Albums From Across The Musical Universe Proved Themselves Among 2022’s Top New Albums

Courtesy: C Squared PR

As the final hours of 2022 tick away and all eyes and hopes look forward to 2023, there is still a little bit of time to look back on the year that is now ending in regards to the year’s top new albums.  This year produced so many impressive new albums across the musical universe, from rock to rap to jazz, blues, classical, world, and even family music, as Phil’s Picks has shown.  Looking at all of those genres, many of them have produced records that are clearly among the best of the best, and they are presented here in the last of this year’s new music lists.

This year’s list of the year’s top new albums includes Machine Head’s new album, Of Kingdom and Crown, percussionist Tom Collier’s new album, The Color of Wood, and even Pimps of Joytime’s new album, Reachin’ Up among so many others.  Between these and all of the other albums included in this final music list for the year, it is clear that this year’s overall field of new music was rich with enjoyable content.  It made creating this list so difficult, but the list was created, nonetheless.

As with each Phil’s Picks list, this one consists of the year’s top 10 new albums and five additional honorable mentions for a total of 15 titles.  The top 10 records are the best of the best and the honorable mentions are records that are appealing in their own right and deserving of attention, too, thus their inclusion here.  Without any further ado, here is Phil’s Picks’ 2022 Top 10 New Albums of the Year.


  1. Bloodywood – Rakshak
  2. Danilo Perez – Crisalida
  3. Derek Sherinian – Vortex
  4. Machine Head – Of Kingdom and Crown
  5. Mickey Leigh’s Mutated Music – Variants of Vibe
  6. Devin Townsend – Light Work
  7. Joe Satriani – Elephants of Mars
  8. Sabaton – The Symphony to End All Wars
  9. Pimps of Joytime – Reachin’ Up
  10. Tom Collier – The Color of Wood
  11. The Jorgensens – Americana Soul
  12. Mark Tremonti – Tremonti Sings Sinatra
  13. Playing For Change Band – The Real Revolution
  14. Old Crow Medicine Show – Paint The Town
  15. Bobby Watson – Back Home in Kansas City

That’s it for this year’s new music year-enders.  There is still time for at least a couple of TV pieces to go through before the year officially ends, so stay tuned!

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Diversity Shined Through In 2022’s Field Of New Jazz Albums

Courtesy: Mack Avenue Music

The jazz community was more active this year than in recent memory, or so it seems.  That is because of the number of new albums that Phil’s Picks received this year from various jazz labels and acts.  In all, more than 30 jazz albums in 2022.  That is a much larger number of albums than ever received in the jazz category by Phil’s Picks.  The jazz covered this year ranged from Afro-Latin to big band to more intimate music, meaning there was quite a bit for jazz fans to take in this year, too.

As with each other Phil’s Picks list, this list features the year’s top 10 new albums in the given category and five honorable mention titles, for a total of 15 records.  This list was anything but easy to assemble considering just how many albums were received this year.  No disrespect is meant to any act featured in this list, as each has its own positives.

Without any further ado here is Phil’s Picks 2022 Top 10 New Jazz Albums.


  1. Danilo Perez – Crisalida
  2. Taurey Butler – One Of The Others
  3. Tom Collier – The Color of Wood
  4. Yellowjackets – Parallel Motion
  5. Doug MacDonald and L.A. All-Star Octet – Overtones
  6. Doug MacDonald – I’ll See You In My Dreams
  7. Amos Gillespie – Unstructured Time
  8. Chris Torkewitz – NY Ensembles
  9. Matt Hall – I Hope To My Never
  10. Nicholas Payton – The Couch Sessions
  11. Bobby Watson – Back Home In Kansas City
  12. San Nelson’s New London Big Band – Social Hour
  13. Lisa Hilton – Life Is Beautiful
  14. Paxton/Spengler Septet – Ugqozi
  15. Tony Monaco – Four Brothers

That’s it for this list but as the final hours of the day tick away there is still so much left to do.  There is still World Music to focus on and the year’s top new indie albums and albums overall, plus all of the year’s top new movie and TV content.  Pray for me and stay tuned!

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‘The Color Of Wood’ Makes A Strong Case For Percussionists As Stars

Courtesy: Summit Records

This past April, percussionist Tom Collier released his new album, The Color of Wood through Summit Records.  His first studio recording since the release of his 2017 album, Impulsive Illumination, it is a unique addition to this year’s field of new jazz and overall albums.  That is because the 15-song record defies classification, as is evidenced through its multitude of arrangements.  This will be discussed shortly.  While that diversity of sounds and styles forms a solid foundation for the album, the lack of any background on the songs in the liner notes detracts from the record’s presentation to a point.  This will be discussed a little later.  The record’s production works with the arrangements to make for even more appeal and will be discussed later, too.  Each item noted is important in its own way to the whole of the record’s presentation.  All things considered they make The Color of Wood one of the most unique overall records to be released so far this year that will appeal to every percussionist out there.

The Color of Wood, percussionist Tom Collier’s latest album is another unique record from the veteran musician.  It is a presentation that really defies any real classification from beginning to end.  It is not a jazz album, despite being released through a jazz label.  It is not necessarily a modern classical work and nor is it even just purely some artsy type of record.  It is a presentation that in reality…is a percussionist’s record, point blank.  It is just Collier alone on marimba from beginning to end.  At times it is clear that his performances are likely layered, because there is no way that he could have done some of the things in some of the faster arrangements completely by himself all at once, even using a traditional grip, holding multiple mallets. This is a rare approach in comparison to the music in his existing catalog.  He has done more funky stuff in one album, worked with other musicians in others, etc.  So, to have this record feature just Collier performing a group of unique arrangements (including a pair of covers) is something interesting, as are the arrangements themselves. 

