‘ReLoad’ by Jose Duque www.joseduque-drums.com

Drummer Jose Duque has long since established himself as one of the Seacoast’s most innovative and versatile musicians. With his latest three-song EP, “ReLoad,” he has stretched his creative boundaries even further.

Duque’s penchant for experimentation is evident from the outset. In the opening track, “Cloud Dancer-Tunie,” he establishes a hypnotic aural atmosphere with dreamy keyboard notes, soon accompanied by lightly tapped percussion on an udu drum, chilling violin and soft, rhythmic guitar. There’s also eerie yet beautiful work on cloud guitar and fretless bass. It’s ambient, psychedelic jazz, as though Pink Floyd were sitting in on Miles Davis’ studio sessions for “In a Silent Way.”

Duque actually composed this tune while studying at Berklee in 1996 but reworked it for the new release. It’s fun to hear Duque digging into his personal archive while also pushing the music forward.

The second track, “One Hot Summer Evening,” is a more recent piece featuring piano recorded in Spain by Rafael Paz. Duque has made a habit of collaborating with musicians from afar, bridging oceans to unite artistic minds. He does so to mesmerizing effect on this wholly improvised tune.

The final track, “Llevatelo!,” is an upbeat, groovy jazz number featuring a cast of all-star local musicians and some of Duque’s liveliest drum work.  

The first in a planned series of releases featuring performers from around the globe, the EP’s lineup includes Luis Gonzalez on violin and guitar, Wincho Schaeffer on fretless bass, Jon Durant on cloud guitar and upright bass, Matt Langley on saxophone, Nate Therrien on bass, Mike Effenberger on piano, and Nick Phaneuf on guitar. In addition to drumming, Duque plays keyboards and provides sampling and programming. We can look forward to future installments of this series from a truly virtuosic and ambitious player. —Matt Kanner

‘Freedom’ by Chris Vaughan

With a strong lilt, light folk instrumentation and heavy Scottish accent, Chris Vaughan’s debut album, “Freedom,” makes a unique contribution to the Portsmouth music scene—Scottish folk.
Vaughan’s lyrics derive from his personal experiences and his yearning for home. Love, freedom and drinking are just a few of the motifs that comprise the album. Listeners will catch several references to local Portsmouth establishments and traditions.

Vaughan demonstrates a refreshing twist of phrasing to his songs. His sense for cadence is exceptional; the phrases are not always symmetrical, and just when you hear a phrase coming to an end, the next phrase has already started. As listeners, we often anticipate an antecedent/consequence, tension/release, and many of the songs play with this just enough to keep them fresh and interesting. 

Open and spacious guitar chords with a taste of mandolin and fiddle, most often provided by Dave Hallowell, complement Vaughan’s voice very well. The playing is not overdone, and even with minimal instrumentation we are presented with clear chord changes, providing interesting and melodic counterpoints to the vocals. Tasty guitar, mandolin and some harmonica combined with Vaughan’s raw, organic voice give this album a fantastic and unique aesthetic. 

If you’ve ever hung around The Press Room on a Friday evening, you will surely recognize the capstone to this album. The title track, which is the album’s 11th and final song, features many guests and extra instrumentation that give hints to the future possibilities of Vaughan’s music.

Frustration with many albums comes from having one or two “good songs” while the rest are written and produced simply to fill the album. But every song on “Freedom” rings with an earnest touch of Vaughan’s character. Simply put, this album is all heart. —Todd Robertson

‘Hungry Moon’ by Ryan Flaherty, www.ryanflahertymusic.com

With his debut solo CD, guitarist and singer Ryan Flaherty has resoundingly arrived on the Seacoast, offering a flavorful stew of eclectic music.

Formerly of local gypsy jazz trio Ameranouche, Flaherty has parlayed his skillful guitar chops and soulful vocals into these original compositions, reflecting elements of gypsy, flamenco, Arabic, rock and jazz. Much in the way David Wax Museum incorporates traditional Mexican music into American folk, Flaherty brings the styles of Eastern Europe to his own brand of Americana.

The CD starts with the title track, a strong opener that sounds like a gypsy-inflected version of Van Morrison’s “Moondance.” It’s followed by “Inside,” perhaps the album’s best track, featuring flamenco banjo. The Arabic interlude of Ed Melikian’s “Oud Taksim” subtly transitions into the mysteriously seductive “Candela Habitum.”

“In the woods we’ll find trails that go on forever / Where the berries grow, just follow the candle holder,” Flaherty sings.

“Devilish Tune” would fit on a Tom Waits album, with Flaherty adopting darker, seedier vocals. Then comes the galloping percussive guitar of “Raven Cusp,” followed by the soft and sultry “Merry Meet.” “Infinite Repair” is rapid and tense, with a conspicuously rocking guitar solo, while “Won’t Take Time” offers resonant, repeated vocals.

“Lightning” is a tender and lovely folk melody featuring Daisy Castro on cello and violin and Ann Castro on backing vocals (though, at over eight minutes, the song slows things down a bit too much). The album closes with the eerie “All-Begetter.”

A rotating cast of talented regional musicians appear on various tracks, including Michael Arciero on guitar, Duane Edwards on bass, Dan Hunt on banjo, Joe Zupan on drums, and Steve Organek on upright bass.

Flaherty will release his new disc with a show at Blue in Portland, Maine, on Friday, Nov. 4 at 8 p.m. —Matt Kanner