Jason Gross is the founder and editor of the highly esteemed online music magazine, Perfect Sound Forever, and also freelances for numerous publications including Mojo.

Donny McCaslin– Skyward, [The Way Through]

On the inner sleeve of The Way Through, saxist McCaslin leans on a wall between his piano and his CD cabinet tower, dressed in casual attire—an appropriate image as he conjures a host of jazz legends in his music. “Skyward” evokes early Coltrane, “San Lorenzo” brings together Duke Ellington and Tito Puente and echoes of Mingus and Monk abound everywhere. Thankfully, McCaslin employs his influences tastefully and intelligently throughout, which probably explains why his own songs fit in just fine with covers from Wayne Shorter (the gentle, playful “Fee Fo Fi Fum”) and Dizzy Gillespie (the solemn “What Remains”). Even if you sometimes wish there was a McCoy Tyner-like pianist to ground things now and then, that doesn’t hold back the wonderful flow and control that McCaslin achieves with his playing or the sympathetic support of fluid bassist Scott Colley. A traditionalist like Wynton Marsalis could definitely learn a lot from this guy about respectfully appropriating the past without pissing on the present or future.

[visit McCaslin’s website here, buy The Way Through here, read an interview with McCaslin here]

Tangiers– I Don’t Love You, [Never Bring You Pleasure]

These cunning Canucks provide bouncy new wave that’s a little late to hit the nostalgia craze but good enough to enjoy on its own anyway. Between the mewling vocals, garage organ, pounding drums and punchy songs, they leave any doubts about slavish retro worship in the dust. At the very least, they deserve a tour with their countrymen in Hot Hot Heat, who also know how to craft tunes full of hooks along with plenty of doubt and femme troubles. And how many bands have something like “I Don’t Love You” as their most moving songs? And how could you not be moved by this credit in the notes: “We acknowledge the financial support of the Government of Canada through the Canada Music Fund for this project.” Could you imagine the U.S. government getting thanked from any artist other than Toby Keith or Ted Nugent?

[buy Never Bring You Pleasure here, read the Stylus review of Never Bring You Pleasure here]

Neko Case– If I’m Gonna Sink (I Might As Well Go to The Bottom), [Touch My Heart- A Tribute to Johnny Paycheck]

You’re right—tribute albums are almost always a waste of everyone’s time. That’s why it’s such a surprise and a relief to find an exception like this. While he’ll always be remembered for the 70’s blue collar anthem “Take This Job And Shove It” and membership in the ‘outlaw movement’ (with Willie and Waylon), Paycheck’s career spans back to the 60’s and ran pretty much up to around the time he died last year. While the only old school Nashville stars to pay tribute are George Jones (”She’s All I Got”) and Bobby Bare and Buck Owens (both on a joyous version of “Take This Job…”), the new school alt.country crowd and rock-identified underground do proud by him. From Neko Case sounding an awful lot like Loretta Lynn on “If I’m Gonna Sink (I Might As Well Go to The Bottom)” to ex-NRBQ Al Anderson’s touching take on “Someone to Give My Love To” to Marshall Crenshaw’s tender “I’m Barely Hangin’ On To Me” to Dave Alvin’s mean struttin’ “11 Months and 29 Days” to Bobby Bare Jr’s sad, yet funny “Motel Time Again,” this is a tribute that does Paycheck proud.

[buy Touch My Heart- A Tribute to Johnny Paycheck here, visit Neko Case’s website here]