Music of every ilk burst out of the gates in early 2023 and never stopped turning heads. Today, the first round of Local Spins writers reveal picks for the best albums and concerts of the year.
Lighting Up 2023: Quinn XCII played Grand Rapids in June and also released an album on a ‘best of’ list. (Photo/Chelsea Whitaker)
Poring through an ever-growing mountain of new music to find the best of the bunch shapes up as a daunting, herculean task.
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But our intrepid Local Spins staff of writers welcomes the challenge every year, stepping up to the plate to showcase their picks for the top albums, songs and concerts of the year.
And 2023 was no ordinary year, boasting a literal explosion of concert tours and much-ballyhooed new releases by both internationally acclaimed stars and regional favorites.
As for the editor and publisher of Local Spins, well, I can’t ignore the elephant in the room — namely, Ionia County’s favorite son and bluegrass powerhouse Billy Strings. Not only was his jam-packed Halloween homecoming extravaganza at Van Andel Arena the grandest (and most over-the-top) concert of 2023, but his collaborations with major stars (Willie Nelson, Dierks Bentley) earned him two more Grammy Award nominations, along with a third nod for best bluegrass album (“Me/And/Dad”).
Beyond that, my favorite concerts of the year included Peter Frampton at Meijer Gardens, The Crane Wives and Fastball at Studio Park, The War and Treaty at The Intersection’s Stache, and Amos Lee at St. Cecilia Music Center.
But enough of all that. Here then is Take 1 of the Local Spins critics’ picks for best albums, songs and concerts of the year. Take 2 to come on Thursday.
THE WRITERS’ PICKS: BEST MUSIC OF 2023 (PART 1)
Troy Reimink
FAVORITE ALBUMS
1. Overmono, “Good Lies” – The uphill battle for any electronic act with aspirations beyond “functionality” is to convincingly marry the mechanical and the soulful. It takes about 40 seconds of “Feelings Plain,” the shimmering opening track on Overmono’s debut album, to appreciate how thoroughly the Welsh brothers Tom and Ed Russell have realized that ideal. “Good Lies” is a tight collection of abstract club bangers that plays like both a wiki of modern subterranean dance-music forms and a thrilling glimpse into unexplored realms.
Listen: “Feelings Plain”
2. Jeff Rosenstock, “HELLMODE” – The prolific New York artist Jeff Rosenstock is in his early 40s, which is about a thousand in punk years. But he makes a strong case for pursuing the DIY road-warrior lifestyle to one of its logical conclusions — whether that means an early grave or, in his case, a late-blooming solo career that infuses principled punk rock with unusually mature melodic craftsmanship and a worldview informed by hard-won wisdom. “HELLMODE” is a full meal of shout-along ragers, fist-pumpers, slow-burners and navel-gazers that is, above all, a pure joy to hear on repeat.
Listen: “DOUBT”
3. JPEGMAFIA & Danny Brown, “Scaring the Hoes” – It speaks volumes about hip-hop’s half-century of evolution and maturation when an album called “Scaring the Hoes” can be described as traditionalist. Yet this collab between veteran rapper/producer JPEGMAFIA and Detroit gonzo-rap genius Danny Brown shares DNA with sample-collage classics such as De La Soul’s “3 Feet High and Rising,” the Beastie Boys’ “Paul’s Boutique” and J. Dilla’s “Donuts” — only with decades of additional raw material in its expansive palette. And the seamless union of JPEG’s serrated beat-making and Brown’s barely-hinged rhymes announces what already feels like one of rap’s all-time-great full-album team-ups.
