By Maxazine South Africa 
Dozens of new albums arrive at Maxazine’s editorial staff every week. There are too many to listen to, let alone review. It ensures that too many albums are left behind. And that’s a shame. That is why today we post an overview of albums that arrive at the editors in short reviews.
Photo (c) Jorge Fakhouri Filho
Dirty Nice – Planet Weekend
On the latest album by the British indie pop group Dirty Nice, you feel like you’re at some kind of bizarre carnival. That’s already quite evident from the album cover, of course. Looking further at the tracklist of “Planet Weekend”, we also see several interludes listed as attractions. Well, it’s a fun idea for a sort of concept album. However, some of the lyrics are so absurd and vocally not well-delivered that you end up wondering what exactly you’re listening to. “If I Was Abducted By Aliens” sounds like a toddler who keeps asking questions. Yet, according to Spotify, it’s the most-streamed song on the album so far. It starts to get on your nerves, just like the jingle on “Merry-Go-Round Girl!”. Still, it’s a nice touch that everything being sung about is visible on the album cover. That’s arguably more enjoyable than the actual music being served. I think that says more than enough. (Rik Moors) (3/10) (Chiverin)
Various Artists – CaliAmericana, Vol. 3 (A Compilation Inspired by the Legacy of David Crosby)
This tribute album brings together several seriously talented singers to honour David Crosby’s legacy, and honestly, they’ve done it perfectly. Chris and John Beland open with a beautiful version of “Eight Miles High” that sets exactly the right tone. Shawn Thies shines on both “Oh, Nightingale” and “Guinnevere”; her voice has this incredible warmth that makes these songs feel fresh again. Jonathan Firey delivers two excellent performances with the poignant “Dangerous Night” and the more captivating “Dirty David”, showing real versatility. Kathleen Sieck’s contributions are equally impressive – her rendition of “Lee Shores” is pure meditation, while “The Universe Knows You’re Mine” hits you right in the heart. Glen Phillips brings great energy with “Velvety Jesus” and closes everything off perfectly with “Music Is Love”. What makes this so good is how each artist respects the original songs while making them their own. The production keeps everything intimate and organic, never getting in the way of the emotion. This is exactly how a tribute album should be done. (Norman van den Wildenberg) (7/10) (Santa Barbara Records)
Saundra Williams – New Day
Saundra Williams is one of those singers whose name you might not have heard before, but who is certainly known and appreciated by many music lovers. Of course, she will always be associated with her role as a backing vocalist for the unforgettable Sharon Jones & The Dap-Kings, but Saundra has so much more to offer than just that background role. Born and raised in New York, trained in the city’s churches, schools and streets, Williams already showcased her gift in the beautiful duo album with fellow singer Starr Duncan, “Saun & Starr”. Now she returns with her solo album “New Day”, and what a celebration it is. The love for music bursts from every note on this album. It sounds warm, genuine, authentic and deeply human. Williams has the voice of an angel who can sing you to sleep at night, yet also gives you the strength to push through that last kilometre of your run. “RN” opens with that characteristic vocal power and a groove that simply won’t let you stand still. “For So Long” shows the church-trained qualities of this remarkable singer in full glory, while in “Bigger” you can feel the spirit of Sharon Jones returning. “Happiness” is a wonderful time machine to the 1980s, with synth pop soaked in soul and a dancing bassline that instantly seduces. This is an album without weak moments, every track invites another spin. A celebration of positivity and pure love for music that firmly puts Saundra Williams on the map as a solo artist. (Jan Vranken) (8/10) (Slow Fawn Music)
Ryan Truesdell – Shades of Sound (Live at Jazz Standard) Vol 2
Gil Evans, the Canadian pianist and composer, is one of those names you can only pronounce with reverence. Not just because of his work with Miles, but also because he reinvented big band music and even sought collaboration with Jimi Hendrix. Jazz had to keep reinventing itself, and Evans was a true pioneer in that. In the rich orchestral palette, he created space for soloists and improvisation like no other: arrangements supported the soloist. Arranger and bandleader Ryan Truesdell pays tribute to the man in this “Gil Evans Project” and chose to do it live. The second part of this project kicks off with “Spoonful”, a standard blues, but with saxophone and trumpet solos bursting with energy. And that’s just the first five minutes. That energy returns in various pieces, such as in “Laughing at Life” with swinging vocals by Wendy Giles. A more restrained orchestra can be heard in “The Ballad of the Sad Young Men”, once beautifully performed by Roberta Flack. It’s one of those pieces where it all comes down to control, in this case by the trumpet carrying the melody. Playing with restraint without losing dynamism. This is Truesdell’s gift: he leads with a steady hand and lets an unparalleled Evans shine through. Highlights include “Barbara Song” from Brecht’s The Threepenny Opera, here turned into a ballad, and “Buster’s Last Stand”, with which the orchestra concludes swinging in the finest big band tradition: colourful and full of space for improvisation. A fine tribute. (Jeroen Mulder) (8/10) (Outside In Music)
Oddisee – En Route
With his latest EP “En Route”, Oddisee once again proves why he is one of the most underrated talents in contemporary hip hop. This four-track EP is a soulful snapshot of motion and meaning, with each track reflecting a different form of movement – physical, emotional, and spiritual. “Tomorrow Can’t Be Borrowed” opens the EP with an infectious piano riff that immediately establishes the signature Oddisee sound. His flow is, as always, effortless and nuanced, a perfect balance between technical skill and emotional depth. The production reflects the refined taste we’ve come to expect from the Washington D.C. rapper, with a jazzy undertone that honours his Sudanese and African American roots. “A Rare Thing” embodies what makes Oddisee so special: the ability to channel 1960s soul while remaining completely contemporary. The song feels both familiar and fresh, like meeting an old friend who tells you stories you’ve never heard before. With just eleven minutes of runtime, “En Route” succeeds in being a mature showcase of Oddisee’s artistic abilities. It’s music for the journey, wherever you’re headed, and that feeling of movement and progress runs through every moment of this EP. Oddisee may be a bit of an odd duck in the international hip-hop scene, but he remains one of the greatest of our time. “En Route” is a beautiful reminder of why his voice matters so much. (Elodie Renard) (8/10) (Mello Music Group)
