'BACK IN THE CIRCUS'

'BACK IN THE CIRCUS'
Jonatha Brooke
(Bad Dog/Verve)
sssJonatha Brooke's musical saga began with the Story, formed with fellow singer-songwriter Jennifer Kimball in the '80s when both attended Boston's Amherst College. After releasing two captivating albums of urban folk tunes, they split up a decade ago to pursue separate careers. "Back in the Circus" is easily Brooke's best recording since her solo debut, "Plumb," filled with lovely music for the lovelorn.
Loss, pain and regret -- Brooke's lyrical trademarks -- are made palatable by her passionate vocals and clever musical settings. Such ear-catching touches as the accordion that leads off the slow, slightly tipsy title-track waltz and the eerie electronic percussion and toy piano on "Sleeping With the Light On" more than make up for a few less-inspired originals. Of the three covers on "Circus," the Beach Boys' "God Only Knows" is by far the best -- Brooke's intricate, overdubbed harmonies might even bring a smile to Brian Wilson's face.
'SCRAPE'
Ivan Neville
(Compendia)
sss1/2"I'm running out of that funky stuff," Ivan Neville laments at the outset of his new CD. Sure he is. This scintillating set from the son of the Neville Brothers' Aaron Neville is virtually swimming in delicious New Orleans funk.
Ivan Neville -- who has played with Keith Richards, Bonnie Raitt and other luminaries -- pays tribute to his hometown Meters with the rubbery instrumental title track, and quotes Marvin Gaye and Sly Stone in spots. But his songs mark him as his own man, from the hard-edged, attitude-heavy R & amp;B of "The Ugly Truth" to the sweet-soul balladry of "Lost Ball" and the dance-oriented sleekness of "Dance for Free."
At the heart of the album, Neville one-eighties from "Ode to 5 A.M.," a wrenching portrait of an addict's dark night of the soul, into the uplifting "Life's Been Good" -- and sings both with the conviction of someone who's been both places.
'BERNSTEIN SYMPHONY NO. 1 ("JEREMIAH") AND CONCERTO FOR ORCHESTRA ("JUBILEE GAMES")'
Helen Medlyn, mezzo-soprano; Nathan Gunn, baritone; New Zealand Symphony Orchestra, James Judd conducting
(Naxos)
sss1/2 This fascinating program presents Leonard Bernstein, at the beginning and conclusion of his composing career, inspired at both ends by his Jewish heritage.
There are a number of good recordings of the muscular, engaging "Jeremiah" symphony, and this is definitely among them. The main reason to get this disc, though, is Bernstein's seldom-heard concerto. His own recording of it is strangely pale. Here, it's wild stuff -- imagine the "Chichester Psalms" gone mad.
The second movement is a compressed theme and variations that show Bernstein at his most inventive. The only disappointment is the final movement: Despite an excellent vocal contribution from Gunn, either the music or the performance doesn't bring the piece to the elevated end it strives for.
'GIVE'
The Bad Plus
(Columbia)
sThe Bad Plus, the trendy alt-acoustic piano trio, follows up its 2003 debut with more dorky covers of unlikely material (this time by the Pixies and Black Sabbath) and overwrought original material, all interpreted with the subtlety, substance and relentless volume of an arena rock band. It's not that the band doesn't swing; it's that the music says so little in its idiom.
Pianist Ethan Iverson plays cornball quasi-classical broadsides and jabbing, regressive ideas that come across like someone poking a finger in your chest. When scattered drummer David King isn't hammering home a straitjacket beat, he's bashing indiscriminately. Bassist Reid Anderson's slippery lines (not without interest) sound lost in the rocklike production mix. High points? A discursive reading of Ornette Coleman's "Street Woman" shows the cats can play, but even here, everything's painted in primary colors.
'KEEP IT SIMPLE'
Keb' Mo'
(Epic/Okeh)
sssThere has never been anything flashy about the straightforward blues of Keb' Mo'. Yes, his albums often incorporate elements of gospel, pop and R & amp;B, but the key to his appeal has always been his unassuming simplicity. "Keep It Simple," his sixth album and first in three years, is therefore not so much a drastic attempt at minimalism as it is an affirmation of his down-home, folksy style.
Listeners might suspect that "Keep It Simple" signals his return to traditional blues, after dabbling in children's music with 2001's "Big Wide Grin" and testing the waters of contemporary pop with 2000's "The Door." And because this album represents his first solo producing gig, "Keep It Simple" may also indicate increased focus on the music rather than layers of overdubs and studio tricks. The arrangements are spare, with instrumentation usually confined to guitars, bass, drums and piano. Mo' avoids synthesizers and drum loops in favor of the occasional restrained guitar solo or banjo flourish.
"Keep It Simple" is mostly a reflection of the recurring themes in Mo's songwriting: faith, friendship, devotion and pride. It is this sweet simplicity of spirit that makes Mo's blues a pleasure.