Listen: “Fentanyl Tester” ()
4. Spiritual Cramp, “Spiritual Cramp” – I can say with some authority that nobody who was young and cool 20-odd years ago (or thought of themselves as such) ever used the term “indie sleaze” in real time, although admittedly it is effective shorthand for an era of skeevy electroclash afterparties, Sparks hangovers and cigarettes INSIDE THE BAR. While most indie bands are still taking their cues from ’90s alt-rock, the self-titled debut from San Francisco’s Spiritual Cramp is like a cloud of coke dust blown off the venue-bathroom toilet seat of half-dormant 2000s trends, coming decisively from the Killers/Franz Ferdinand wing of the millennial-rock museum — crisp, catchy, cheeky and, yes, just the right amount of sleazy.
Listen: “Talking on the Internet” ()
5. Hotline TNT, “Cartwheel” (Third Man Records) – There’s a quantity-to-quality issue with shoegaze revivalism. It’s never been easier to find bands doing competent iterations of the classic loud/pretty template, but too many of them commit the cardinal sin of exchanging melody for texture and end up dissipating into the fog of half-memory. The second album by NYC rockers Hotline TNT, however, hums and crunches in continuity with the genre’s historic greats but also sparkles with the hooky precision of power-pop, achieving the paradoxical feat of melting the brain AND getting itself stuck there.
Listen: “Protocol” ()
HONORABLE MENTIONS (alphabetical by artist)
Amaarae, “Fountain Baby”
boygenius, “the record”
Zach Bryan, “Zach Bryan”
Bully, “Lucky For You”
The Clientele, “I Am Not There Anymore”
DJ Sabrina the Teenage DJ, “Destiny”
Jane Remover, “Census Designated”
Militarie Gun, “Life Under the Gun”
M83, “Fantasy”
NATL PARK SRVC, “Magician”
Parannoul, “After the Magic”
Caroline Polacheck, “Desire, I Want to Turn Into You”
Romy, “Mid-Air”
Ratboys, “The Window”
Sampha, “Lahai”
Slowdive, “Everything Is Alive”
Wednesday, “Rat Saw God”
Jamila Woods, “Water Made Us”
Youth Lagoon, “Heaven Is a Junkyard”
FAVORITE REISSUE (of all time?) – The Replacements, “Tim (Let It Bleed Edition)” – It is obligatory to describe The Replacements as one of rock’s great what-ifs — a band of immense potential fronted by a world-class songwriter that was ultimately undone by combustible personalities, bad decisions and a collective drinking problem. A big part of the mythology is the assumption that their major-label debut and (arguably) best album, “Tim,” suffered from an inexplicably subpar mixing job. For its long-overdue reissue, engineer Ed Stasium reconstructs the record from scratch, unearthing new guitar melodies, beefing up the rhythm section and clarifying many of Paul Westerberg’s long-debated lyrics. Whether this version of “Tim” would have made the Replacements the ’80s rock stars they never became is impossible to know, but it does remove at least one asterisk from the group’s incalculable legacy.
FAVORITE SHOW – Sunny Day Real Estate, April 18 at the Intersection – If somebody told my much younger self that my first time seeing Sunny Day Real Estate would be on a Tuesday night in a mostly-full mid-size venue in a secondary touring market, I wouldn’t have believed it. And yet there we all were: the reunited, much-deified emo standard-bearers who blazed like a mystical comet straight through my teenage heart, and the now nearly middle-aged owner of that same heart, simultaneously wishing those years hadn’t passed and feeling grateful that they did, because they brought us together at last.
Robert Novak
1. waveform*, “Antarctica” — With five preceding albums, Connecticut-based duo Jarett Denner and Dan Poppa have really honed their style with 2023’s “Antarctica.” The cold blue cover art sets the tone for the chilling and ambient sounds that lie ahead. Using soft melodies and complex textures, tracks like “Lonely” and “Ocean” carry a stillness to them as they move through you.
Listen: “Lonely”
2. Sufjan Stevens, “Javelin” — Emotional, raw and real, Stevens’ 10th solo studio album is completely vulnerable to judgment and self-deprecation. The indie-folk record melds genres with gospel-esque refrains, country twang and electronic symphonies. Stevens, a Michigan native, produced compilations of worldly sounds that somehow seamlessly come together. The all-encompassing “Javelin” touches on themes of love, allegiance and growth that listeners can relate and sympathize with.
