"With the group’s latest offering, Hope, we find Ribot in the mood to talk. Take, for instance, the opening number, “B-Flat Ontology,” from Hope, Ceramic Dog’s latest recording. It’s a bit of punk-ass, talking blues with lyrics visceral and true questioning the meaning of fame and the fawning over fame. Hope is not a jazz record, other than its anything-goes sensibility, but Ribot has credentials as a guitarist and artist who can morph into any style and still come out sounding only like himself, which is central to the jazz aesthetic. There’s a great deal of anger here, fueled by Ribot’s concerns over COVID, a president he despised, global warming and not being able to see the ones he loved due to the pandemic. It’s a raw, honest album, one most of us can absolutely understand. It’ll make you want to throw a fist in the air and shout, “Hell, yes!”" (DownBeat.com)
"There’s no shortage of Dylan tribute albums but this is certainly different: pianist-singer Sidran takes his lowkey, jazzy speak-sing style to Dylan songs in the company of a small band and guests (among them Georgie Fame). It doesn’t always work: he strips the menace and meaning out of Everything is Broken, Highway 61 Revisited and Ballad of Thin Man, but on Rainy Day Woman (“everybody must get stoned”) and Maggie’s Farm there’s slinky quality which works. Knocking on Heaven’s Door has a strange, sad nightclub quality in Jorge Drexler’s slightly quivering and high vocals, Sidran brings a sharp funk to Subterranean Homesick Blues, and All I Really Want to Do is like a Beat poem. Not the best Dylan tribute among so many, but one to hear." (Elsewhere.co.nz)
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