Music I'm checking out! - November 2025

Hey everyone, you've found my blog!

Over the past few months, I've been documenting some of the music that I have been listening to, and I happen to have really enjoyed this month's edition!

To cover the usual groundwork, my criteria:

1. Genre does not matter, good music is good music!

2. I am inspired by a particular element, sound, or form of the piece

As I've stated previously, 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...

"Spanish Joint" by D'Angelo

Something I've heard people talking about lately, is how we sometimes don't make the effort of embracing people while they are still with us. Unfortunately, last month D'Angelo left us on this earth and sadly, I had not really checked out his music before his passing. I then went on a somewhat deep dive checking out his music. For me, "Spanish Joint" instantly caught my attention. This track from the start has a fantastic vibe. The guitar riff and crisp bassline work in lock-step with the drums and percussion (who both as you can imagine are locked in). D'Angelo's voice shines throughout this whole work, and the harmonizations in the chorus make your heart melt. His sense of rhythm and improvsation, particularly within this groove, is spot on and truly contributes to the energy of the track (I sometimes have a pet peave with vocal ad libs, because I feel they can distract from the music). The horn lines and accompaniment are smooth and perfectly serve the track (I forgot to mention Roy Hargrove is on trumpet, need I say any more...). Like I said at the beginning, I hate the fact that I discovered D'Angelo's music after his passing but at the same time, I hope his music will continue to inspire people like it already has.

If I had one sentence:

"Spanish Joint" by D'Angelo showcases the singer's signature flair and sound in a way which comes across as fresh as ever.

"Mass for the Endangered" by Sarah Kirkland Snider

Earlier this month, I had the fantastic opportunity to hear Sarah Kirkland Snider's "Mass for the Endangered" in-person at a local church. I had heard snippets of this piece previously and am familiar with some of Snider's work, but hearing it in-person (even better in a church) was truly an awesome experience. The complete work is both beautiful and moving (which is no surprise in Snider's music) and approaches the traditional mass from the perspective of the voiceless, namely the endangered species in our world. The text blends/merges phrases from latin mass, as well as additional english text that expands or recontextualizes some of these phrases. If I had to pick a movement to talk about, it would probably be the Gloria. The opening harp accompaniment is beautifully transparent, both providing comfort yet not overpowering our ears. The altos/sopranos then enter with text, starting in unison and moving towards harmony, which praises the creator of the universe. This duet (in terms of voices and harp) then becomes more chant-like following the entrance of marimba. The orchestrational shift is especially effective in this part which also introduces the lower voices in a more polyphonic or imitative texture. This whole section builds into the repetition of the word Sanctus before returning to the harp/upper voices texture. This may not be the climax of the piece, but it's own dynamic and text-based shaping really contributes nicely to the work both musically and emotionally.

If I had one sentence:

Sarah Kirkland Snider's "Mass for the Endangered" is a beautiful contemporary take of the Mass which incorporates rich text-centered storytelling with crisp orchestration.

