Something/Anything? proved that Todd Rundgren could write a pop classic as gracefully as any of his peers, but buried beneath the surface were signs that he would never be satisfied as merely a pop singer/songwriter. A close listen to the album reveals the eccentricities and restless spirit that surges to the forefront on its follow-up, A Wizard, A True Star. Anyone expecting the third record of Something/Anything?, filled with variations on "I Saw the Light" and "Hello It's Me," will be shocked by A Wizard. As much a mind-f*ck as an album, A Wizard, A True Star rarely breaks down to full-fledged songs, especially on the first side, where songs and melodies float in and out of a hazy post-psychedelic mist. Stylistically, there may not be much new -- he touched on so many different bases on Something/Anything? that it's hard to expand to new territory -- but it's all synthesized and assembled in fresh, strange ways. Often, it's a jarring, disturbing listen, especially since Rundgren's humor has turned bizarre and insular. It truly takes a concerted effort on the part of the listener to unravel the record, since Rundgren makes no concessions -- not only does the soul medley jerk in unpredictable ways, but the anthemic closer, "Just One Victory," is layered with so many overdubs that it's hard to hear its moving melody unless you pay attention. And that's the key to understanding A Wizard, A True Star -- it's one of those rare rock albums that demands full attention and, depending on your own vantage, it may even reward such close listening.© Stephen Thomas Erlewine /TiVo

French-Algerian bassist Michel Benita may not be well known to most jazz fans, but his bona fides are impeccable. He served as the original bassist in France's Orchestre National de Jazz, worked with artists such as Marc Ducret, Peter Erskine, and Erik Truffaz, and was a member of Andy Sheppard's group on Trio Libero. He has led the Ethics quartet since 2010; they appeared on his 2015 ECM leader debut River Silver. Looking at Sounds features Benita leading a modified quartet with flugelhornist Matthieu Michel and drummer/electronicist Philippe Garcia from Ethics. Joining them is Belgian Fender Rhodes pianist and electronic experimentalist Jozef Dumoulin, himself a bandleader. In addition to bass, Benita employs a laptop. His methodology in using electronics is unobtrusive, unlike many of his peers. His electronics add space, dimension, subtle textures, and nothing else. Benita composed or co-composed all but one of the 11 selections on the date.His flugelhorn is usually employed as the lead voice here, a carrier of melody and harmony and the hub for the other players to interact and improvise around. Opener "Dervish Diva" finds him traveling down an Eastern modal path while Garcia uses his cymbals and hand percussion in a hypnotic yet syncopated beat. Benita accents the tempo flow while finding his own mysterious path along Michel's lines, as Dumoulin emulates a guitarist's sound and role on the Rhodes. Garcia integrates real-time sampling into his percussive work creating hushed loops. Throughout, Dumoulin processes his Rhodes through many effects boxes and pedals, using various types of reverb to create a luminous quality in his sound. The title track provides evidence even as he emulates the spirit of Joe Zawinul from the first two Weather Report albums. Benita finds a minor-key lyric melody and touches the intersecting point between Benita's bass pulses and the pianist's moody chord progressions. The group interplay gets darker; it moves further afield and is more complexly integrated as melodic improvisation meets sonic extrapolation. "Barroco" is a gorgeous illustration of post-bop lyricism and gentle abstraction, with Benita's under-melody illustrated alongside Benita's primary melody in an intimate exchange. There is a seamless approach to the development of a collective musical language as displayed on "Body Language." Its textures and sounds wrap around one another; they're analogous to Pat Metheny's playing on Secret Story, and Metheny's playing with Jon Hassell on Fourth World, Vol. 2: Dream Theory in Malaya. "Islander" offers a fully formed folk melody introduced by Benita and then elegantly embellished by Dumoulin's rhythmic, EFX-laden chords and Garcia's graceful snare and hi-hat fills. Benita finds the harmonic center and offers an exploratory hypnotic vamp that emerges from and speaks to the tune's lyric core yet hovers just outside it. Despite its gentility and restraint, the music on Looking at Sounds is rich in color, nuance, and mystery. This is group interaction at its most intimate, focused, and perhaps even profound; it results in a poetic, obsessively listenable, and truly unforgettable outing.© Thom Jurek /TiVo

