At some point (and mostly, we all reach that point in one way or another), I discovered that there were other ways. My universe was disturbed in a major way the first time I saw Southside Johnny perform live. Sure, guitars can make a noise that’s tough to ignore, but a horn section amplified through a giant PA system? It felt like a wave. It was a wave: a wave of soul that knocked me back and made me realize that there were some serious holes in my record collection.

Sister Sparrow and the Dirty Birds reminds me of that time when I felt compelled to buy every soul and horn-related record I could find, from Tower of Power to James Brown to early Chicago. In fact, this stuff is so good that I feel a another wave of collecting coming on!

With sultry & knowing vocals by Arleigh Kinchelo, and backed by a killer four-part (trombone, alto, baritone, trumpet) horn section, Sister Sparrow & the Dirty Birds blast their way though a big, sweaty pile of passionate rock and soul. Like the body of soul music itself, this band is not content to stick to just a single form. No, there are raveups (“Baby From Space,” “Quicksand,” and “Who Are You”? (which takes its main riff from Grieg’s “In The Hall Of The Mountain King”)), infectious reggae (“BoomBoom,” “Rock In It,” and “Vices” (an insanely catchy modern companion to Blondie’s “The Tide Is High”)), and down & dirty blues-inflected soul: “Freight Train,” “Eddy,” “My House.”

The guitarist in me just has to give a tip of the cap to guitarist Sasha Brown. Mr. Brown can bring the funk, the skank, and drop down a nasty solo. This album wouldn’t be the same without him.

Reviewers are going to run out of superlatives to attach to Ms. Kinchelo. She’s more than comfortable in the music’s more tender moments (for instance, the country-ish “Just My Eyes”) and can easily torque up the power to keep up with the horn section. Take one look at her and you can’t be blamed for being surprised that that voice came out of that person!

If you need one song to hear what this band is about, check out “My House.” A slow-building plea for love (“Come on over to my house baby..”), you’ll hear Kinchelo’s pleading vocals, a swelling horn section, and some terrific guitar work by Sasha Brown. I can pretty much guarantee that Sister Sparrow & the Dirty Birds will have you reaching for the necessary upward volume adjustments. Just be careful…gotta have pity for those upstairs neighbors.”

By Mark Saleski

Read Full Review at All About Jazz.com

“On any street corner or venue it’s possible to hear a musician playing solo saxophone, its reed-song beckoning down thoroughfares to anyone that will listen. But by putting a spin on things, it’s quite another matter to hear and see that horn wired into a laptop computer, as it provides multiphonic voices and looped patterns, fed back into music that is familiar yet ethereal. Enter saxophonist Johnny Butler’s Solo.”

“…the instrument is navigated through multiple threads and simultaneous accompaniment and solo parts. Butler takes advantage of these concepts via hardware and software to examine new contours, shapes and textures through his saxophone; to become a veritable one-man saxophone ensemble, weaving multiple horn patterns that coalesce and separate in real time without the use of overdubs or post-recording manipulation.”

See the Full Review