As a singer and songwriter, Carla Bruni usually follows the labyrinthine tracks in French music established by artists such as Georges Brassens, Jane Birkin, and Pierre Barouh. Therefore, cutting a collection of standards from rock, pop, and jazz might seem out of character. The songs on French Touch are those Bruni sang and played on the guitar between the ages of nine and 29. The album was initiated by Grammy-winning producer, arranger (and then-head of Verve Records) David Foster. He was knocked out by a Bruni performance in Los Angeles and offered to produce an album. She is accompanied by her regular band and a slew of studio aces including drummer Jim Keltner, guitarist Dean Parks, and harmonica ace Mickey Raphael -- who appears on a lovely, Caribbean-inspired version of "Crazy" that also features its composer, Willie Nelson in duet.While these readings are intimate, they are imbued without nostalgia or artifice. Foster arranges these songs according to Bruni's particular needs as a singer: her breathy contralto, though always intimate and tender, is surprisingly expressive in the English language. She opens with a moody yet sparse read of Depeche Mode's "Enjoy the Silence" as a poignant ballad with Cyril Barbessol's ghostly piano, minimal percussion, strings, and nylon-string and slide guitars. Bruni follows with reading of the Clash's "Jimmy Jazz," complete with fingerpops and Fats Waller-esque piano, muted trumpet, and clarinet derived from early-'30s jazz. The Rolling Stones' "Miss You" is viewed through the Barry White and Love Unlimited production aesthetic, with strings swirling atop the airy, funky disco backbeat, hand percussion, and nylon-string guitar. ABBA's "The Winner Takes It All" is delivered sincerely, but its string-drenched chart is twee and forgettable. The reinvention of "Highway to Hell" as a slippery jazz-inflected blues is anything but, with its swinging horns, electric piano, and bumping bassline. The gorgeous cabaret-tinged reading of Lou Reed's "Perfect Day" is imbued with a flawless balance of innocent longing and moody introspection. It's followed -- with a nod and a wink given to her husband Nicolas Sarkozy's difficulties during his time as France's president -- by a too-sweet "Stand by Your Man" that weds Cafe Saravah's nouveau chanson breeziness, upscale honky tonk, and smooth pop. Bruni closes the set with two gorgeous American pop standards: "Please Don't Kiss Me" is modeled directly on Rita Hayworth's version from the 1947 film The Lady from Shanghai. It's juxtaposed with Johnny Mercer's "Moon River," rendered without any of the stylistic artifice of the great pop stylists. Bruni's version is modeled on Audrey Hepburn's singing of it in Breakfast at Tiffany's alone on a windowsill. Though buoyed by an elegant yet economic use of strings, it nonetheless recollects that iconic silver screen moment. The songs on French Touch are idiosyncratic and free of drama. But they are chock-full of tenderness; Bruni delivers them with keen insight into the lyric meanings these melodies convey.© Thom Jurek /TiVo

Tango accordion has a clear icon in the late Astor Piazzolla, but these days Richard Galliano is making a strong case for being the premier jazz accordionist. He's as lyrical as one needs, swings like mad, or brings tempos down to a sensual jog with passion and soul. When called upon, he can play a gut-wrenching tango or two himself. For this effort he's joined by two different crack rhythm sections, the brilliant Jean-François Jenny-Clark and Daniel Humair (seven tracks), or the slightly cut below Remi Vignolo and Andre Ceccarelli (four tracks), bass and drums respectively. It's not hard to hear a distinctly French but improvisationally Americanized sound. The lone standard, "You Must Believe in Spring," is one of many waltzes, but this one jumps from second to fifth gear, Galliano rapidly flying through the changes. The title track is also quick, with "Augusta" more a sprightly 3/4, while "L'Envers du Décor" is an easier modal three beat. Nods to Brazilian Hermeto Pascoal are heard on his composition "Bébé" and the mallets on drums and heavy conga beat-based fanfare and theme of "Passarinho." Galliano plays his accordion and whistles in unison on both tracks. Soprano saxophonist Michel Portal swings with Galliano, Humair, and Clark on the 6/8 "J.F.," while Clark duets with Galliano on "Sanguine," which is far from bloody, more like sweet sangria. "Heavy Tango" is as it is titled -- hard-driving and no holds barred -- and there's a slow samba, "Sanfona," one of nine of Galliano's written works. Even when the swing is light, as on "Caruso," Galliano's button pushing is active, pulsing, and popping. There's much to like on this, Galliano's most engaging CD. Perhaps some will beg for more variation, like the Portal cut. But these rhythm sections, especially Europe's finest Clark and Humair, push Galliano's artistry to greater heights, providing the listener with a unique experience in a jazz and even more so in a world music context. Highly recommended.© Michael G. Nastos /TiVo

