Having been greeted with a bear hug by fans after emerging last year from a nearly five-year absence—sparked by the initial commercial bust that was 1996's Pinkerton—Maladroit finds Weezer back on solid footing (after the success of 2001's eponymous set, known as The Green Album) and fearlessly tapping the volume and passion of the now-gold certified cult fave Pinkerton.
Colombian singer/songwriter Juanes follows up his critically acclaimed eponymous debut with a well-penned collection that is softer around the edges, making it much more likely than its incisive, moody predecessor to be embraced by Spanish radio. Proof of this is found on the uptempo lead single, "A Dios le Pido," a prayer for life and love set over thrusting percussion and almost pizzicato, Caribbean-hued guitars. Such standard pop/rock fare
Brazilian expatriates Duduka Da Fonseca (drums), Nilson Matta (bass), and Romero Lubambo (guitar) have been indulging their love of samba jazz for more than 15 years, and their collective feel for the style is elegant.
Part stroll down memory lane, part music history lesson, these titles are a living—and timeless—testament to the legendary sound of Philadelphia and the prolific legacy of dynamic production duo/Philadelphia International visionaries Kenneth Gamble and Leon Huff.
Laura Nyro's untimely death five years ago at age 49 still pains her fans. This two-disc live set—taken from successive 1993/1994 Christmas Eve concerts at New York's Bottom Line nightclub, and titled after a line from signature song "Emmie" —acts as a much-needed balm.
Issued via his own Brooklyn, N.Y.-based Screwgun label, Tim Berne's Science Friction can be seen as a sequel to his excellent 2001 Thirsty Ear album, The Shell Game; once again, the edgy alto saxophonist is abetted by the samplers and synthesizers of Craig Taborn and drums of Tom Rainey, as well as the digital cut-and-paste of studio shaman David Torn.
Schiller's Voyage arrives in the U.S. after finding much success in Europe, where it streeted last fall as Weltreise. Unlike Schiller's dancefloor-primed debut, Zeitgeist, Voyage is more dreamy, more meditative—albeit with a dance/electronic bent—making it perfect for post-club chill-out settings.
Classic hymns have been making a strong comeback in the Christian/gospel market of late. Amy Grant is the latest artist to get caught up in this revival, marking her 25th anniversary in Christian music with Legacy . . . Hymns & Faith. Produced by longtime Grant associate Brown Bannister and Grant's husband, country veteran Vince Gill, Legacy is uneven at best: incredibly beautiful one track, lackluster and uninspired the next. "My Jesus, I Love Thee" receives a spirited, Appalachian-tinged treatment, and "Marching to Zion," on which Grant is joined by a chorus of family and friends, is a rousing finale. But other standards don't pack the emotional poignancy one expects of Grant