"The Time Bender" by Shai Maestro

Shai Maestro is one of my favorite pianists/composers on the jazz scene today! "The Time Bender" is his newest single (as the time this article is being written). This track tells a story from the beginning waltz, through the crazy up-tempo 17/8 feels. Not only does this track flow seamlessly, it is a beautiful integration of notated (or at least what sounds notated) music with improvisation. Every music element adds up and contributes, rather than distracting from the story. The playing of the quartet is quite rhythmically intense but at the same time feels completely free and flowing. To get more in the weeds, the beginning starts with this wonderful waltz, which sounds like it comes straight out the romantic period, or some idyllic film score. Towards the end of the B major - Ab minor modulation, the bass comes in and the piece immediately moves towards B minor, just a craftful example of modulation and phrasing. Next, the bell texture enters in duet with the piano and ends in a "lullaby" which then leads towards the 17/8 groove. This section is mysterious in timbre and tonality but features remnants of the harmonic material previously presented. By the time, the main melody is highlighted (in G minor), we are fully invested in this new playful feel. If you thought the modulations would be done, then you would be totally wrong lol. Maestro then moves the melody to Eb with a synth/piano doubling which just flows beautifully out of the G minor melody, while also contrasting from a darker character to something lighter (minor to major more-or-less). After this, we finally arrive back at B major with a vamp that moves back and forth between B and C. Shai's solo in this section is just fantastic, its playful and vibrant while continuing the motion towards the climax of the piece. The pedal F# in the bass just adds to the vibrant energy and motion towards the final statement of the melody. This ending melody provides strong finality and arrival, through the dynamic contribution of the band but also the specific freedom of the synthesizer part, which soars over the ensemble. The ending vamp gives the drummer some room to shine, and then the last articulated passage is intense and exciting. The very last waltz then reintroduces the feeling from the beginning of the work. I love how as a listener, we really feel like we've been in a trance during this last section. The form and momentum of this piece really fit the title "The Time Bender" quite well, and it's just another fun and very creative work by Maestro.

If I had one sentence:

Maestro's "The Time Bender" creates a beautiful and playful story through his use of form, modulation, and by perfectly incorporating improvisatory feels with planned harmony and orchestration.

"Star Struck" by Taye Dever

Social Media musicians am I right?... This is another tune that I came across while doomscrolling Facebook believe it or not (which is a rare pull compared to Ig). It took me less than 5 seconds to be hooked to Taye's unbelievable control and groove behind the kit. His flow and precision of ghost notes, ride cymbal, and kick drum are some of the best drumming I've seen on there in a while (don't worry, I know there's like thousands of other incredible drummers as well). I choose to listen to the track he released and this is (yet again) such a vibe. There is a nostalgic element with the harmonies and synth pads. Even though the harmony loops in a 4 measure pattern (in Bb-ish), the interest for this track occurs from the meticulous and driving drum grooves. Each of the notes are so delicate and somehow relaxing, but this drive keeps the track moving forward. The vocal ad-libs are super nice and just add more forward momentum through their emphasis of the beat, with a lengthened attack. This might sound like duh, but even the specific syllables he uses drive past the downbeat (if you don't know what I mean, listen to this track and try bobbing your head). This is a short track and is relatively straight forward and clean in terms of production, but the grooves and vibes in this track are off the charts!

If I had one sentence:

"Star Struck" by Taye Dever creates a groovy and nostalgic vibe through their incredible control behind the drum kit, and simple harmonic and vocal samples which balance to create a relaxing yet exciting track.

Coin Coin Chapter Four: Memphis by Matana Roberts

I've got to be totally honest, from recent memory, I think this is one of the most impactful and jarring (I don't know if that's the right word) albums to which I've listened. The story telling, the improvisation, the freedom, the creative risks, the symbolism all just kind of threw me in a trance by the end. It's almost hard for me to talk about this record because there is so much that just needs to be experienced. The ominious choral drones start the piece but then is quickly followed by franetic improvisation, which is then quickly followed by jaw harp (yeah you read that right), and then spoken word. In a normal album, this probably shouldn't work, but in this record, the meticulous storytelling and pacing of the album make every second contribute to the symbolism. This record is also raw, intense, and passionate in how it uses the point of view from Roberts' relative Liddie. In the story, Liddie is a child whose father is murdered by the Klu Klux Klan and she was separated from her mother. Throughout the work though, Matana Roberts manages to capture both the dark and ominious, as well as the spirituality and southern twang throughout. Like I said before, this album is just incredible and one that kind of leaves me at a loss for words, and demands not just one listen but multiple to better understand the thoughtful intricacies of the work.

If I had one sentence:

Roberts' Coin Coin Chapter 4: Memphis, is an immaculately woven record with thoughtfully incorporated storytelling, symbolism, improvisation, and quotation in the most pure and emotionally raw form.