Music I'm checking out! - January 2026
- Dunham Music
- Feb 2
- 6 min read
A new year, and a new blog post!
Over the past few months, I've been documenting some of the music that I have been listening to, and this month is no different.
To cover the usual groundwork, my criteria:
Genre does not matter, good music is good music!
I am inspired by a particular element, sound, or form of the piece
As usual, I am not a music critic and/or somebody who is critically analyzing these pieces. The way I talk about these works will (hopefully) be very casual. I also take no credit for any of these amazing works, and am focused on highlighting the amazing qualities of these pieces! With that being said...
"The Deputy of East Carlock" by Daryl Johns, Chris Fishman
This past month, I've been on a strong Daryl Johns kick, thanks to my good friends and musical collaborators Nolan and Kodi (shoutout if y'all are reading this)! We started talking about Daryl Johns and other artists vaguely associated with this movement that can be most accurately described as "Hyper melodic indie jazz bedroom gen z adhd pop experimental core" (thanks Nolan). There were multiple songs from Johns's debut album I could talk about (including Crash, Palermo, Golden Showers, Whoops), but this one stood out. Before I dive into "The Deputy of East Carlock", I certainly must also note that this tune was actually composed by great pianist (and whatever the equivalent is for synths) Chris Fishman.
This tune, similarly to much of this genre of jazz is very riff and motive oriented. This approach really works to the artist's benefit when the hook is so darn catchy! This short melody repeats multiple times, sometimes with extensions, sometimes with slight variances in orchestration or accompaniment, but it guides the listener throughout this track. What is also done so effectively in this track in particular, is how the phrase modulates so flawlessly between tonal centers. These modulations don't also just occur in predictable 4-bar phrases, but all make sense musically and in relationship to the melody. The balance of each instrument is also handled with care and precision. The drummer keeps it light and groovy, the guitars and synths outline the melodies beautifully, and Daryl Johns throwing down some of the gnarliest bass-lines in the process which perfectly fill in the ensemble texture. The production on this track is outstanding, with beautifully recorded tape and analog effects to make this track sound 80s while also feeling contemporary. Did I mention the pitch shift of this record?? it's not on this specific track, but it's another fantastic effect which just further sets this record apart. Yeah, I would say you just have to vibe out to this fun track!
If I had one sentence:
"The Deputy of East Carlock" expands upon the use of riff based music within the context of jazz harmony and nostalgic production techniques to create an extremely catchy and light-hearted tune.
"Sco" by Mark-Anthony Turnage
When I came across this work, I was so happy that I had not heard of it. This focus of a jazz concerto with orchestra is something I've been fascinated by for a while (and something I have even wanted to tackle myself) and it made me happy to know that works like these were being programmed by wonderful orchestras like the London Symphony Orchestra. As one can guess from the title, Mark-Anthony Turnage's concerto was written for legendary guitarist John Scofield. From a compositional standpoint, I really enjoy how Turnage gives room for Scofield to improvise but not just within a "jazz context." It's not just rhythm section comping for Sco but rather an orchestrated texture and motive which helps guide the soloist. There's sections of this concerto which are both "bluesy" and "ambient", with both of these styles working extremely well with Scofield's signature guitar tone. This is a cool piece that I've enjoyed checking out and does a great job of incorporating an improvisational soloist within a notated orchestra context.
If I had one sentence:
"Sco" by Mark-Anthony Turnage seamlessly incorporates the distinct improvisational voice of John Scofield within the context of a lushly orchestrated accompaniment.
"Close to the Edge (Suite)" by Yes
I'm no prog rock expert, and usually it isn't a genre that I am specifically checking out. I was recommended to check out this crazy (yet classic) record and I am sure glad I did. The "Close to the Edge" Suite incorporates longer (and more symphonic) forms within a rock idiom. I love the overall progression of this track, as it never feels stale but knows how to pick up intensity and lighten up at the perfect sections. The first movement paints a lush soundscape with plentiful nature sounds, harps, and synths. This certainly reminded me of ambient music and was a little bit thrown off at first considering this is a rock album. Before I thought too much about it, the guitars start riffing with some very active accompaniment. I love how the energy catches the listener's attention while still providing just enough room to build later on in the piece. After a few choir "hits", the intensity and action mellows out slightly providing some room for the vocals and lyrics to shine. The groove is infectious throughout and the slight variances in time signature make it a pleasantly active listen. The next section continues this groove and features an awesome syncopated bass-line throughout. The start of the 3rd movement, instantly moves towards ambient string and orchestral sounds which is quite beautiful, especially considering the contrast and placement of this section. The re-entry of the voice is quite haunting and beautiful being supported by the organ and wonderful bed of sound throughout. This last section, returns to ideas from the groove in the first section. The whole-tone-ish sound works well in contrast as well as pushing the piece towards the finish line. The improvisation (particularly that of the keys) is very clean and serves the music well. The ending of this piece returns to some of the ambience of the beginning but with some more active sounds, modulating towards the nature and drone. If this is what people consider prog rock, then I really dig it!
If I had one sentence:
"Close to the Edge" brings symphonic level development and crafty grooves and harmonies to create a fun and adventurous prog rock suite.
"Play" by Andrew Norman
This energized work by Andrew Norman is chaotic energy personified! In a generation where there is so much noise around us, whether if it be social media or just the chaos of daily life, this piece feels uniquely adept for the times. The orchestrations are extremely vibrant and rich (as one would expect from Norman) and the harmony throughout balances the line between atonality and pandiatonicism (especially in the 3rd level). The use of percussion and percussive elements throughout the piece works extremely effectively. In listening to the recording, it almost sounds like there are percussionists throughout the orchestra, if its just a singlar bartok pizz. or other extended percussive technique or gesture. I think many people's favorite level (including mine) is level 3. In my opinion, this section is just signature Andrew Norman. The string writing is viscerale yet lush, and the build of this movement is absolutely incredible. Starting and ending the movement with a lot of space, the strings basically come out of one note and then build towards this almost overwhelming climax, which feels especially satisfying considering it's placement within the totality of the work. Overall, I highly recommend that any musician should check this work out, whether if you are the biggest new music lover out there, or someone looking for something different.
If I had one sentence:
Andrew Norman's "Play" brings vibrant orchestrations and energized techniques to create a work that beautifully stimulates life in the 21st Century.
"salsa al vapor" by Felipe Tovar-Henao
This work is an absolute show-stopper! I was lucky enough to hear this piece among many incredible pieces this past week (from when I'm writing this). This piece in particular blew me away! I think sometimes when I hear fixed media, I don't always hear the through-line or understand it (even if it is done extremely well). This piece is just a perfect example of incorporating catchy fixed media with some virtuosic piano figures. The theme of the piece is genius and I love how it doesn't just immediately enter at the beginning of the piece. Rather, the beginning includes these really fascinating atmospheric textures which weave in and out from the presence of the piano. When the groove finally arrives, the use of different meters and feels throughout provides this this playful vibe which works perfectly with the salsa hits. In a way, the use of fixed media in these sections totally feels like it could be used in a more "pop" aesthetic of sampling but with the piano's virtuosity and use of meter, it works beautifully within a concert music context. Overall, this is just quite an inspiring and energized work which will probably stick with me for a while!
If I had one sentence:
Tovar-Henao's "salsa al vapor" is an exciting and playful take on electroacoustic performance by beautifully integrating salsa aesthetics within an enticing solo piano context.
Comments