The Jack Stafford Foundation
Exes (The Record Company)

Jack Stafford is an Englishman based in Amsterdam. On Exes, he spends the entire record venting about his past loves/relationships, and there seem to have been many. Among other scenarios, we hear about he's been used by a married woman ("Toyboy") and strung along by women who are still recovering from break-ups ("Ex-Boyfriends Are the Bane of My Life") . By the end, this one topic lyrical theme wears thin as you either hope Jack finds true love or gets himself into a support group. The music is sort of electro-rock with plenty of keyboards and danceable sounds, which provides an interesting backdrop Stafford's lonely musings. Interestingly, the best song might actually be the acoustic "Bury St. Edmunds" which closes Exes. Stafford is also quite a clothes designer; check out his suits at http://www.jackstaffordcollection.com. (Andy Smith)

JACOB FRED JAZZ ODYSSEY
ALL IS ONE--LIVE IN NEW YORK CITY (KNITTING FACTORY)

Any band that willingly embraces the words 'jazz odyssey' into their title has to be given credit even before the opening note. (Will those words ever mean anything else after Spinal Tap?) Tulsa, Oklahoma may not be the mother of jam-based jazz experimentation, so it makes sense that the Jacob Fred Jazz Odyssey traveled to New York City's famed Knitting Factory to record this disc. Someone much smarter and well versed in jazz history can riff on who influenced the band's sound--I just know that they produce a most joyous noise. Brian Haas' Rhodes plays the biggest role in most of these songs, but there is plenty going on otherwise. The rifle-shot precision of Jason Smart' s drumming in the short, sharp "Overtone Star" is a treat to listen to and almost pushes the keyboard sounds out of the picture. Reed Mathis lays down a hellacious set of sounds that help propel "Vernal Equinox," as the keyboards pull back and swirl in with the drums with equal fervor. I found "Three Splattered Eggs" to be a highlight here, with the band sliding between styles with as much ease as a Naked City-era John Zorn composition (minus the hellacious horns and guitars of course). Anyone who has turned their nose up at avant-jazz experiments should give this a listen; they are in for a pleasant surprise. Anyone who already has a taste for the genre should search this out. (Boon Sheridan)

DAVID JACOBS-STRAIN
STUCK ON THE WAY BACK (NORTHERNBLUES MUSIC)

Stuck on the Way Back is the fourth release from an extremely talented and sophisticated blues performer, 19-year-old Eugene, Oregon resident David Jacobs-Strain. Jacobs-Strain began learning to sing the blues at the age of nine and proved precocious at the craft from the onset. It's one thing to say this young man is impressive for his age, but this convincing and compelling acoustic blues, born of an admiration for Taj Mahal and Lightnin' Hopkins, would be good for a bluesman of any age. His stunning Delta blues technique on acoustic guitar is simply and effectively supported with various percussion and occasional Hammond B-3 organ. Already a fixture on the Northwest blues scene, Jacobs-Strain showcases a mature slide guitar style he first began using in 1996. The material consists of original compositions and covers of R. L. Burnside, Otis Taylor, and more. (TTS)

Mikki James
Guess What… (Xemu)

Mikki James reeks of New York City street toughness on Guess What… Full of slashing, chunky guitars and plenty of good hooks, James' two-fisted sound pulls no punches, especially on the biting title track, which is a colossal kiss-off just waiting for a crowd to sing-along. The longer songs pale in comparison as James and company get a bogged down, but when he keeps it short and sharp, he's a garage rock force. (Andy Smith)

MASON JENNINGS
CENTURY SPRING (ARCHITECT)

Minneapolis-based singer/songwriter Mason Jennings believes in love. He doesn't believe in irony and he doesn't want to hide his feelings under glib one-liners or unfocused anger. The proof is on his third album Century Spring. Jennings alternates a gift for poetic imagery ("Killer's Creek," the title track) with a knack for straight talk ("Living in the Moment," "Forgiveness") to lay out his feelings about love and the lack of it. Coupled with his sturdy folk/pop melodies and conversational singing, the tunes convey romance and heartbreak without getting precious or whiny about it. In a fair universe, "Sorry Signs on Cash Machines" would find itself on the radio. Only "Bullet," with its lame whiteboy rapping of the verses, doesn't work, though it's nice to know Jennings is willing to try such a move. There's not a terrible amount of originality here, but there doesn't necessarily need to be. There's something to be said, after all, for a job well done. (Michael Toland)