Listen: “So You Are Tired”
3. Yo La Tengo, “This Stupid World” — The nearly 40-year-old alternative rock group has continued to add to their discography with this calmly distorted, existential LP. As the title suggests, “This Stupid World” questions meaning and purpose. While somewhat moody, songs such as “Sinatra Drive Breakdown” and “Brain Capers” keep an upbeat and light tenor.
Listen: “Sinatra Drive Breakdown”
4. boygenius, “The Record” — Following their 2018 self-titled EP, “The Record” was a long time coming and worth the five-year wait. Together, Julien Baker, Phoebe Bridgers and Lucy Dacus create a power throuple capable of all things in music. From ballads such as “We’re In Love” to the impassioned screaming in “$20,” boygenius covers all the bases with this release.
Listen: “Satanist”
5. feeble little horse, “Girl with Fish” — The young shoegaze-pop band produced one of the albums of the year with fuzzy tones and psychedelic melodies. Officially forming in 2021, the Pittsburgh-based group fuses catchy pop riffs with grainy guitar to encapsulate an experimental, yet signature sound.
Listen: “Steamroller”
FAVORITE LOCAL ALBUM: Pretoria, “Where Will the Night Take Us?” — You wouldn’t think it was Pretoria’s debut album with how well-produced the five-piece Grand Rapids band sounds. Whether on record or live, Pretoria’s “Where Will the Night Take Us?” has been refined to an indie-pop masterpiece. From “Dance in the Rain” to “As If,” listeners will experience the full range of emotions during this 40-minute album.
Listen: “Just Your Above-Average Kisser”
BEST CONCERT: Breakup Shoes at The Pyramid Scheme, May 3 — The Arizona-based indie-rock band with surf-punk roots sold out The Pyramid Scheme with openers Worry Club and Pretoria. Unofficially marking the beginning of the summer concert season, Breakup Shoes performed breezy tunes for the packed venue of jumping concertgoers. The crowd was electric, unabashedly dancing to songs like “Brian Wilson Is My Dad” and waving phone flashlights to tracks like “Unrequited Love (& other clichés).”
Chelsea Whitaker
1. Paramore, “This is Why” – Paramore is back with a powerhouse of a record that demonstrates exactly what it looks like when emo grows up. After 5.5 years without new music, the band comes together to create something brand new, showcasing the skills they’ve gained in that time. It’s clear that Hayley Williams vocals from her solo records have heavily influenced her vocal stylings in this record. (If you haven’t listened to “Petals for Armor” or “Flowers for Vases” / “Descansos” yet, I highly recommend doing so as soon as possible.) The sound is very different from their old stuff, but still distinctly Paramore. The moment I finished watching the video for “The News,” I knew this record would launch the Nashville natives to the next level. The video felt like an old school horror flick, and I was eager for more. The lyrics clearly point at the Ukraine / Russia conflict, opening with the word “war”, Williams says things that I think a lot of us have been feeling in the past few years. Even the video for the title track, “This Is Why”, feels a little off, in the best way possible. It all made sense when I learned that Williams had been watching American Psycho throughout the writing process. This record contains a beautiful blend of dancy tunes, provocative stances, and dreamy ballads. I am obsessed with this record, and I’ve been spinning the vinyl non-stop. Each time I listen, my favorite song changes. I love to listen back to older Paramore, like “Pressure” and “Hallelujah” comparing the changes and growth in their sound and message. I’ve never been mad about a band changing their sound. Humans change constantly, it only makes sense that music does, too.
