Melody on Music is Pop Heist's regular roundup of new releases from across the spectrum of recorded sound. Here, music critic Melody Esme singles out the most noteworthy drops, from major releases to hidden gems. Consider adding these to your rotation — and if you give them a spin, let us know what you think on Bluesky.
Marshall Allen: New Dawn [Mexican Summer]
The best album ever released by a centenarian? I can't think of any contenders, but regardless, this is marvelous. Allen is a legend who served in the Buffalo Soldiers Division during World War II before studying alto sax in a Paris conservatory, began performing with The Sun Ra Arkestra in 1958, and became leader of the band in 1995. Born in 1924, he's still kicking it and has now released his solo debut at age 100. Viewed in the context of a life lasting a century and still ongoing, this is fittingly complicated — sentimental, melancholic, wondrous, with occasional moments of radical brightness (the upbeat big band cut "Are You Ready" is my fav). Neneh Cherry sings on the title track, and the harmonious collision between her voice and Allen's sax approaches something like enlightenment. A-
TajMo: Room on the Porch [Concord]
Where Taj Mahal's 2023 release Savoy was his first foray into traditional pop, this one is pure country blues and as such less innately fun. No less joyous, though. Mahal and Keb' Mo', like many lifelong musicians, are dedicating their golden years to exploring their love of music as a spiritual topic on par with love, desire, mortality, and all the other puzzles humans will forever be compelled to make art about. And if their version of "Nobody Knows You When You're Down and Out" (or any version in 2025, for that matter) can't quite be definitive, the original "She Keeps Me Movin'" (co-written by John Oates, who also sings backup) is itself worthy of standard status. B+
Willie Nelson: Oh What a Beautiful World [Legacy]
This set of songs — all written by Rodney Crowell — isn't one of the better ones Nelson has released in the past 20 years, both too long-winded and too laid-back. Since Crowell is so minor (though prolific and frequently great), there also aren't any recognizable classics for Nelson to flex his brilliance as an interpreter on. But his albums have rarely (if ever) been less than likable, and there's plenty to like about this one. He sells the wisdom of "The Fly Boy & the Kid" ("When you're staring at injustice, may you never hold your tongue"), and like always, he injects the love songs with a level of ease and understanding that so many push aside in favor of youthful adventure destined to burn out. Still, when I want to remember this period of his career, I'll turn to December Day, A Beautiful Time, or even God's Problem Child first. B+
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