JENAI
COOL ME DOWN (CURB)

Every once in a while, a new country singer emerges from the pack with a debut album that makes them an instant star. Jenai's first effort, Cool Me Down, has every right to be just that type of hit, as the singer effortlessly bounds through its dozen tracks with enthusiasm. While Jenai provides considerable vocal talent, it should be no surprise that her first release is such a gem. Cool Me Down was produced by Brent Maher, whose credits include Tina Turner, the Judds, Kenny Rogers, Kathy Mattea, and Shelby Lynne. His knack for crafting radio-friendly music definitely shows here. Jenai excels in the uptempo songs, but it's in the Shelby Lynne-penned ballad "Written On My Heart" and the emotional "It Won't Be Me" that the listener gets a chance to hear how talented a singer this Idaho native is. Perhaps the highlight of Cool Me Down, however, is the Jamie O' Hara-written "Be A Woman," which could easily be a Bonnie Raitt hit. Jenai does Raitt proud on the track, proving that, while the lion's share of the album is more in the mainstream pop vein of Shania Twain, Janai has some serious soul. (Richard E. Glover, Jr.)

JETPACK UK
The Art of Building a Moat
Heatstroke
Like Cher UK, Jetpack is actually from the Nashville area and uses the "UK" moniker with tongues planted in cheek. Musically, the band's EP is a hard-hitting poppy affair with singer Sean Williams' nasally, faintly snotty vocals leading the charge. There are some good hooks although the band seems to be trying on different approaches over the course of the seven tracks and doesn't seem to be sure just how hard they want to rock.--Andy Smith

JETTISON RED
TRAVEL BY TELEPHONE (STATIC)

"Elvis has left the building as they say. Yesssss, the band is calling it quits. For now." So Jettison Red informs us at their web site--bit of a wind-up if you know what I mean. C'mon fellows, most of us are new to the game. What's that you say? "Teenage wasteland, where did you go?/Gone now, you're still invincible/Well I never wanted to be born/In a generation of dead heroes." Yes, boys and girls, our retro-savvy quartet has been swotting up on their Who 101. And you should be oh so thankful. Especially if you really groove to this powerpop rock 'n' roll thing Jettison Red are so deft at delivering. You've got to love the full-throttle fret attack that underpins the robust melodies that make up most of the band's ferocious repertoire. Energy with charm, muscle with soul... You cannot go far wrong with such classic rock pedigree (and Oasis thought they were the bees' knees)! If you happen to be scratching your head in bemusement but also happen to be fans of Sloan, Redd Kross, Matthew Sweet, Teenage Fanclub et al, then forget about analyzing this, the joys of Jettison Red are pretty straightforward and simple. I know what I like and Travel By Telephone really hits the spot. (Kevin Mathews)

Jimmy Eat World
Futures (Interscope)

Jimmy Eat World is one of the bands that finally made "emo" a commercially viable musical style in the eyes of record executives who could probably never explain exactly what that term means. After nearly a decade of plugging away in relative obscurity aside from their loyal underground following, these Phoenix natives had a breakout single in 2001 with "The Middle" and became the toast of MTV and other mainstream media outlets. Now with Futures, the band's first record for Interscope, they appear ready to cash in on their popularity. Produced by Gil Norton (Pixies, Foo Fighters), Futures is as slick and generically crunchy as you would expect. The layered guitars weave in and out of the better tracks, and everything is precise and perfectly placed. Some individual songs stand out, especially the slower "Work" and "Kill" as well as the epic closer "23." The overall impression is that of a mature band with songwriting skill and a knack for good tunes, but it's also boring and wooden as hell. This is the sound of sanitized, corporate rock, all pressure washed and packaged for suburban teenagers and WB melodrama soundtracks. (Andy Smith)

THE JON SPENCER BLUES EXPLOSION
PLASTIC FANG (MATADOR)

Rolling Stone once accused Jon Spencer of verging on "minstrel-show insult." Other detractors wheeled out the old essentialist claim that privileged white boys had no business playing the blues. While such attacks on one in a long line of white boys to play bluesy rock 'n' roll smack of fickle, hipper-than-thou music journalist opportunism, they also display a lack of humor. Although some called the band "an offensive comedy act," they obviously decided not to get the joke and conveniently forgot that rock 'n' roll is supposed to be fun. With Spencer's Elvis-drawlin' showmanship front and center, the Blues Explosion's sound has always been steeped in irony. However, it's not as vacuously postmodern as has been suggested--it's simply impossible not to feel this band's love for rock 'n' roll. Granted, Spencer's comic routine is by now familiar, but there's no mistaking the fact that it's a genuine, punked-up celebration of blues, funk, and soul.