Listen: Paramore, “Running Out of Time”
2. Quinn XCII, “The People’s Champ” – This album was the album of the summer, for sure. It’s upbeat, dancey and positive. All the things you want from a summer anthem, but it’s the whole damn record. There are some impressive features on this record, too, with Big Sean, AJR, Adrian Cota, and Chelsea Cutler all listed. For a guy who sings about never doing drugs, he sure seems to sing about doing a lot of drugs. “Backpack” is a favorite for just that reason. Every song just flows, showcasing the Michigan native’s expert lyricism. “Bartender” opens the record with catchy beats, but when you listen to the lyrics, they’re the same issues we’re all dealing with. The whole record is about the daily struggles we all deal with, even the pop stars we admire, hence the title The People’s Champ. Lyrics like “But I try, I don’t know if I’m a good or bad guy,” in “Black Porsche” remind us that we’re all human, and we’re all going through it. Closing the record is “All That You Need,” a piano ballad of self-love. “Cause all that you need is what you can’t see, but you’ve always had it,” reminds us that anxiety can hit all of us, and we can make it through.
Listen: “Backpack”
3. Melanie Martinez, “Portals” – Melanie Martinez returns with her first record in three years, and the third and final installment of the “Crybaby” trilogy. This character first showed up in her debut album, “Crybaby,” then moved through K-12, and finally, the character dies and continues into their afterlife in Portals. The album is a reflection of years learning about hypnosis and reading others experiences, as well as her own experiences. This record still embodies the energy and sound of Martinez’s music, while growing up with her. She enters a more spiritual side, as she wrote almost half the album in a room she called The Portal Room. When sitting in this room, she would connect with the spiritual realm, helping to guide her songwriting. In the opening song, “Death,” there is a deep vocal track repeating “Dead, dead, dead” that was inspired by a voice Martinez heard while singing in The Portal Room. “I heard a spirit with a completely different tone than mine repeat a melody I had sung out loud in the silence and it sent a chill down my body. I was really scared at first.” But she used that as a confirmation from the other side to continue on. Lyrically, sonically, and visually, this album is complex and intriguing. I highly recommend listening to this record from top to bottom the first few times, in order to really understand the story. Every track is great in its own way, but some of my favorites are “Void,” “Battle of the Larynx” and “Evil.” “Evil” is especially fun, with its rock ‘n’ roll intro and catchy hook. I feel like everyone knows a narcissistic person who can relate to this song. The entirety of the album confronts death, grief, and the afterlife. While this could be an incredibly heavy record, it’s light and dancey, teaching us to accept that death is inevitable, and that doesn’t have to be a bad thing.
Listen: “Death”
4. Ashnikko, “Weedkiller” – Ashnikko’s debut album is experimental, dynamic, and interesting. Blending the worlds of anime and video games with that of hip hop and pop music. The songwriting is clever and witty, with funny bits weaved in. While writing this record, Ashnikko looked to Hans Zimmer for inspiration, telling her producer, Slinger, that she wanted the record to feel like it was scored for a sci-fi film. This came across brilliantly with the vibrant and visceral storytelling. She experiments sonically with organic sounds, stereo sound play, and unexpected dynamics. The way she manipulates the texture of sound and the sonic experience is so fun and playful. There is a strong dichotomy of hope vs hopelessness throughout the album. When talking about “Cheerleader”, Ashnikko says “there is a place for eroticism” in this dystopian world, showcasing that there can be hope. While writing “You Make Me Sick”, and talking to her producer, they both felt that she “really just needed to rage” during the writing process, showing some of the foreboding and hopelessness on the other side of the coin. She brings in themes of climate change and environmentalism in a fresh way that isn’t typically found in pop music. Overall, the record is cohesive, tells an incredible story, while experimenting with sound and texture.
Listen: “You Make Me Sick!”