When the first UNKLE full-length dropped in 1998, some electronica fans were hoping that the supergroup featuring Mo' Wax founder James Lavelle and production wunderkind DJ Shadow would become to electronic music what Radiohead had become to rock: an act with commercial clout, artistic importance, and the rapt attention of music critics everywhere. Psyence Fiction instead engaged only a small coterie of curious listeners interested in the concept of epic trip-hop -- or the parade of star collaborations. UNKLE full-length number two, Never, Never, Land, finds James Lavelle with a new conspirator, singer/songwriter Richard File, a talented writer whose blasted yet sweet vocals unfortunately recall Dirty Vegas as much as Thom Yorke. Lavelle's vision for music is still in wide focus, replete with sweeping strings, driving breakbeat passages, and tender balladry (from File) as well as raging, angsty metal (from guest vocalist Josh Homme of Queens of the Stone Age). Massive Attack's 3D gets another chance to excoriate Blair and Bush on "Invasion," while Ian Brown shambles through another guest appearance on "Reign." Lavelle's interests and themes haven't changed drastically from Psyence Fiction, and with fewer star guests (anonymous contributions from Jarvis Cocker, Brian Eno, and Graham Gouldman notwithstanding), Never, Never, Land is a work of intense drama but little importance. [The U.S. release, which followed a year after the British, included two bonus-track remixes.] © John Bush /TiVo

Something/Anything? proved that Todd Rundgren could write a pop classic as gracefully as any of his peers, but buried beneath the surface were signs that he would never be satisfied as merely a pop singer/songwriter. A close listen to the album reveals the eccentricities and restless spirit that surges to the forefront on its follow-up, A Wizard, A True Star. Anyone expecting the third record of Something/Anything?, filled with variations on "I Saw the Light" and "Hello It's Me," will be shocked by A Wizard. As much a mind-f*ck as an album, A Wizard, A True Star rarely breaks down to full-fledged songs, especially on the first side, where songs and melodies float in and out of a hazy post-psychedelic mist. Stylistically, there may not be much new -- he touched on so many different bases on Something/Anything? that it's hard to expand to new territory -- but it's all synthesized and assembled in fresh, strange ways. Often, it's a jarring, disturbing listen, especially since Rundgren's humor has turned bizarre and insular. It truly takes a concerted effort on the part of the listener to unravel the record, since Rundgren makes no concessions -- not only does the soul medley jerk in unpredictable ways, but the anthemic closer, "Just One Victory," is layered with so many overdubs that it's hard to hear its moving melody unless you pay attention. And that's the key to understanding A Wizard, A True Star -- it's one of those rare rock albums that demands full attention and, depending on your own vantage, it may even reward such close listening.© Stephen Thomas Erlewine /TiVo

As part of the Fantasy Definitive series, pianist and composer Vince Guaraldi is spotlighted on 31 tracks recorded for the label between 1955 and 1966. This noteworthy compilation focuses not only on Guaraldi as the composer of songs from the Charlie Brown television cartoon, but as a versatile jazz pianist. The Peanuts themes make up eight tracks while the remainder of the set blends music from the LPs Jazz Impressions of Black Orpheus, The Latin Side of Vince Guaraldi, Vince Guaraldi Trio, Vince & Bola (And Friends)/Live at El Matador, In Person, and A Flower Is a Lovesome Thing. Collectors should take note of the two unreleased bonus tracks "Autumn Leaves" and "Blues for Peanuts," both from 1964. While this double-disc compilation spotlights ten years of a well-rounded career, it's unfortunate that the cover art finds Guaraldi sharing the spotlight with the piano-playing Peanuts character Schroeder, as it may give the impression that this set is dedicated to the Charlie Brown material.© Al Campbell /TiVo