So what about Plastic Fang? Despite the camp-horror song titles and artwork, at first the irony isn't as immediately apparent as in the past. Tracks like "Killer Wolf" and "She Said" are straight-ahead born-under-a-bad-sign rockers that seem to translate the blues' Faustian mythology, rather literally, into somewhat watered-down formats. Indeed, on "Sweet 'n' Sour" and "Money Rock 'n' Roll," the absence of a trademark, slyly knowing JSBX twist leads to the band sounding only as bad-to-the-bone as George Thorogood. It's not really until halfway through Plastic Fang, during "Hold On," that the real Jon Spencer stands up, steps up to the mic, and gives his hallmark faux ad-libbing introduction to the Blues Explosion, ladiesungenulmun. Suggesting a funky, dirtied up "The Wind Cries Mary," "Hold On" puts us back on familiar, sexier JSBX ground. And there's more where that came from. While "Down in the Beast" has a classic Blues Explosion swagger, on the strutting "Over and Over" Spencer doesn't beat around the bush, warning that he's going to "slip it right in, like Black Flag." It's enough to make Rollins blush. Accentuated perhaps by producer Steve Jordan, the band's debt to the Stones circa Exile on Main Street is evident on "Mother Nature" and "Mean Heart." No slice of the devil's music would be complete without an attempt at salvation; Spencer plays his part to the hilt on "Mean Heart," urging us to "get right with God." The testifying's almost credible, ladiesungenulmun. (Wilson Neate)

Linton Kwesi Johnson
Live In Paris with the Dennis Bovell Dub Band (Wrasse/LKJ/BMG France)

Linton Kwesi Johnson rose to prominence in England during the late 70's and early 80' as a dub poet. A native of Jamaica, Johnson was embraced by the bands of the era such as the Clash and the Ruts that were exploring the fusion of reggae and rock. His unique style of spoken poetry was similar to the toasting styles used by many reggae artists, but Johnson's work was less about the braggadocio and clever rhymes that characterized dancehall and more about the racial and political issues of the day. Unlike most reggae "chatters," Johnson was also a poet and acclaimed journalist, and while at the height of his popularity in the mid 80's, he essentially walked away from music preferring to concentrate on his other writing pursuits. Now on Live In Paris With the Dennis Bovell Dub Band, only his second live album in 25 years, younger fans have a chance to understand why Johnson once had such an impact. With the excellent Dennis Bovell Dub Band providing the backdrop, he languidly delivers verses of great topical levity and power in a subdued style that insinuates itself into the music with grace and subtlety. This is an excellent find for fans of spoken word as well as dancehall and dub fans. (Andy Smith)

PAT JOHNSON
October Moon (DBK WORKS)
Low-key and mostly acoustic, this is a stately and hushed chapter in the career of San Franciscan Pat Johnson, a man who’s zigzagging resume lists key support roles for everyone from ex-Avenger Penelope Houston to the Coal Porters, Royal Trux to his own outfit the Wellsprings of Hope. October Moon is solo album #3 (originally released as Mooner in Germany), and flirts with burnished blues (“Catamaran”) and even brassy, soul-revue excursions into Van Morrison territory (“C-Note Melody”), but is at its best on the arid desert balladry of “The Clouds in the Sky” and the soulful, love-song simplicity of the title cut. –Luke Torn

Jude Johnstone
On a Good Day (BoJak)

This sophomore release from a songwriter best known for penning “Unchained” for Johnny Cash is a keeper for those who appreciate heartfelt, adult-themed music. By that, I mean songs that really address what it’s like to wake up middle-aged in an untidy house, mumble ‘whatthefuck’ and still make the best of the day ahead. With fairly translucent backing vocals from pals Jackson Browne, Bonnie Raitt, and Julie Miller, it’s apparent Johnstone has a lot of respect from her peers. The album is a showpiece for Johnstone and husband/producer Charles Duncan, who plays acoustic and electric guitars, among other duties. But for a songwriter’s album, there are some nice musical surprises, such as the saxophone that enters “Hard Lessons,” to the pennywhistle and viola in “The Hereafter.” Elsewhere, Johnstone has been influenced by the masters: “Deep Water” has a bittersweet Joni Mitchell vibe, and “20 Years,” with a melody copping a lesser Springsteen tune, is a story etched in pain and one of several standouts. Its lyrics tell of a couple’s dissolution so total it’s scary: “Twenty years and she’s erased/the first time that she saw his face/and the memory of the way he praised/the ground she walked upon.” A sad sentiment and a testament to survival. – David Pyndus