5. Sleep Token, “Take Me Back to Eden” – In case you aren’t aware, there is a fair amount of lore behind Sleep Token. The vocalist goes by the moniker of Vessel, as he is merely the “vessel” for Sleep’s teachings. “Our identities are irrelevant,” Vessel explains, feeding into the occult-like nature between the band and its fans. In the only interview Sleep Token has offered, Vessel says “Life is dark. Life is bright. Life is ugly. Life is beautiful. Don’t get lost in genres, they’ll only disorientate you. Music is for everyone.” And I feel like that is incredibly powerful. As we navigate through this life, music has evolved and changed and will continue to do so. Genres are beginning to disappear, boundaries are being broken, and artists are given the freedom to express themselves more fully. For Vessel to have recognized and expressed this way back in 2017, just shows that they aren’t afraid to break those boundaries and blend sounds together in a new and interesting way. Their latest album, is groovy, funky, in some ways poppy, and oh, so heavy. Demonstrating their seamless ability to blend and distort genre past recognition. There are songs that make you cry while others make you want to dance. The absolute beauty of duality and dichotomy in this record shines through. “The Summoning” is probably my favorite track on the album. It has this insane bassline that gets really funky towards the end of the song, and it has me grooving. Every. Single. Time. The imagery within the lyricism is so clear, with lyrics like “We were tangled up like branches in a flood” from “Chokehold,” I can see exactly what he is describing in my mind. “Are You Really Okay” feels kind of like a sneak attack. About half way through the record, this song begins so gently. When listening for the first time, you don’t expect for these lyrics to absolutely rip you apart, but by the first “Are you really okay?” I’m a weeping mess on the floor. You can feel the emotion in his voice, with breakdowns in the perfect places. I was lucky enough to get to see Sleep Token during their latest U.S. tour at Riot Fest in Chicago. Aside from being 30 minutes late to take the stage, they put on a hell of a show. Hearing the songs from this record performed live was a real treat.
Listen: “The Summoning”
LOCAL ALBUM FAVORITE: Hannah Rose Graves, “Medicine”
HONORABLE MENTIONS: Maneskin, “Rush!”; Beartooth, “The Surface”; Spiritbox, “The Fear of Fear”
FAVORITE CONCERT: Fit for a King at The Intersection (March 1, 2023) – At the time of writing this, I have already photographed 100 shows this year and attended a handful, so choosing one singular show as my favorite is an incredibly difficult task. I got to mark a lot of things off my bucket list this year, seeing a ton of bands that I truly love and admire. Some of my top shows from the year include Dayseeker, Beartooth, Bilmuri, Melanie Martinez, the Jonas Brothers, and Meshuggah. But the one that I am giving the title of best show of 2023 is going to Fit For a King on The Hell We Create Tour. Prior to this day, I had photographed FFAK about a half dozen times, almost entirely by accident. What I mean by that is I’ve photographed them as openers on other tours quite a few times before finally shooting their headlining tour. I love this because I was able to get to know their music organically through that, and it got me even more excited for their headlining tour. This was my first time ever shooting in the big room at the Intersection (aside from the Jammies), and I decided to begin my crowd-surfing journey at this show, as well.
Holly Holtzclaw
1. Joe Hertler & The Rainbow Seekers, “Pursuit of Wonder” — Yes, The Rainbow Seekers’ “Painted World” EP already made my list last year, but according to my streaming stats, I’d be a liar if I left this one out of my 2023 list. On the surface, many of the tracks are upbeat, joyful anthems that inspire the colorful, energetic dance parties that take place at the Rainbow Seekers’ live sets, but beneath that sparkly surface lie topics of death, failure, and the everyday struggles of being human. Between the band’s sonic experimentation and Hertler’s most honest lyrics yet, this album is truly one-of-a-kind.
Listen: “Marrow Dream”
2. Molly Tuttle & Golden Highway, “City of Gold” — Much like Michigan’s own Billy Strings and Greensky Bluegrass, Molly Tuttle and her band have proven themselves to be an important piece of the current bluegrass revival. Tuttle’s brilliant storytelling is infused with fearless feminist messages as well as top-notch musicianship from the Golden Highway band. “City of Gold” retains the roots of traditional bluegrass while simultaneously creating an accessible sound for those who are new to the genre.
