Karrin Allyson: In Blue
Concord Jazz 2106

Musical Performance
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Overall Enjoyment

Karrin Allyson has been honing her art for the past 10 years, and her efforts have resulted in a most recent album that establishes her as the best jazz singer of our age. She presents a classic case of maturity bringing promise to fruition. This is a thematic set, all having something to do with blue or the blues. It ranges from the vampish "Evil Gal Blues" through laments like "Moanin’" to ballads such as "Angel Eyes." This eclectic set features Joni Mitchell's "Blue Motel Room" and Blossom Dearie’s little classic "Bye Bye Country Boy." On the latter, Allyson brings great depth to this deceptively simple song, starting out with defiance and then breaking her voice on the second verse to let one know her true feelings. It will break your heart. The sound is the next best thing to SACD. Allyson’s backup musicians are outstanding with a special nod to keyboard player Mulgrew Miller.

Chadwick: Euterpe, Angel of Death, Aphrodite, Melpomene, Thalia
Nashville Symphony Orchestra; Kenneth Schermerhorn, conductor.
Naxos 8.559117

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George Whitefield Chadwick (1854-1931) was the director of the New England Conservatory from 1897 to 1930, modernizing it and making it a place where American musicians could study advanced music without having to go to Europe. As a composer, Chadwick tempered European influences with his love of New England hymnody and folk music, creating a style all his own. His orchestral tone poems display long, arching melodies and brilliant orchestration, features that are well served on this generously filled disc. The CD is in the Naxos "American Classics" series, which at first featured American music played largely by Czech and Russian orchestras. In the past two years Naxos has started searching out native orchestras and ensembles and one of its biggest discoveries has been the Nashville Symphony. The orchestra has proven the equal of almost any in this country and plays with virtuosity on this Chadwick release. The recorded sound is just right, with enough ambiance for warmth, yet still with plenty of detail. The stage depth is particularly well delineated. Even when the magnificent brass section plays loudly, it is quite evident they sit behind the strings. As icing on the cake, this disc is Naxos, which means it's offered at a reasonable price and that makes it a genuine bargain.

They Might Be Giants: No!
Rounder 618113

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Overall Enjoyment

Any parent who has dreamed about finding music to replace Barney’s saccharine sing-along tapes need look no further. No! is full of two-minute gems, which have kept my son attentive and spared his father from listening to the maddening melodies of that purple dinosaur. Those who have enjoyed TMBG’s past efforts will recognize many of the same elements here -- No! perfectly complements the band’s trademark folksy but bizarre guitar-driven pop. Just think of the album Flood, but for kids. Listening to the Beetlesque "Where Do They Make Balloons" or my son’s personal favorite, "Fibber Island," is enough to trigger a smile no matter how sour your mood. In fact, all 17 cuts are keepers. This CD also flaunts stellar sound quality. But even more exciting are reports that TMBG is already planning a follow-up to No!. I can’t wait!

Duncan Sheik: Daylight
Atlantic 83569

Musical Performance
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Overall Enjoyment

I have always enjoyed Duncan Sheik’s brand of soulful, yet often melancholy, music. So when I heard that Sheik’s long-time producer Rupert Pine had been replaced by the man behind most of Madonna’s hits, I was expecting the worst. Had Duncan decided to sell out? Or was he simply looking to give his moodiness a makeover? After listening to Daylight I’d have to say it was the latter. The train wreck I expected turned out to be an album that mixes equal amounts of Sheik’s soul with the upbeat sound that producer Patrick Leonard is famous for. The result is reminiscent of Sheik's older, more energetic songs like "Barely Breathing" and "Bite Your Tongue" rather than "Phantom Moon" and "Home." What hasn’t changed are Sheik’s consistently brilliant lyrics and first-rate production. Like all of Duncan Sheik’s other efforts, Daylight will pull you in with a crisp, warm sound.

Pulp: We Love Life
Sanctuary 83204

Musical Performance
Recording Quality
Overall Enjoyment

I did not know Pulp, but then I heard "She’s a Lady" and I was hooked. Creating catchy songs amid wry and often twisted lyrics, this guitar-and-synth band is one of the most original and unconventional pop outfits to come around in a while -- think of David Bowie-like guitar arrangements sprinkled with early Erasure synth. Unfortunately We Love Life strikes me as pretty conventional stuff. The only memorable tracks are "The Trees," "Wickerman," and maybe "Weeds 2." Other songs, like "We Love Life," come off quite lifeless, while "The Birds in Your Garden" features guitar riffs and vocal inflections that remind me of The Church. The sound quality of We Love Life competently preserves the group’s copious guitar work, but seems to have sucked the cynicism from Jarvis Cocker’s vocals. My opinion? Steer clear of We Love Life and pick up His ‘n’ Hers or This is Hardcore.