Speaking of the arrangements, the aptly titled ‘Five Reflections on Wood’ apparently is one of those standout compositions.  It was inspired by a group of painters – Ruthi Winter, Cindy Kelsey, Jim and Mary Burdett, and Adelle Hermann Comfort – and by his wife, Cheryl according to the very brief information in the liner notes.  Obviously only certain people are likely to know who the noted painters are along with their paintings.  At the same time though, not knowing them or their works could lead those other audiences to research them.  It could lead to a whole new discovery and appreciation for those artists.  The arrangements that were inspired by the noted artists are so strong in their approaches.  From one to the next, Collier shows his ability to perform fast, intricate rhythmic patterns just as well as more subdued, contemplative works.  The very first movement, ‘Portrait of Cheryl’ (which was the piece inspired by his wife) is one of the movements that shows his ability to handle more upbeat works expertly.  He works his way up and down the marimba with so much ease, controlling the dynamics so well.  ‘A Sister’s Radiant Painting’ finds Collier moving in a much more subdued fashion, using so much control, including in his dynamic control.  The subtleties used throughout the song make it so immersive and its transition in to the opus’ third movement, ‘Portrait of a Scarlet Flower’ is seamless.  This is just as certain to keep listeners engaged, as that composition is just as relaxed and subdued.  As the composition progresses into its fourth and fifth movements, he continues to put his talents on full display just as much in the equally interesting arrangements, ‘Shelling at Horsehead Bay’ and ‘Ode to a Sunset.’  ‘Ode to a Sunset’ is such a positive yet relaxed composition that even without liner notes, really does paint its own musical picture, that of someone sitting in the warm weather, watching the sun set over a given situation.  The whole of the song is such a pleasing, appealing work.  It is just one of the works that makes the record unique.  Collier’s take of Hank Williams Sr.’s ‘I’m So Lonesome, I Could Cry’ is another presentation that shows the importance of the album’s musical content.

Collier’s cover of ‘I’m So Lonesome, I Could Cry’ is anything but that original composition.  Collier gives the song a completely new identity in its presentation here.  Instead of the melancholy song of lost love that everyone knows, Collier paints a picture that is more bluesy and upbeat. The chromatic scales that he uses as part of the arrangement and the occasional bluesy runs give the song such an intriguing approach and sound.  It really is something that must be heard firsthand to be fully understood and appreciated.  Simply put, it is a cover, but in its originality, is original in its own right.  It is just one more example of why the record’s musical content is so important to its presentation.  ‘The Owls Seem What They Want’ is yet another clear example of what makes the albums’ content so enjoyable.

‘The Owls Seem What They Want’ opens with Collier echoing the sounds of owls calling in the air by using a simple, steady beat on the marimba’s lower end.  He maintains the “call” throughout the composition as its base as he then gets slightly more active in the song’s main body.  The more energetic side of the song conjures thoughts of, maybe, owls in flight in the forest, all the while that call of the birds serving as the song’s foundation.  It is one more unique, fully immersive addition to the album that shows the record’s strength.  When it and the other songs examined here are considered alongside the rest of the record’s works, the whole makes for so much musical appeal. 

As much as the record’s musical arrangements do to make this album engaging and entertaining, the record is not perfect.  The lack of any real substantive background on the songs detracts from the record to a point.  Yes, there is a slight background on ‘Five Reflections on Wood.’  The thing of it though, is that said background is minimal at best.  All that Collier notes is that the composition was inspired by his wife and by a group of painters of whom most audiences likely do not know.  Other than that, there really is no background on any of the songs.  To that end, it detracts from the record to a point.  It is not enough to doom the record but does detract from the record’s presentation enough to be something of a concern.

Getting back to the positive, the record’s production works with the arrangements to make for its own appeal.  As noted, the arrangements show a wide range of sounds and styles from one to the next.  From more energetic works to more subdued compositions, Collier gives audiences much to appreciate.  Because of that diversity, plenty of attention had to have been paid to the production so as to bring out the best of each opus.  That work and attention paid off, too.  That is because it results in each song presenting such a positive general effect.  The overall general effect works with the arrangements to make the album’s overall aesthetic so appealing that percussionists and music lovers in general will find themselves taking in this record time and again.

The Color of Wood, Tom Collier’s latest studio album, is an impressive new offering from the veteran percussionist.  It is a presentation that will appeal just as much to percussionists as it will to any music lover in general.  That is evidenced in part through its featured musical arrangements.  The arrangements are diverse in their sound and style.  The control that Collier shows throughout the album is impressive to say the very least, adding to the songs’ appeal.  As much as the album’s main content does to make it appealing, the lack of any background on the songs in the liner notes detracts from the record’s presentation.  It is not enough to doom the album, but still does take away from the overall listening experience.  The songs’ production works with the arrangements to put one more accent to the presentation, as it brings out the best in each composition.  When the production and arrangements are considered together, the aesthetic that they collectively create is just enough to make the album that much more worth hearing time and again.  That is even with the lack of liner notes in mind.  Each item examined is important in its own way to the whole of the album’s presentation.  All things considered the album proves itself to be one of the year’s top new albums overall.

The Color of Wood is available now through Summit Records.  More information on the album is available along with all of Tom Collier’s latest news at

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