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Kicking off the most exhaustive exhumation yet of the Pink Fairies' early-'70s catalog, the remastered Neverneverland readily takes its place among the era's most crucial debuts, a hard-rocking, free-flowing, and, above all, anarchic monster that opens with the definitive statement of yippie intent, "Do It," and doesn't look back. Titled for radical Jerry Rubin's book of the same name, "Do It" remains a manifesto for the revolution that never quite got off the ground, a gutsy affirmation that the Pink Fairies were never to eclipse. Originally released as a January 1971 single, "Do It" also appears among the bonus tracks in its edited (three-minute) 45 rpm format, together with its turbulent B-side, the similarly barnstorming "The Snake." And it must be admitted that anybody entering the realm of the Pink Fairies from those points of view is in for at least a few surprises. While "Say You Love Me" and "Teenage Rebel" certainly adhere to the band's rockiest tendencies, the ballad "Heavenly Man" sounds like nothing so much as those other pink things, Pink Floyd circa Obscured by Clouds, while "War Girl" has a distinct American R&B tinge to it. Other moods float in and out of focus before Neverneverland returns to Free Festival central for the live crowd-pleaser "Uncle Harry's Last Freak-Out" -- present in both its 11-minute LP form and, among the bonus tracks, the 12-minute instrumental prototype that was one of the band's first studio attempts at the piece. Needless to say, both are as relentless as the title insists -- and as fiery as the Pink Fairies' own reputation demand they should be.© Dave Thompson /TiVo

This CD reissue under the OJC imprint brings back the first full session led by pianist Vince Guaraldi. Teamed up with the fine guitarist Eddie Duran and bassist Dean Reilly, Guaraldi swings lightly and with subtle creativity on two group originals and eight standards, including "Django," "Chelsea Bridge," "Fascinating Rhythm," and "The Lady's in Love with You." Tasteful music.© Scott Yanow /TiVo

This LP was a change of pace for pianist Ahmad Jamal, whose trio (with bassist Israel Crosby and drummer Vernell Fournier) is joined by a 15-piece string section arranged and conducted by Joe Kennedy. The interpretations are generally pretty, but with enough variety to hold one's interest. Among the nine selections are Hoagy Carmichael's "Ivy," "Tangerine," "Ahmad's Blues" and "I Like to Recognize the Tune."© Scott Yanow /TiVo

Jake and the Neverland Pirates, based on Disney’s animated classic Peter Pan, follows the adventures of a handful of kid pirates as they do their best to outwit the notorious Captain Hook and his bumbling sidekick, Smee. The soundtrack, a rousing, 18-track collection of spirited “Pirate Rock,” which comes off as one part Adam Ant, one part Alestorm, and a whole lot of the Wiggles, was composed and performed by newcomers Kevin Hendrickson and Loren Hoskins, a Portland, Oregon-based duo that specializes in “family friendly pirate music,” and were discovered by Bob Gannaway, the show’s creator, after a random internet search for "pirate music for kids" turned up multiple hits for Captain Bogg & Salty, the pseudonyms the pair had been performing under since 2000.© James Christopher Monger /TiVo

This is Washington, D.C.-based Diane Hubka's second album for the Netherlands' A-Records. Even more so than on her first album, she avoids the classic standards favored by many contemporary singers. Instead, the playlist is dominated by "off-beat" songs, i.e., tunes that don't get that much recording attention even though they were composed by well-known writers like Richard Rodgers, Jobim, and Jules Styne. This is risky, requiring a lot of confidence to pull it off. Hubka obviously has this confidence, because this is as entertaining an album as has hit the streets for quite a while, and it doesn't have a single bad track. "In Walked John," Malachi Thompson's lyrical tribute to John Coltrane, is one of the highlights. Hubka's delivery is straightforward but compelling, while everyone gets an opportunity to stretch out to pay their homage to Coltrane. Especially commanding is Scott Whifield's trombone solo and Frank Kimbrough's piano. Kimbrough's piano is the grout which keeps everything in place on this recording session. "Never Never Land" (somewhere between Oz and Wonderland, it sounds like), has a fairy tale aura about it. Along with Hubka's delicate phrasing, there's an extended solo by guitarist John Hart with Tony Moreno's drums providing energetic punctuation in support. Hubka shows that she is no slouch with a guitar as she honors one of her mentors, Bob Dorough, on "Small Day Tomorrow." With Hart's guitar dispensing complementary chords, Hubka goes into the blues with Hoagy Carmichael's "Baltimore Oriole." Meredith d'Ambrosio, another singer who explores distinctive material, is recognized as Hubka performs her composition "August Moon." There are many other musical virtues here which make this an attractive disc, not the least of which is Hubka's pleasant, crystal-clear voice, as well as her impeccable phrasing and the spirited interplay between Hubka and the ensemble. But perhaps most critical is the balance she strikes between straight singing and wordless vocalizing and scatting. She doesn't scat on every tune, but when she does, it becomes a tasteful contribution to the lyrical message she is conveying. This album is highly recommended. © Dave Nathan /TiVo