Listen: “El Dorado”
3. Moss Manor, “Moss Manor” — The very premise of Moss Manor excited me before I had even heard any of their music. The supergroup of Michigan musicians made their debut this year with a brilliant mix of styles and masterful production that ties it all together. Ambient sounds and thoughtful interludes turn the album into a full listening experience that should not be interrupted.
LISTEN: “Slowburn”
4. Y-Not, “Rearranging the Psychic Furniture” — Reviewing an album usually means playing it on repeat so much that I need to take a break from it for awhile. After I finished my review of Y-Not’s album, all I wanted to do was keep listening. It quickly became one of my go-to albums this year and I found new details to love about it with each listen. The lyrical themes and soothing melodies of these tracks bring a sense of peace to my mind that very few albums can.
Listen: “Break the Cycle”
5. Beach Weather, “Pineapple Sunrise” — After a 6-year hiatus and an old song (“Sex, Drugs, Etc.”) gaining unprecedented attention on TikTok, Beach Weather came back with their first full-length album. “Pineapple Sunrise” captures a beachy summer vibe, accented with a retro twist that also seeps into the band’s aesthetic choices. With catchy hooks and Nick Santino’s effortlessly smooth vocals, “Pineapple Sunrise” stands out amongst the rest of the modern indie-pop-rock crowd.
Listen: “Unlovable”
HONORABLE MENTIONS: The Maine, “The Maine;” Fall Out Boy, “So Much (For) Stardust;” Loren Johnson, “How To Change”
FAVORITE SHOW/FESTIVAL: Blissfest July 7-9, 2023 in Harbor Springs – This year I attended my first ever full weekend at a camping music festival. With a lineup that was seemingly tailored to my exact music taste and the beautiful backdrop of Northern Michigan, Blissfest completely stole my heart. The weekend was packed with beautiful weather, conversations with both friendly faces and kind strangers, and so many incredible performances. The countdown to Blissfest 2024 began as soon as I drove away from the festival grounds.
Ross Boissoneau
1. Marc Jordan, “Waiting for the Sun to Rise” – The Canadian singer and songwriter won’t be confused with his fellow Canuck Michael Bublé, as his understated style is miles away from Bublé’s occasionally over-the-top approach. But he likewise uses everything from simple piano to orchestra to set off his voice. His songs have been covered by the likes of the Manhattan Transfer, and he’s a recently did a duet album with his wife, fellow singer-songwriter Amy Sky. A gifted interpreter as well, he covers Tears For Fears, and his take on Jimmy Webb’s “The Moon Is A Harsh Mistress” is brilliant.
Listen: “Waiting for the Sun to Rise”
2. Everything But The Girl, “Fuse” – A welcome return from the iconoclastic EBTG, who when offered the chance to open for U2, instead – retired? Yep, nearly a quarter century ago, Tracey Thorne decided it was time instead to raise a family. She and husband/partner Ben Watt both resurfaced a few years back as low-key solo artists, and their new album harkens back to the drum & bass feel the two favored in later days. Thorne’s stunning, melancholy voice boasts even more depth than before.
Listen: “Nothing Left to Lose”
3. Little Feat, “Highwire Act Live in St. Louis” – Originally released in 2004, this captures the early 2000s iteration of the band. It’s now enhanced with a concert Blu-ray, with a mini-doc “Little Feat Close Up In St. Louis,” in which band members ruminate on its history. It had already been a couple decades since founder Lowell George’s death, and the band had settled into a well-oiled outfit, capable of letting it roll or helping the old folks boogie. Time loves a hero? At least in the case of every version of Little Feat, it certainly does.
Listen: “Old Folks Boogie”
4. Soft Machine, “Other Doors” – During the six decades since the band debuted in Britain, Soft Machine has gone through more iterations and offshoots than pretty much anyone else, with no two albums featuring the exact same personnel and approach. That continues here, as it is the swan song for drummer John Marshall and bassist Roy Babbington, who harken back to the 70s versions of the band. It continues along an adventurous path of sometimes moody, sometimes strident electric jazz. No matter who was or is in the band, Soft Machine sounds like no one else.