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Bearing the brunt of playful jabs concerning his talent as a solo hitmaker, French Montana sought to remind listeners that he's got the chops on They Got Amnesia. While tracks like the hard-hitting "How You King?" and "Fraud" do a decent job at showcasing his New York City-honed flow, unfortunately, for Montana's cause, the real draws on the album still include a famous friend or two. The guest roster is impressive, as always, pulling in superstars such as John Legend, Rick Ross, Doja Cat, Fabolous, Saweetie, and Ty Dolla $ign, who join younger emcees like Lil Tjay, Moneybagg Yo, Coi Leray, Fivio Foreign, and Kodak Black across the nearly two-dozen tracks on this overly long effort. Highlights for the personalized playlists include the Doja/Saweetie track "Handstand," the Ty Dolla/Latto stripper anthem "Striptease," and the Legend/Ross joint "Touch the Sky."© Neil Z. Yeung /TiVo

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As a singer and songwriter, Carla Bruni usually follows the labyrinthine tracks in French music established by artists such as Georges Brassens, Jane Birkin, and Pierre Barouh. Therefore, cutting a collection of standards from rock, pop, and jazz might seem out of character. The songs on French Touch are those Bruni sang and played on the guitar between the ages of nine and 29. The album was initiated by Grammy-winning producer, arranger (and then-head of Verve Records) David Foster. He was knocked out by a Bruni performance in Los Angeles and offered to produce an album. She is accompanied by her regular band and a slew of studio aces including drummer Jim Keltner, guitarist Dean Parks, and harmonica ace Mickey Raphael -- who appears on a lovely, Caribbean-inspired version of "Crazy" that also features its composer, Willie Nelson in duet.While these readings are intimate, they are imbued without nostalgia or artifice. Foster arranges these songs according to Bruni's particular needs as a singer: her breathy contralto, though always intimate and tender, is surprisingly expressive in the English language. She opens with a moody yet sparse read of Depeche Mode's "Enjoy the Silence" as a poignant ballad with Cyril Barbessol's ghostly piano, minimal percussion, strings, and nylon-string and slide guitars. Bruni follows with reading of the Clash's "Jimmy Jazz," complete with fingerpops and Fats Waller-esque piano, muted trumpet, and clarinet derived from early-'30s jazz. The Rolling Stones' "Miss You" is viewed through the Barry White and Love Unlimited production aesthetic, with strings swirling atop the airy, funky disco backbeat, hand percussion, and nylon-string guitar. ABBA's "The Winner Takes It All" is delivered sincerely, but its string-drenched chart is twee and forgettable. The reinvention of "Highway to Hell" as a slippery jazz-inflected blues is anything but, with its swinging horns, electric piano, and bumping bassline. The gorgeous cabaret-tinged reading of Lou Reed's "Perfect Day" is imbued with a flawless balance of innocent longing and moody introspection. It's followed -- with a nod and a wink given to her husband Nicolas Sarkozy's difficulties during his time as France's president -- by a too-sweet "Stand by Your Man" that weds Cafe Saravah's nouveau chanson breeziness, upscale honky tonk, and smooth pop. Bruni closes the set with two gorgeous American pop standards: "Please Don't Kiss Me" is modeled directly on Rita Hayworth's version from the 1947 film The Lady from Shanghai. It's juxtaposed with Johnny Mercer's "Moon River," rendered without any of the stylistic artifice of the great pop stylists. Bruni's version is modeled on Audrey Hepburn's singing of it in Breakfast at Tiffany's alone on a windowsill. Though buoyed by an elegant yet economic use of strings, it nonetheless recollects that iconic silver screen moment. The songs on French Touch are idiosyncratic and free of drama. But they are chock-full of tenderness; Bruni delivers them with keen insight into the lyric meanings these melodies convey.© Thom Jurek /TiVo

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