THE CD: “Tone Poets”
PERFORMER: various artists

David Grisman’s latest project is another labor of love. The mandolinist/producer/record label owner has gathered 20 of today’s top acoustic players for this two-CD set. But this is more than a super session. The musicians take turns playing two matchless instruments: a 1922 Gibson F-5 mandolin (which bears the signature of designer Lloyd Loar) and a 1933 Martin OM-45. Only 40 of this model of Martin were ever made, and Loar mandolins fetch upwards of $50,000 these days.

Disc one is solo tracks featuring either instrument; disc two is duos, pairing the Martin and Gibson. Sam Bush, Tim O’Brien, Chris Thile, Mike Compton, Mike Seeger and Grisman are among the featured mandolinists. Guitarists are David Bromberg, Bob Brozman, Jerry Douglass, Del McCoury and Tony Rice, to name a few.

On the “F-5 Riddle Blues,” It is amazing how Seeger manages to make the F-5 sound like a $9 Sears catalog mandolin (and that is a compliment!) Leslie Riddle was a black man who was A.P. Carter’s field-collecting guide back in the 1920s. Riddle taught it to Seeger.

Mexicali-flavored

Speaking of the Carter Family, Tim O’Brien offers “You Are My Flower.” Bryan Sutton backs him up on the Martin, and supplies his own tasteful take on the Mexicali-flavored tune. These are two supple instruments in the hands of amazing players. And regarding that classic Martin, Bob Brozman brings a world of influences to “Ananas Africain.” Then IBMA champion guitarist Jim Hurst unleashes a fiery “Reuben’s Train.”

The differences in tone and touch are something to hear. It is all in the fingers, folks. There are 31 selections, and musical is the operative word. This is a genre-spanning blend, tastefully thought out and arranged, and certain to please any music lover.

WHERE: Available on the Web at www.acousticdisc.com, or at P.O. Box 4143 San Rafael, Ca. 94913.

THE CD: “You Could Have it So Much Better” (Domino) (To be released Oct. 4)
PERFORMER: Franz Ferdinand

Albums this good should be free.

“You Could Have it So Much Better” is an apt title for the follow-up to Franz Ferdinand’s 2004 self-titled debut. As spectacular as that album was, the Scottish quartet’s newest effort makes it seem cheap and uninspired. It was a fantastically rendered tribute to the band’s ’80s pop and dance club sensibilities, but their musical path seemed chosen.

Fie! We now know Franz can do anything. From the opening funky guitar slides on “The Fallen” to the discoed-out Steve Miller sorrow of the last track “Outsiders,” this record plows through a tonal library as near perfect as is possible.

Talking Heads-style

The band’s bouncy ’80s roots are still very much evident, but the result is adventurous rather than nostalgic, thanks to some sound manipulation and exploration of other eras.

On songs like “Evil and a Heathen,” the usually boyish riot voice of Alexander Kapranos is distorted to sound genuinely menacing over the deep pounding of a Radar Love-like beat. Guitarist Nicholas McCarthy again suppliments the lyrics seemingly by syllable; however, his sometimes tinny squeals from last year have evolved into a strong bellow.

Songs like “Do You Want To” are heavily disco. “Eleanor Put Your Boots On” and “Fade Together” resemble the same piano-driven, Brit-pop ballads the Beatles did so well. And yet, the band can in the next moment deliver a song like “You Could Have it So Much Better,” a Talking Heads replica true to the style that made their first album so enjoyable, but done twice as well this time.

They said we could have it better and we do. But damn if there isn’t only one way a band could make such strides in just one year.

Gladly see you in hell, Franz.

– By Morgan Kelly

THE CD: “Z” (ATO Records) (To be released Oct. 4)
PERFORMER: My Morning Jacket

Few things are better than an experiment gone beautifully to plan. On their fourth and newest album “Z,” My Morning Jacket, armed with a new keyboardist, daringly gallivants across a range of styles from ska to prog rock. Every song on the way carries the sweet aroma of fresh territory yet exudes confident vigor.

As usual, the resonant voice of singer-songwriter Jim James guides the album’s mood: jf he mourns lost love, we feel his misery; if he sings joyfully, we feel his joy; and so on. (Check out his wail-a-la-Marvin Gaye on the opening track, “Wordless Chorus.”)

All keyed up
But the newly arrived musical weight of organist Bo Koster is clear from the very first syncopated chords of “Wordless Chorus.” He plays the catalyst in achieving whatever sound the band aims for.

The ska-sounding “Off the Record” lacks a brass instrument of any sort, but Koster’s calypso riff makes it on par with any diddy from Orange County. A second later, Koster escorts us deep into hypnosis via the carnival-like harpsichord waltz on “Into the Woods.” Even when Koster is in the background he is seemingly indispensible: he underpins the mellow song “Gideon” with a dreamy high-octave shroud, like the subtle lift a church organ gives a choir.

The whole band clearly feels adventurous, particularly James, whose compositions range the tonal map. Songs like “What a Wonderful Man” and “Anytime” have a jubilant, Modest Mouse-esque bounciness, but adjoin teary country songs like “Knot Comes Loose” and “Lay Low,” which could easily have been on Dylan’s “Nashville Skyline” (with a little boiling down).

Tunes like the 7 1/2-minute “Dondante” revisit the prog rock themes of the Lousiville-based quintet’s 2003 album “It Still Moves,” but far more skillfully. Skill best describes “Z’s” contribution to the band’s catalog. All of their albums are ‘good,’ but through obvious hard work and innovation, this one clawed its way to ‘great.’

Visiting so many genres on one album is easy for a talented band like MMJ. What’s impressive is that they did it so damn well.

– by Morgan Kelly