Listen: “Other Doors”
5. Hiromi’s Sonic Wonder, “Sonicwonderland” – The inconoclastic keyboardist debuts a new band, featuring trumpeter Adam O’Farrill. He and bassist Hadrien Feraud bring new flavors to Hiromi’s excursions. Hiromi’s synths are more prominent, but still serve to mostly enliven her brilliant piano.
Listen: “Sonicwonderland”
6. Steve Hackett, “Foxtrot at 50 & Hackett Highlights, Live in Brighton” – Bookended by two classic tracks – the dystopian “Watcher of the Skies,” with its ominous mellotron recalling haunted opera houses, and the epic “Supper’s Ready” – “Foxtrot” is one of the key moments in rock’s progressive heyday. Hackett’s band is as sharp as ever, though dynamic drummer Gary O’Toole’s plaintive vocals are missed. The guitar maestro himself has not lost anything in the 50 years since “Foxtrot” hit record store shelves, and the disc is balanced with a selection of his solo tracks and two others by his former band.
Listen: “Watcher of the Skies”
7. Bob Holz, “Holz-Stathis Collaborative” – Drummer Bob Holz enlists a host of jazz luminaries on this recording, including three-quarters of the second iteration of the Mahavishnu Orchestra in the persons of John McLaughlin, Jean-Luc Ponty and Ralphe Armstrong. “Sise Scratch” features an ebullient Randy Brecker solo. Contemporary jazz doesn’t get any better than this., with references to bebop, fusion and swing. Bonus points for an exquisite version of Chicago’s “Make Me Smile.”
Listen: “Make Me Smile”
8. Jeff Babko, “The Libretto Show,” “Clam City” – A twofer here. Best known to the masses as the keyboardist for Cleto and the Cletones on Jimmy Kimmel Live, Babko has also accompanied Martin Short and Steve Martin on their comedy tours. These live dates, with bassist David Piltch (plus Babko’s wife, violinist Songa Lee on one track) and a trio with Tim Lefebvre and Mark Guiliana, showcase his dynamic, sensitive playing and songwriting as well.
Listen: “Fair Enough”
9. Brian Bromberg, “The Magic of Moonlight” – Bassist Bromberg always brings a lot of melody and fun to everything he does, from bebop and acoustic jazz to pop-flavored outings (he’s been the bassist of choice for Michael Bublé). Much like “A Little Driving Music,” this one strikes a balance between those extremes. Grooving and hummable without ever being pedestrian.
Listen: “The Magic of Moonlight”
10. Incognito, “Into You” – Things to expect from an Incognito album: New vocalists (check), zesty sing-alongable numbers (check), killer harmonies (check) and above all, a groove that never stops (oh yeah, check). Incognito remains the crown jewel in leader Bluey Maunick’s many musical endeavors.
Listen: “Into You”
HONORABLE MENTION: Jazzrausch Bigband, “Mahler’s Breakdown” – The most non-traditional big band out there, combining jazz, swing, electronics, house and now classical. Expect the unexpected.
Listen: Sinfonie in Cis-Moll
BEST CONCERT: Kurt Elling and Charlie Hunter with Superblue at the Acorn (Three Oaks), Sept. 23 – Elling was right at home in the cozy confines of this tiny theater, while guitarist Charlie Hunter and drummer Corey Fonville and bassist-keyboardist DJ Harrison (Butcher Brown) provided ample backing for his brilliant baritone. (Runner-Up: Brass Transit playing the music of Chicago with the Grand Rapids Symphony Orchestra at DeVos Hall April 1, marred by the iffy sound. I know there was an orchestra there, I could see them.)
Copyright 2023, Spins on Music LLC