PAT JOHNSON
October Moon (DBK WORKS)
Low-key and mostly acoustic, this is a stately and hushed chapter in the career of San Franciscan Pat Johnson, a man who’s zigzagging resume lists key support roles for everyone from ex-Avenger Penelope Houston to the Coal Porters, Royal Trux to his own outfit the Wellsprings of Hope. October Moon is solo album #3 (originally released as Mooner in Germany), and flirts with burnished blues (“Catamaran”) and even brassy, soul-revue excursions into Van Morrison territory (“C-Note Melody”), but is at its best on the arid desert balladry of “The Clouds in the Sky” and the soulful, love-song simplicity of the title cut. –Luke Torn

Jude Johnstone
On a Good Day (BoJak)

This sophomore release from a songwriter best known for penning “Unchained” for Johnny Cash is a keeper for those who appreciate heartfelt, adult-themed music. By that, I mean songs that really address what it’s like to wake up middle-aged in an untidy house, mumble ‘whatthefuck’ and still make the best of the day ahead. With fairly translucent backing vocals from pals Jackson Browne, Bonnie Raitt, and Julie Miller, it’s apparent Johnstone has a lot of respect from her peers. The album is a showpiece for Johnstone and husband/producer Charles Duncan, who plays acoustic and electric guitars, among other duties. But for a songwriter’s album, there are some nice musical surprises, such as the saxophone that enters “Hard Lessons,” to the pennywhistle and viola in “The Hereafter.” Elsewhere, Johnstone has been influenced by the masters: “Deep Water” has a bittersweet Joni Mitchell vibe, and “20 Years,” with a melody copping a lesser Springsteen tune, is a story etched in pain and one of several standouts. Its lyrics tell of a couple’s dissolution so total it’s scary: “Twenty years and she’s erased/the first time that she saw his face/and the memory of the way he praised/the ground she walked upon.” A sad sentiment and a testament to survival. – David Pyndus

RICKIE LEE JONES
The Evening Of My Best Day (V2)

A few months after September 11, 2001, Rickie Lee Jones opened her show here in George Bush’s adopted hometown of Austin, with a teasing version of rock’s anti-war classic “Fortunate Son.” The country was gearing up for a war against terrorism, but Jones was fed up enough to make her own stand, before heading off into her own familiar material. Now, with her first album of original material in many years (since 1997’s trippy Ghostyhead), Jones tackles political songwriting in earnest. The album opens with lushly sophisticated pop that one expects, but the subject matter of “Ugly Man” is a direct lob at Bush, this time using Jones’ own words: “…he’s an ugly man / he grew up to be / just like his / father.” Juxtaposed against softly wailing trumpets and a gently rollicking piano, the harsh words are a bit of a musical disconnect, but that’s the point she’s trying to make about the current state of affairs. In any case it’s a strange way to begin The Evening Of My Best Day, whose title suggests the ease of enjoying a breezy afternoon. The hard-edged blues of “Mink Coat At The Bus Stop” alternately gives way to soft introspection for another jarring effect; elsewhere the atmosphere often settles into jazzy grooves incorporating everything from flute, in the lovely “Bitchenostrophy,” to Dobro guitar on the bluesy “Lap Dog” to cello and English horn in “A Tree On Allenford.” High profile guests abound fleetingly, such as Bill Frisell and David Hidalgo on guitars, Rob Wasserman on bass and Pete Thomas on drums, but the evolving musicians are familiar enough with Jones’ modus operandi to sound like a coalescing whole throughout the dozen songs. Those yearning for the Rickie Lee of old will be able to celebrate too, because of the world-weary folk of “Sailor Song” and the elegantly poetic title track, with its rudimentary piano and delicate violin making it sound like a “Pirates” outtake (co-producer David Kalish also played and worked with Jones on that 1981 masterpiece). Back in a political vein, Jones has heart-on-her-sleeve success with “Tell Somebody (Repeal The Patriot Act),” a jab as much at snoopy zealots as to the lessening of individual rights in John Ashcroft’s America. It’s a heavily syncopated jam with righteous backup singers, Booker T-like organ, steadfast horns and handclaps all getting the message out. Though concise enough for radio, the tune obviously will not find an audience in these days of tightly restricted playlists. Even better is “Little Mysteries” which details the counting of votes in the last presidential election, and features enough guitars played by Jones alone (wah wah, sitar, slide, acoustic) to distract you from our modern morass. (David Pyndus)

