Avant garde double bass playing singer-songwriter Nat Baldwin is currently on a 30-plus date national tour which will land the singer on both coasts before it’s over. Baldwin is on the road in support of his latest release for the local indie label Broken Sparrow, “Enter the Winter.” Along for the ride are the like-minded Dirty Projectors, who employ Baldwin on bass as well. “Enter the Winter,” recorded under the watchful eye of Djim Reynolds’ “Estate” recording facility, keeps Baldwin’s bowed double bass and haunting vocal work in the forefront on Baldwin’s left-of-center indie folk. While his previous work was more sparsely adorned, this CD takes on some drums and horns, as well as a percussion driven foray or two into out-there jazz.

Uber sideman John Troy made his name holding down bass duties for heavy hitters like Bonnie Raitt, Joe Cocker and John Pousette-Dart before settling close to home, trading serious road work for session work and local gigging. Now a regular at Portsmouth’s Dolphin Striker, Troy recently released a new solo CD, “Just When I Thought I Was Done.” Troy’s voice sounds a little like James Taylor’s, and he likewise shares a laidback musical style as he explores different musical textures and influences—from nylon string guitar to a half rap and plenty of fiddle- and mandolin- laced bluegrass influenced folk—to create a lighthearted and well-played disc.

The Franklin Kite have roots in Cambridge, Mass., and Portsmouth, but their music is from outer space. Early this year, they launched an eponymous six-song EP, complete with a floating astronaut on the cover. “Rocket Girl” is a tune about a rocket boy who expresses his love for his space lady, while “The Innovator” explores more serious emotional ground. Their ambient indie rock songs feature the usual suspects—guitar, drums and bass, but they throw in some keyboards, loops and other digitally created tricks to keep you guessing.

The Mammals, which feature Durham’s own Merenda brothers (Chris and Mike), spent most of the end of 2005 as Arlo Guthrie’s band, along with their fellow Mammals. They’ve put in a lot of time playing music, and it shows on their latest offering, “Departure.” The CD is their second on the acclaimed little indie label that could, Signature Sounds out of western Massachusetts. Signature Sounds has launched the careers of folks like Peter Mulvey, Josh Ritter and Lori McKenna, among others. On the recording, as the title suggests, the band breaks from its good time trad-rock format and floats a beautiful, and much darker, collection of numbers. Guitarist/banjoist Michael Merenda handles the lion’s share of the songwriting, with fiddle/uke player Ruth Ungar and Tao Seeger (guitar/banjo) chipping in as well. There are a number of nods to their left leaning politics, but they’re not preachy. “Departure” is a folk rock record that easily could have come out in the late 1970’s. Plenty of acoustic instruments, lush harmonies and great playing. And this is another lovely recording by Max Feldman—the band’s “go to” engineer/producer.

Portland’s The Coming Grass are a great roots rock band. Having three great songwriters to share the load in the form of Sara Cox, Nate Schrock (Cox’s husband) and Steve Jones doesn’t hurt. Their new CD, “Beauty of a Heart,” has a beefy southern feel, and all three songwriters sing with a natural drawl you wouldn’t expect out of a few Mainers. Jones and Schrock are both amazing guitarists as well. They trade some scorching fingered and slide solos, like on the mid-tempo album opener, “So Far Gone,” or Cox’s Stonesy “Polly.” The songwriting is top notch as is the playing. Plenty o’ jangly and crunchy guitars, pocket drums and bass for the Americana connoisseur.