“Then and Now: The Definitive Herbie Hancock”
Herbie Hancock
(Verve)

It’s hard - no, make that impossible - to condense the career of a musician of the caliber of pianist Herbie Hancock on to one CD. That said, rather than a compendium, the dozen tracks on this disc serve as a brief sketch of a five-decade journey that has touched on nearly every facet of jazz, setting high standards along the way.

The set starts with two of my faves: a pair of Hancock’s post-Miles Davis, Blue Note recordings, “Maiden Voyage” and “Cantaloupe Island,” that feature trumpeter Freddie Hubbard and the powerhouse rhythm section of Ron Carter and Tony Williams. Next up is Hancock’s groundbreaking “Chameleon,” now a standard for any fusion group worth its salt.

Also from the Head Hunters’ era is the hypnotic remake of his own “Watermelon Man,” a Top 10 hit for Mongo Santamaria in 1963. Other tracks feature cameos from Stevie Wonder (W.C. Handy’s “St. Louis Blues”), Bobby McFerrin (”Chan’s Song”) and Damien Rice and Lisa Hannigan (Billie Holiday’s “Don’t Explain”). Always testing new waters, guitarist John Scofield guests on electric sitar on a version of Kurt Cobain’s “All Apologies” from 1996.

And the unmistakable Joni Mitchell sings on a live, previously unreleased version of her own “River.” That CD (”River: The Joni Letters’”) earned Hancock a pair of Grammys in 2007, the first time a jazz record won “Album of the Year” since 1964. Nuff said.

- MICHAEL LIPTON

“Jet Black”
Gentleman Reg
(Arts & Crafts)
www.myspace.com/gentlemanreg

If, like me, you’re a sucker for simple, hypnotically melodic bands like Polyrock (actually not so simple), Pellmell and Macha, then Ontario’s Gentleman Reg should be your first purchase of the New Year. With his fourth release, singer/songwriter/guitarist Reg Vermue has zeroed in on a sound that will disarm even the most jaded and cynical listener. But in addition to catchy riffs and fluid grooves, Vermue crafts absolutely gorgeous worlds of sound.

While “It’s Not Safe” has a catchy, droning guitar line and a danceable, two-beat feel (which has certainly been enough to propel scads of songs upwards in the charts), it’s that damn vocal hook that makes it stay with you. And just when you think you’ve heard all he’s got, in “Don’t Bring Me Down” he casually tosses out one of the most beguiling choruses you’ve ever heard - the kind that feels like it’s been in your head for years.

If you need references, in addition to landing tracks in films including “Shortbus” and “The End of Silence,” and the television show “Queer as Folk,” Vermue was a member of The Hidden Cameras, has recorded with the Broken Social Scene collective and collaborated with Sufjan Stevens. No doubt the no-frills production accentuates the delicate beauty of Vermue’s tunes; with more of a sheen he’d sound like a dozen other over-produced indie popsters. But that he’s not. And this is one magical record. (www.arts-crafts.ca)

- MICHAEL LIPTON

“We Are Beautiful, We Are Doomed”
Los Campesinos!
www.loscampesinos.com
Arts & Crafts

With a healthy nod to Robert Smith and the Cure (and a dollop of Buzzcocks for good measure), these excitable, Welsh popsters are staking out some serious territory in the indie rock market. This is smart, edgy pop that will appeal to your bones (as in moving them) and your brain (as in taking in the thick, layered arrangements).

If that wasn’t enough (and it would be), the storyline lyrics are sharp and clever. Observations like: “By the light of the LED display of a VCR recorder you kiss my neck… I cannot emphasize enough that my body is a badly designed, poorly put together vessel, harboring these diminishing, so called ‘vital organs.’ Hope my heart goes first” are delivered in the throes of pop grooves with dropped beats and time changes, ethereal soundscapes, instrumentation that includes violins and glockenspiels, mellow acoustic moments tempered with some noise and feedback. Meanwhile, you’ll find many of the melodies lurking in your cerebellum after the song ends.

- MICHAEL LIPTON

The Artist: Marcie

The CD: “Spent” 

The debut CD by Huntington singer Marcie Bullock is a powerful collection of original songs anchored by her dynamic vocals and arrangements that defy simple labels. “Spent” straddles the worlds of blues, jazz, and rock, with a hint of country in the mix. Bullock’s versatility as a singer is on full display, as she alternately belts out blues/rock jams and tenderly delivers jazzy ballads.