Seu Jorge
Cru (Wrasse)

Seu Jorge is a Brazilian singer/songwriter who is better known to American audiences for his movie roles. In the brilliant City of God, Jorge had a memorable role as solid citizen turned gang leader, Knockout Ned, and in Wes Anderson's The Life Aquatic with Steve Zissou, Jorge was Pele dos Santos, the guitar strumming sailor who sang Portuguese-language versions of David Bowie songs. But in Brazil, Seu Jorge is a celebrated musician, known for both his musical talents and his journey from life as a homeless kid in Rio de Janeiro's teeming favelas to international acclaim. Cru is translated as "raw," but this describes the stripped-down production more than the subject matter, which tends to be romantic and mainly a-political. Cru also includes a growling cover of Serge Gainsbourg's "Chatterton" and a subdued, fragile version of Elvis Presley's "Don’t." Cru is a very intriguing and at times gorgeous record, but it certainly presents a grittier sound than the sweeter Jobim/Gilberto style that American audiences have grown used to. (Andy Smith)

DAMIEN JURADO
WHERE SHALL YOU TAKE ME? (SECRETLY CANADIAN)

A delirious sense of foreboding permeates these songs, the same kind of feelings spawned by viewing a David Lynch film. It's an edgy creepiness that draws one inside the world of Jurado with detached fascination. That the music resonates so well with the words is like icing on an ant-infested cake. A mainstay of the Seattle urban troubadour scene, Jurado sings with an innocence even as he details this nightmare: "First came the scream/and blood on the floor" in the opener "Amateur Night." Backed by a core band, Jurado and pals eschew the folk and rev their engines on "Texas To Ohio," a thick and humid slice of American rock that Uncle Tupelo would've been proud to call its own. Bassist Josh Golden's minimalist, thumping lines, bracketed by a sweeping chorus, makes for a churning masterpiece. The title track is mood music for a country grappling with its place in the new century, a land filled with out of work slackers and underemployed cowboys from the tone of things. Then there's the spare meshing of voices on the neo-gospel "Window," perhaps the album highpoint, about the fear and salvation of mortal love. Throughout Jurado's voice is so achingly mellow, it's hard to even comprehend the words on cursory listen, but his supple delivery weaves around the instrumentation so seamlessly that it blossoms into a mesmerizing whole. Unlike his last effort, the heralded and more rocking I Break Chairs, this is a simple album overflowing with complex emotions, one of those rare albums that demands attention, whether you want to give it or not, to a world filled with dark characters unsure of what tomorrow will bring. (David Pyndus)

Damien Jurado
On My Way to Absence (Secretly Canadian)

Teaming with vibrant melody and deeply felt introspective lyrics, On My Way to Absence shows the resiliency of Damien Jurado, a tremendously gifted songwriter with a mind and wit found in higher spiritual realms who possesses a voice of gold. The record is a masterpiece discovered and created through the process of time and patience in collaboration with longtime friend Eric Fisher. A four month journey, the majority of the writing was done with little influence from the outside world, as Jurado confined himself to a special solitary space, leaving phones off the hook and bringing in a select group of musical guests to help him out. The result is a polished piece of art that is richly subtle in taste and hauntingly beautiful in mood and color. Opening up with "White Center," and continuing with "Big Decision" and the full band work, "Lion Tamer," Jurado delivers gripping passion and songs filled with deep messages. Jurado possesses a powerful gift to create music that fully resonates and appeals to the listener with timely structure and immediacy in the lyrics that transcends time in many circles and illustrates the extraordinary brilliance of an impressive songwriter. Fascinating and breathtaking are just two of many superlatives not worthy enough to fully describe this groundbreaking effort. (Shawn M. Haney)

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