Hailing from Texas, Kat Edmonson’s ‘Way Down Low’ is largely a jazz-inspired album that emanates an old-time quality overall. Look no further than the reworking of Brian Wilson’s ‘I Just Wasn’t Made For These Times’ that is definitely at home in its supper club environment somewhere in New York City as Edmondson’s vocal fills the void to a delicate jazz arrangement. There are traces of folk as well with the gorgeous ‘I Don’t Know’ and fingerpicking intro ‘What Else Can I Do’ that eventually paves way for more jazz references. The duet with Lyle Lovett, ‘Long Way Home’ is a real delight as it’s delivered with the bare minimum of instrumentation allowing for the merest hint of western swing without breaking into full flow. The closing ‘S Wonderful’ really transports the listener back to a more primitive time and suggests that Kat Edmonson was also made for an altogether different period in history. ‘Way Down Low’ is a truly exceptional experience.

Sporting the sight of a buffalo on a collision course with a steam train during the latter’s early inception to the wild west perhaps best describes the music on offer with Tedeschi Trucks Band’s second album ‘Made Up Mind’ as there is a real collision of styles whether blues, soul, folk or rock. Despite this melting pot of varying styles, Tedeschi Trucks Band manage to make things work largely due to such deft musicianship but also wondrous vocals supplied by Susan Tedeschi. Where this combination of styles works best is the gutsy blues-rocker ‘Whiskey Legs’, Tedeschi’s vocal emphasising the abrasiveness to great effect; guitar-driven zip of ‘Made Up Mind’ and two ballad-esque numbers ‘It’s So Heavy’ and more stripped-down ‘Calling Out To You’. Despite all of this greatness, ‘Do I look Worried’ steals the plaudits with its powerful, soulful delivery that is resolutely defiant in its beliefs and ably supported with some lovely brass instrumentation and raucous bluesy guitar work.

John Mayer returns with latest album ‘Paradise Valley’ which sees a return to roots of sorts with a largely country-tinged affair held together by a light smattering of the more bluesy pickings he is more renowned for. Such familiar sounding ground can be heard midsection with the (almost) brisk tempo of ‘Call Me The Breeze’ that is dramatically cut short when in full swing only to be greeted by the mellow pop edges no doubt brought to the table by Katy Perry during ‘Who You Love’. In fact, there is such an effortless quality about the majority of songs held within that one cannot help but succumb to such delights of album opener ‘Wildfire’ that is all handclaps and campfire boogie or the gentle acoustic strum of open love letter ‘Dear Marie’ to realise that John Mayer possesses something of the Midas touch when it comes to songwriting.

Debut album ‘Barton Hollow’ from American country-folk duo The Civil Wars was always going to be a tough challenge to overcome when it came to album number two. Despite any initial fears held due to the sheer quality running throughout their debut album, The Civil Wars pull out the stops once more and deliver a resounding triumph that expands on its predecessor with a fuller and slightly firmer sound. The cover artwork with its darkened cloud depicting a sense of impending doom sums up the regret felt during ‘The One That Got Away’. There is a real sultriness about ‘I Had Me A Girl’ that even stems to the guitar strings sounding tetchy under the song’s humidity. ‘Same Old, Same Old’ is anything but tired sounding as it reveals an aching beauty that leads appropriately into the tenderness of ‘Dust To Dust’. It is sincerely hoped that The Civil Wars fight off any further sense of unrest, as reported in the media, and make it to third base because they now have two classic albums on their CV.

There is an honest confession parting from the lips of Sam Amidon and that being his debut ‘Bright Sunny South’ on Nonesuch Records is “a lonesome record”. Nothing could be further from the truth as ‘Bright Sunny South’ gives the impression of Amidon sitting alone in a deserted, ramshackle barn somewhere deep in the countryside as he strings together these beautifully complex folk songs of sparse arrangements. True, songs detail issues concerning fears of dying and the unfortunate spectacle of war, but elsewhere unrequited love and a burning sense of longing permeate throughout. Despite such sensitive subject matter, ‘Bright Sunny South’ is a beautiful album that slowly comes to its senses with the delicate opening breeze of keys and acoustic guitar of the title track as the revelations of war come into full focus. The light touches of jazz instrumentation continue the journey during ‘I Wish I Wish’, whereas ‘Short Life’ has a putrid scent of unfortunate times gone by. The mood is lifted, musically, somewhat from its knees with ‘My Old Friend’, possessing a lovely set of intertwining melodies, only to resume to the singular once more, despite its riled finale of distorted guitars, with the beyond bleak confessions ‘He’s Taken My Feet’. Sam Amidon has produced a profoundly beautiful and accomplished body of work that deserves to be heard by more than just the minority because ‘Bright Sunny South’ is a magnificent introduction to hopefully a long-lasting career.

Being one of the former vocalists of country-pop outfit the Dixie Chicks, Natalie Maines decision to embark on a solo career would always be a tough challenge to undertake considering the success of her previous band. Fortunately, for all concerned, the end results are to be admired. Ditching the country guitars for a more gritty approach comprising of a mixture of covers and original compositions, Maines has crafted a fine solo album. With co-production duties coming from Ben Harper, ‘Mother’ also leans on the songwriting talents of Eddie Vedder whose ‘Without You’ is trademark latter-day Pearl Jam, despite being a solo effort, and Maines does not do it any disservice. In fact, there is no hiding when it comes to Maines’ decision-making as the choice of Jeff Buckley’s ‘Lover, You Should’ve Come Over’ slightly misses the mark whereas title track, and Pink Floyd song, ‘Mother’ more than makes up for the lacklustre of the previous song. After a seven-year absence from the music industry, it’s hoped that Natalie Maines does not wait another seven years for her next creative foray because ‘Mother’ is as good as any place to start a solo excursion.