“Spent” is nearly a concept album, with many of the tunes chronicalling a relationship from its beginning to its decay. The songs are striking, with sharp lyrics and killer musical backing.

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PERFORMER: Jan and Dean
CD: “Jan & Dean: The Complete Liberty Singles” (Collector’s Choice Music)
WEBSITE: www.ccmusic.com

While 42 songs (remastered in glorious mono) may be more Jan & Dean than anyone ever needs, this two-disc set covers all the surf duo’s go-to tracks, including “Surf City,” “Dead Man’s Curve,” “Linda,” “Sidewalk Surfin’” and, of course, “Little Old Lady from Pasadena.” But preceding J&D’s chart hits, you’ll get a taste of early ’60s cheese-pop at its best.

The hand-picked backing musicians included Earl Palmer, Hal Blaine, Glen Campbell and Leon Russell, but the songs ranged from the weird, talking doo-wop of “Who Put the Bomp” to “Poor Little Puppet,” which is so earnest it sounds a bit like an outtake from the Mothers’ “Ruben & the Jets” era. While it’s been a long (long) time since artists and listeners actually took songs like this seriously, it’s really an incredible song. Read the rest of this entry »

PERFORMER: Alice Cooper
CD: “Along Came a Spider”
WEBSITE: www.alicecooper.com

Leave it to Alice Cooper to bless us with something dark, something sinister, something deviant — and something highly entertaining. “Along Came a Spider,” The Coop’s 25th studio album, contributes nicely to a catalog that has established him as one of rock’s most original storytellers.

It seems that about once per decade, The Artist Formerly Known as Vincent Furnier unveils a period-defining piece that mirrors society through the alter ego Alice (outside looking in, as it were). The 1970s had “Billion Dollar Babies,” while “Trash” and “The Last Temptation” presented a motif of the ’80s and ’90s, respectively. Read the rest of this entry »

ARTIST: Greg Camp
CD: “Defektor” (Bar-None/Seavolt)
WEBSITE: www.myspace.com/gregcamp

Not surprisingly, the debut from Smash Mouth guitarist/songwriter Greg Camp is a dizzying ride through a mélange of styles, each one executed with ear-pleasing accuracy.

From the opening instrumental, a Herb Alpert/Calexico surf/spaghetti Western quickie aptly titled “Introduktion,” Camp takes a tour through, well, music of the past few decades. Mutant forms of pop serve as the main course, but the influences are often assimilated so subtly that you’ll be hard-pressed to single them out. Read the rest of this entry »

PERFORMER: Little Richard
CD: “The Very Best of Little Richard” (Specialty/Concord Music Group)

On the strength of a handful of major hits, Little Richard Penniman helped define a decade. “Tutti Frutti” (cleaned up from the original “Tutti Frutti, Good Bootie” for the recording), “Long Tall Sally,” the irrepressible “Lucille” and “Rip It Up” were his calling cards.

Like many black artists of the day, Little Richard’s versions were eclipsed by white artists, in this case Elvis and Pat Boone. Unlike tepid Boone’s covers, two other LR hits, “Good Golly Miss Molly” and “Jenny Jenny” were respectfully turned into potent top 10 hits by Mitch Ryder & the Detroit Wheels. Read the rest of this entry »

PERFORMER: The Stills
CD: “Oceans Will Rise” (Arts & Crafts)
WEBSITE: www.thestills.net

Don’t be put off by the ominous cover: an eerie, raised skull on a shiny, black background. Since forming in 2000, this Montreal quintet (frequent tour mates with Interpol and the Yeah Yeah Yeahs) has gradually moved away from post-punk to a more produced, full sound that recalls the heyday of ’80s British groups like the Comsat Angels, early XTC, Echo & the Bunnymen and, alas, U2. But given the naturally humble Canadian demeanor, the result is compelling and personal rather than haughty or distant. Read the rest of this entry »

ARTIST: Death Cab For Cutie
RECORDING: “Narrow Stairs’’

Making the jump from an indie label to a major one can spell disaster, and many a fan heralded the demise of Death Cab For Cutie after their unfairly criticized Atlantic debut, 2005’s “Plans.’’ Again boasting slick production and a new direction for their sound, Death Cab’s knockout follow-up, “Narrow Stairs,’’ will shatter any expectations about this band. Read the rest of this entry »