Robert Plant and Alison Krauss: Raising Sand
Rounder 11661-9075-2
Format: CD

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The matching of former Led Zeppelin lead singer Robert Plant with New Grass goddess Alison Krauss -- one of the more unlikely pairings imaginable -- works far better than one might have expected. Hearing rock icon Plant, now pushing 60 (can he/we really be that old?), sing songs more associated with folk and country -- songs that are an easier fit for Krauss -- is, alone, almost worth the price of admission. Instrumental backing is provided by such stalwarts as T Bone Burnett (who also produced the album), as well as Norman Blake and Mark Ribot, among others, who lend a sense of timelessness. The sound is well above par. Sure, there’s a bit of compression, but each instrument leaps out of its own space in full tonality, and the sense of transparency is very nicely handled. And the singing is superb. Plant’s voice reflects the rough-and-tumble life he’s led, yet has a suppleness you probably won’t expect. Krauss’s voice, too -- all etherealness and purity -- is well captured. While not every odd pairing comes across well, we should feel all the more blessed when one like Raising Sand comes along….John Crossett

Alex Clements: Waiting for You . . .
Alex Clements ACR130
Format: CD

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Pianist Alex Clements is one of those jazz artists whose experience and accolades, including recognition from many artistic and civic organizations in his native Canada, have brought him steady work as a musician and teacher, though nothing like the fame he deserves. His sensitive, melodic style owes something to those of Bill Evans and Keith Jarrett, but he also has Ahmad Jamal’s ability to write and play in a way that is both accessible and challenging. Waiting for You . . . is Clements’ second album as a bandleader (Emily’s Song, from 2005, was a solo piano disc), and he’s joined on it by another Canadian, Alain Bradette, whose complex and beautiful playing on soprano and tenor sax shows a deep understanding of Clements’ compositions. Danny Gottlieb, perhaps best known for his drumming with Pat Metheny, provides subtle, often witty accompaniment that also shows a keen appreciation of Clements’ musical goals, while Chris Queenan’s bass holds things firmly together. At first Clements might seem a bit too smooth, but on tunes such as "New Horizons" and the title track, the players soon go off in unexpected directions that are impassioned and cerebral. Waiting for You . . . is warmly recorded, with a nicely detailed soundstage. The performances deserve nothing less….Joseph Taylor

Ween: La Cucaracha
Rounder 1166190772
Format: CD

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Ween takes nothing seriously; anything is game. They mock other bands, individual musicians -- even entire genres. The sacred is profane, the refined becomes vulgar, and their tongues are always firmly implanted in their cheeks. Ween has perfected such deviant behavior over more than 20 years, honing their musicianship behind a veil of uncouth asininity, and now their ability to completely master and then defile any musical style is unprecedented. In La Cucaracha, Dean and Gene Ween incite sniggers, snickers, and chortles galore in their lampoons of pseudo-reggae ("The Fruit Man"), rockabilly ("Learnin’ to Love"), rock anthems ("My Own Bare Hands"), and new-age artifice ("Spiritwalker"). My favorites are the smarmy, schmoozer closer, "Your Party," and the psycho-killer anthem, "Object." This album is not for the faint of heart, the humorless, or the easily offended, but I heartily recommend it for the rest of you poor bastards….Shannon Holliday

Monster Mike Welch: Just Like It Is
BGB JROW002
Format: CD

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With his well-scrubbed good looks, broad shoulders, and neatly trimmed goatee, Monster Mike Welch looks like the captain of an Ivy League lacrosse team. Were Welch to play that grueling sport and prove as tough on the field as he is on guitar, he’d be a formidable opponent. Just Like It Is, his newest disc, is a stirring collection of blues featuring Welch’s stinging guitar and strongly felt vocals. He wrote most of the tunes, and his songwriting is firmly in the Chicago blues tradition, represented here by Willie Dixon’s "I Got a Strange Feeling." He also does a moving cover of Peter Green’s "Love that Burns," an homage to a musician whose vocals and guitar playing echo strongly in Welch’s work. Welch has absorbed the work of other guitarists, as well --Albert Collins’ slashing attack is a particularly strong component -- but he has his own ideas and tone. He’s ably supported here by a rock-solid rhythm section, and the sound is punchy, if a bit compressed. Welch’s voice could use a bit more heft and grit, but he has the potential to be a good blues shouter. As a guitar player, he’s already where he needs to be; as a songwriter, he’s not far behind….Joseph Taylor

Danny Schmidt: Little Grey Sheep
Waterbug WGB79
Format: CD

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Danny Schmidt is a folk singer-songwriter from Austin, Texas, with a knack for poetic lyrics and unembellished delivery. His latest release, Little Grey Sheep, paints a portrait of the artist as a contemplative soul to whom words come easily and devotions run deep. His themes spark recollections of old friends, sepia-toned memories, and others of life’s often overlooked subtleties, while the depths of love, lust, and loss are also probed. Several songs about religion reveal a spirituality that has been tested, tried, and still endures. Often, little more accompaniment is apparent than guitar and faint harmony vocals (Joia Wood and Devon Sproule), allowing Schmidt’s lyrical richness and warm warble to stand out. Conveyed as simply as it is on this album, Schmidt’s sound retains an intimacy that envelops and invites the listener to share with him something quiet and personal. His most valuable talent, however, is his ability to weave humor, sadness, celebration, and contemplation into a profoundly beautiful web….Shannon Holliday