“Pass the Hatchet, I Think I’m Goodkind” begins with Hubley’s drums over which a snippet of studio chatter can be heard, including a laugh as if they are saying, “Wait until they’ll get a load of this song.” Immediately, McNew commences with a perfect six-note bass riff that powers the song through to the end like the scientifically-tuned Formula 1 car engine.

New York’s numün never quite fit into the ambient country mold associated with founder Bob Holmes’s other group SUSS. The team-up with Joel Mellin and Christopher Romero of Balinese music ensemble Gamelan Dharma Swara meant numün was always going to be about finding the common ground between big sky drift and eastern drone. Their third album Opening positions them somewhere between Bruce Langhorne and Popul Vuh. But it also shows them capable of whipping up a slow-motion psychedelic boogie whenever the mood hits.

We just did a monster roundup covering the 50th anniversary of the release of the Davis live documents Agharta and Pangea — a pair of double live LPs recorded at the Osaka Festival Hall, February 1, 1975. You can read that, here, but for the uninitiated looking for a taste, go ahead and dig into Agharta en totale.

Tobacco City formed around Chris Coleslaw and Lexi Goddard, both singers, both guitarists, whose vocal interplay recalls the swirling laments of Oakley Hall. They are especially fine together in anthemic “Time,” where Coleslaw’s keening lead collides with the buzzing sweetness of close harmonies. But while they set up these songs’ structures, pedal steel guitarist Andy “Red” PK adds color in the wailing, crying, yearning tones of his pitch-shifting instrument.

This latest album from the ambient ensemble Jantar evokes Jon Hassell’s fourth world sound, Laraaji’s ecstatic meditations, and, of course, the motherlode, the ambient soundscapes of Brian Eno.

Okonski return with Entrance Music, revealing the flipside of the perpetual afterhours reverie of Magnolia. For their sophomore outing, the trio gently open the curtains to find themselves in the light of a new day, unimpeded by anything that isn’t melody or mood. Entrance Music drifts along like a perfect daydream, homey and lived-in, but maintaining a sense of spontaneity that leaves no doubt pianist Steve Okonski, bassist Michael Isvara “Ish” Montgomery, and drummer Aaron Frazer are attuned to the same ephemeral frequency.

The Los Angeles-based trio of Nicky Benedek, Alex Talan, and Anthony Calonico have been making music together in various configurations for well over a decade. Their newest project, the outstanding Total Blue, takes the ingredients of smooth jazz and world fusion–fretless bass, muted horns, piles of synthesizers, global rhythms–and vaporizes them into a shimmering mist. The result is one of the most alluring things to come out of LA’s adventurous post-jazz scene.

The big news about Salt River is the collaboration with Sam Gendel, a celebrated jazz saxophonist who has worked with Amidon in various roles since 2017. However, aside from an extended reedy flight of fancy in “Tavern,” Gendel’s role as producer is primarily to get out of the way, and let Amidon be Amidon, his folky experiments haloed by an aura of extraordinary clarity.