else. Even on paper it looks brilliant: John Zorn employs three world-caliber vocalists to write lyrics to some of his most melodic tunes and puts together an all-star band of the world’s most capable musicians to perform the tracks. Just look at this list of names: Marc Ribot, John Medeski, Trevor Dunn, Cyro Baptista, Joey Barron, Kenny Wollesen, Jesee Harris, Sofia Rei and freakin’ Mike Patton. The compositions are fantastic, the interplay borders on the paranormal and the delivery by the three vocalists is exquisite. Here’s what I wrote about it in my review:

It was love at first sound. How could it not be? The Song Project features a distinguished cast of performers from all over the musical spectrum, coming together to bring to life the tunes of one of the most accomplished, groundbreaking composers of all time.

Anyone who has to ask why John Zorn is a genius is probably not reading The Music and Myth. In The Song Project, the composer summoned three world-caliber vocalists to write lyrics to some of his greatest arrangements. What resulted was a new musical project of profound poignancy. Backed by an amazing band that features Marc Ribot, John Medeski, Trevor Dunn, Joey Barron, Cyro Baptista and Kenny Wollesen, vocalists Sofia Rei, Mike Patton and Jesee Harris each bring forth their own expressive insights. After a series of fantastic concerts, the composer fortuitously decided to capture the experience on vinyl, releasing a record simply titled The Song Project Vinyl Singles Edition under the self-run Tzadik label.

This record is definitely a worthy successor to Patricia Barber’s fantastic Smash as the Music and Myth’s Best Vocal Record and I can only hope that Zorn will decide to make this music available in other formats as well.

Best Instrumental Record: Horea Crisovan – My Real Trip (self-released)

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To tell you the truth, I hesitated before deciding on this record. That’s not because I don’t consider it entirely deserving. It is, without a doubt, the best instrumental record I’ve come across this year (and I listen to a lot of music). The problem lies with Horea himself, or rather, with my relationship with him. Not only is he a compatriot, he is also a personal friend and that’s a well-documented fact. Of course, choosing the record merely on this basis would be unfair. But wouldn’t it be equally unfair to dismiss it for the same reasons?

Here is what I wrote about it in my review:

 My Real Trip doesn’t only feature Horea the guitarist, but also Horea the composer. The listener finds him at his most comfortable: on acoustic, playing profoundly melodious, story-driven songs. This is the purest form of music: self-released, in limited edition, containing entirely and exclusively the artist’s vision – a veritable breath of fresh air in an industry cluttered with easy-listening tunes for the lowest common denominator. In a way, this is the anti-record: an independent work of art that celebrates the musician’s vision and character. This is Horea drinking wine, it’s Horea riding his beloved bicycle or retreating to the mountains to think. It’s Horea playing the music he loves most, with no-one hovering over him, telling him what to write or pressing him to adjust his compositions to the perceived demands of an easily distracted target-audience. His target audience consists of people who love music for the artistry and dedicate their full attention to it. His audience does not merely want to hear sounds, they want to experience music and My Real Trip delivers.

[…]Horea Crișovan’s long-awaited debut is a heartfelt expression of love for the medium. The musician invites you into his own personal space and you truly feel like you are a part of his compositional universe.

I am not a musician, but I am an award-winning writer (sorry, I just had to place that in there :P) and as such, primarily a storyteller. The narrative and the genuineness of the artist (see Patricia Barber’s Smash, Sofia Rei’s De Tierra y Oro or Xela Zaid’s Orange Violet) are as important to me as their skill or the money their record label invests in post-production. Like last year’s record – Iva Bittova’s self-titled album- My Real Trip captures the essence of the musician in a simple, yet singular way and that is what makes it the best of the best.

Congratulations to the musicians, the physical prize consists in a copy of my science fiction novel Mindguard if you will just kindly leave me your e-mail addresses so I can send you the Amazon gift card. These are the Music and Myth Awards for 2014, I’m anxious to see what 2015 has in store for music lovers!