The husband-and-wife team of saxophonist Wayne Escoffery and vocalist Carolyn Leonhart have a nice handle on ballads, mainstream jazz, and neo-bop on this collection of tunes that has an old-school feeling, updated with a few twists and turns. Leonhart's vocal command in the pop world with Steely Dan is well-known, and here she deepens her commitment to jazz with a flexible, at-times sensual, mostly pleasing vocal approach. Escoffery, on tenor and occasionally soprano sax, asserts himself at times, but is more a part of this team of jazz players, which includes the exceptional pianist Toru Dodo, bassist Hans Glawischnig, and drummer Donald Edwards. Challenging material such as Lee Morgan's "Infinity" is updated, funky, and even soaring in an off-minor cast, as is the tick-tock-to-bluesy original "Better Next Time." Leonhart and brother Michael's words to Joe Martin's "The Harbor" has that elusive, 7/8 to 4/4 rhythm within contemporary terms that commands attention, but at her core, the singer's good common sense, mixed with her sensuality, shine best on ballads like the classic "Never Never Land" or the eerie Charles Mingus dirge "Eclipse." Adam Rogers adds spacy guitar à la Bill Frisell for two selections, while Donald Fagan's "Big Noise, New York" reminds listeners where Leonhart's bread is buttered. A relatively new thing for Escoffery and Leonhart as musical partners, this pairing should develop more in time, and stretch further in progressive areas.© Michael G. Nastos /TiVo

The rhythm section for the Diva Jazz Trio has recorded in the piano-bass-drums trio format only for this recording, and it is an occasion long overdue. Drummer Sherrie Maricle teams with Japanese nationals in pianist Tomoko Ohno and bassist Noriko Ueda, showcasing their formidable talents in a fashion that, in many ways, is buried underneath the horn-laden power of the full-blown jazz orchestra. It turns out that Ohno is not just a fine player, but quite extraordinary, her talent brimming with the vim and vigor that suggest the virtuosity of Oscar Peterson. Ueda's playing is sensitive for sure, but perfectly in tune with Ohno's modal notions when they play rich, resonant basslines together, and she can swing with the best of them. Maricle's work with brushes is emphasized on many of these selections, taking somewhat of a backseat, but in a supportive role where the spotlight can rest firmly on the pianist and bassist. Standards reign supreme, starting with a reimagined version of the Wizard of Oz theme "If I Only Had a Brain," a bop-quick take recalling Peterson or perhaps Erroll Garner, with a fabulous bass solo in the bridge. There's the show tune "Oh, What a Beautiful Morning" done in a pedantic, tick-tock beat, the light bossa nova modification on the title selection, and the contradictory ballroom combo tune "I Could Have Danced All Night/I Won't Dance" in a midtempo, chit-chat framework. A Brazilian flavor dominates Chopin's "Piano Nocturne #6, Opus 09, No. 2," the band introduces John Coltrane's idiomatic interpretation of "My Favorite Things" starting in chamber mode before swinging the waltz, and the Fats Domino R&B hit "I'm Walkin'" is done in a witty groove-biscuit shuffle, all nice change-ups. Most surprising is Cole Porter's "Love for Sale," done in 7/4 time before merging to bop and another shuffle. The DJT plays music that is clever and witty, but not all that complicated, intelligent without being stoic, and pleasing while avoiding clichés and sappiness. It's an attractive combination of musical sights, sounds, and minds merging over commonalities that can be universally enjoyed by all mainstream jazz listeners.© Michael G. Nastos /TiVo