(J.C.)Ģ CHAINZ A victory for 2 Chainz is a victory for all underdogs. His second album, “Nobody knows.” (HXC/XL), is a more coherent, more polished affair, which would appear to be playing against his strengths, but may just be him coming into his stability. He made a sometimes beautiful and sometimes odd blues-soul album, played some challenging live shows, then retreated. WILLIS EARL BEAL Two and a half years ago, Willis Earl Beal was a barely known artist and musician for whom the ‘outsider’ tag would have been a step up.
But hey, he’s got an album to promote, “Fuse” (Capitol Nashville), on which his familiar lite-country will reportedly be rounded out with work he did with more pop-oriented producers like Butch Walker and Mike Elizondo. KEITH URBAN Keith Urban will be the only holdover judge on “American Idol” next season, more a testament to the show’s need for a bit of consistency and his own need for exposure than to the potency of his commentary, which was low last year. Her voice is as approachable as ever amid twangy guitars and honky-tonk piano, and alongside songs about open roads, romance and going out drinking are more personal glimpses of grown-up life, like dating as a single mother.
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SHERYL CROW Sheryl Crow’s music has always had a streak of country, and now she goes full Nashville on “Feels Like Home” (Warner Nashville), even collaborating on a song with Brad Paisley. The Monkeys are still the hard-nosed chroniclers of relationships that can be summed up in song titles like “Why’d You Only Call Me When You’re High?” Tuesday. But the band is only tinged, not transformed. The guitars add heft, distortion and some unison riffing the tempos don’t rush. (J.P.)ĪRCTIC MONKEYS A move to California - living in Los Angeles, recording in Joshua Tree - has nudged the sound of a very English band, Arctic Monkeys, toward stoner-rock on its fifth album, “AM” (Domino). On the album’s American release date, Tuesday, the Wordless Music Orchestra will accompany Goldfrapp in concert at the Beacon Theater. GOLDFRAPP Goldfrapp, the duo of Alison Goldfrapp and Will Gregory, bravely set aside their usual electronics and dance beats on “Tales of Us” (Mute), an album that turns instead to pensive orchestral pop: sometimes meditative, sometimes sweepingly dramatic. (B.R.)ĮARTH, WIND & FIRE With “Now, Then & Forever” (Legacy), its first studio album of new songs since 2005, Earth, Wind & Fire sets out to reclaim what made it one of the best-selling groups of the 1970s: Philip Bailey’s falsetto, a peppy horn section and messages of love, consolation and worthy aspirations. 1 she’s also releasing a fine CD of new material, “New Yor-Uba - 30 Years: A Musical Celebration of Cuba in America” (Advance Dance Disques). Celebrating 30 years of the band - which now includes the Cuban master drummer-singers Pedrito Martinez and Roman Díaz - she’ll be playing two nights at Dizzy’s Club Coca-Cola, Sept. Rosewoman, the pianist and composer, was an important part of the 1980s movement that merged jazz improvisers and Afro-Cuban music with her band, New Yor-Uba, she gravitated toward the bata-drums-and-vocals tradition of Cuban religious music and the possibilities of post-mainstream jazz. Alessi and the Baida quartet also performs at Jazz Standard on Sept. “Baida” (ECM) is his first album with a new quartet including the pianist Jason Moran, bassist Drew Gress and Nasheet Waits. He’s a good collaborator with leaders like Ravi Coltrane, Steve Coleman and Fred Hersch in his own groups, he balances elegant precision and power. Alessi has been a calm, exacting and, sometimes, fascinating presence on New York bandstands over the last two decades.
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