New on CD 4/18/03

'Thankful'

Considering how much judge Simon Cowell harps about distinctiveness being key to becoming the "American Idol," it's interesting that the TV contest's first winner, Kelly Clarkson, has come out with such a generic debut.

The producers behind "Thankful," fail miserably at allowing Clarkson to be herself. The album's first single, "Miss Independent," sounds like a half-baked remake of "Dirrty," a recent offering by "Independent" co-writer Christina Aguilera. Like Aguilera, Clarkson is equally incapable of convincingly growling out song lyrics.

Clarkson is at her best when she's emulating a more wholesome brand of pop star. With the combination of strummy guitars and humming backup singers, "Just Missed the Train" and "Beautiful Disaster" sound like good outtakes from a Debbie Gibson album circa 1987. Also included are new mixes of "A Moment Like This" and "Before Your Love" that sound just like the originals.

During her run on "American Idol," Clarkson showcased a great voice and an endearing, "aw shucks" personality. That personality is missing on "Thankful," and there lies the album's greatest fault.

'Say You Will'

You'd think being gone for 15 years would make it hard for a band to wear out its welcome.

But Fleetwood Mac manages that with an album that buries its treasures in an avalanche of mediocrity. At 18 songs and more than 76 minutes, you could put this disc on, leave the room to make a sandwich, run a few errands, go to college for four years, come back and it will STILL be playing.

That sense of slog is more glaring now that Lindsey Buckingham and Stevie Nicks are the two main songwriters and voices, given the retirement of Christine McVie. McVie is listed on this disc as a contributor, but it's unclear what she did. The understated elegance of her songwriting and singing is sorely missed.

-- From wire reports

As a result, "Say You Will" is like two alternating solo albums with a band that too often is trying to sound like Fleetwood Mac instead of just being Fleetwood Mac.

It's also quite a surprise, frankly, that Nicks is the real mainstay now. Buckingham often appears too tightly wound and muddled in his writing, while the ethereal hoo-hah of the old Stevie has been replaced with a down-to-earth, world-weary wisdom.

There are some fine songs here. Buckingham's questioning opener, "What's the World Coming To" and the melodic "Miranda" and "Bleed to Love Her," and Nicks' "Ilume (9-11)," "Throw Down," "Everybody Finds Out" and the closing lullaby, "Goodbye Baby," are the best. Put them together with a few Christine McVie songs, throw the rest out and you've got a killer Fleetwood Mac album.

'Day I Forgot'

Pete Yorn should be the next rock 'n' roll superstar.

He's a sensitive Dave Matthews. A tougher-edged Jeff Buckley. A reigned-in Jim Morrison. And with dark, brooding eyes, cleft chin and shaggy, just-out-of-bed hair, he even bears an eerie resemblance to both Buckley and Morrison.

Yorn's versatility is key to his appeal. His voice is sensitive and delicate in "Crystal Village," then ragged and growling on the next track, "Carlos (Don't Let it Go to Your Head.)"

And musically, the two tracks couldn't be more different.

"Crystal Village," about the fragile, early stages of a relationship is delicately picked acoustic guitars and luminous strings. "Carlos" is pure classic rock -- a steady electric guitar riff set off by a booming bass.

Yorn plays most instruments himself -- guitar, harmonica, keyboards -- just like he did on his critically acclaimed 2001 debut release, "musicforthemorningafter."

Don't hesitate. Buy both.

'Now'

Two years after releasing her second album, 19-year-old Jessica Andrews is back with more self-assurance and even more voice with the ballad-rich disc "Now."

After the jangly uptempo version of her current single "More to Me Than You," Andrews settles into a series of ballads better suited to her vocal presentation ending with the acoustic -- and more appealing -- treatment of "More to Me" in a hidden track.

The slow version of "More ..." and the powerful "God Don't Give Up on Us" showcase Andrews' unique alto along with her ability to put a song over the top emotionally.

James T. Slater, who wrote "More" along with Andrews and her boyfriend, Marcel Chagnon, provided her with the lovely "When Gentry Plays Guitar" and co-wrote "God Don't Give Up on Us."

Andrews also shared in the writing on the bouncy "Good Time" -- one of only four really uptempo tracks out of 16.

Before that catchy little rocker, she shows her versatility in jumping from the touching "They Are the Roses" to "Cowboy Guarantee," a nice venture into the western part of country-western.

Andrews' presentation is most effective when it's backed with minimal accompaniment, which happily is the case on most of the album's 16 tracks.

'A Beautiful World'

Thicke adopts many different personas on "A Beautiful World," producing a debut album with wildly mixed results.

The artist -- son of actor Alan Thicke -- attempts R&B, disco, blues and rock, turning the album into a "test kitchen" of different sounds. Thicke also takes on a new personality with each track, going from hook-up happy horndog on "When I Get You Alone" to introspective peace activist on "Cherry Blue Skies."

Some of these experiments produce favorable results. With his smooth, sweet delivery on "The Stupid Things" and "Brand New Jones," Thicke sounds like an "Innervisions"-era Stevie Wonder. The retooled disco beats of "When I Get You Alone" are infectious, despite the theft of corny 70s-era hit "A Fifth of Beethoven." "I'm A Be Alright," the best thing about a recent Gateway commercial, is another standout track.

But the album is not without its growing pains. The grating "Vengas Conmigo," comes off like an ill-advised Santana collaboration. Flat-sounding vocals and ill-placed rock guitars turn "Flex" into one long whine.

Despite these missteps, Thicke should be praised for his willingness to take chances. Here's hoping successive albums improve upon what he does best.

'Mad 6'

Ravi Coltrane can thrive in any number of jazz situations. From mellow ballads to eruptions of abstract fury, his saxophone becomes a strong thread that holds a song together.

Ravi -- the son of jazz great John "Trane" Coltrane -- tests his skills on "Mad 6," his third album. He and his quartet handle a diverse mix of originals and covers. Coltrane's tenor sax flutters deceptively, but behind its clear, soft tone, he pushes each solo, wringing ideas out of his horn. What results is a maximal playing style similar to his father's, as hundreds of notes stream forth, darting in all directions.

On the album's best tracks, Coltrane navigates each part with deftness, flowing from verse to chorus. "Ginger Bread Boy" finds his snaking sax in moments of introspection and melancholy.

Coltrane's skilled, backing group anchors his saxophone. Steve Hass is a tornado of drum rolls an d cymbal crashes, resembling Trane's furious drummer, Elvin Jones. The strength of this group, mixed with Coltrane's creativity, makes "Mad 6" a fresh and energetic listen.

'Friendship'

It was a meeting of two jazz giants when trumpeter and flugelhorn player Clark Terry and drummer Max Roach were brought together for a one-day studio session in March 2002.

That recording resulted in "Friendship." It must be noted that these two gentlemen are still playing their physically demanding instruments, at the ages of 83 (Terry) and 79 (Roach) without losing an inch of ground. Joined by pianist Don Friedman and bassist Marcus McLaurine, Terry and Roach bring their signature styles -- Terry, a mellow, sweet, yet swinging trumpet sound, and Roach a polyrhythmic, almost melodic drumming style -- to thirteen tracks, six originals and seven standards.

On one duet "Brushes and Waltz," Terry's melody line is echoed in Roach's colorful, multilayered drumming. It's like a conversation between two old friends.

Among the standards is the Thelonius Monk composition "Let's Cool One." Terry's lines are beautifully understated and Roach swings gently and steady, but with just the right amount of panache.

-- From wire reports