New on CD 8/8/03

'The Original'Sarai, the newest face on the rap scene, may have more working against her than most fledgling artists. Her problem? While she's young and drop-dead gorgeous, she's also white.

Fortunately for this 20-year-old upstart from Kingston, N.Y., she's got great lyrical skills and should be able to thwart superficial detractors.

Sarai's tunes cut a wide swath across rap sub-genres. Her best form is shown on "Ladies," a 2 Live Crew-styled dance track that's got great energy. It's a simple ode to a body moving on the dance floor, and works flawlessly.

Other highlights on "The Original" include the lively "I Know," where Sarai introduces herself to the listener boldly. "I didn't know girls who look like that could flow?" she smartly raps, followed by "Damn, I got the world in a frenzy, Haters gone envy, that don't offend me."

Also worth cranking is the bass-driven "You Could Never."

There will be some fallout about the glam girl who raps about the ghetto life, having perhaps not lived it. But rappers are nothing if not bags of braggadocio and any newcomer worth her salt will go brash or go home.

If rap critics judge Sarai only on her looks, they'll probably hand Sarai her pretty head and send her packing. But if it's about music and talent, Sarai wins.

'Get the Picture?'In the world according to Smash Mouth, all problems are solved when people stop worrying and start having a good time. "Get the Picture?" -- their latest album -- is a sunny outing that exemplifies that attitude.

Songs such as "Hang On" and "Fun" are trying to be a little deeper than that, but the group smartly chooses not to take things too seriously.

And they still make time to indulge their silly, quirky side. The road-rage tribute "105" channels the universal desire to get to "heaven" -- the living-room couch -- as quickly as possible after work. "Seventh Grade Dance" points out how the insecurity felt at a party can mimic how you felt during those middle-school dances.

The reggae-infused "You Are My Number One" takes a detour to Jamaica, as the group tackles Neil Diamond-penned lyrics as steel drums play happily in the background. As is the case with most of the album, it's hard to knock something this endearing, despite a resemblance to a cheesy cruise commercial.

'Truth Be Told'Blues Traveler delivers one of their most accessible, melodic and listener-friendly albums with their seventh effort, "Truth Be Told." Their characteristic sound, featuring lead singer John Popper and his harmonica backed by driving lead guitar courtesy of Chan Kinchla, sounds more cohesive and confident than ever before.

The album's tone is set immediately with the catchy opener of "Unable to Get Free," and it doesn't let up on the next 11 tracks including the funky "Stumble & Fall" and the danceable yet deep "Let Her and Let Go."

While there may not be a Top 40 hit such as "Runaround" anywhere in sight, it's no lie that "Truth Be Told" works.

'Javier'Javier's silky voice and beautiful instrumental arrangements shine in his self-titled debut album. The 25-year-old studied at the University of Hartford's Hartt School of Music, and his musical refinement and versatility are evident in this album.

But after the first two tracks, the syrupy ballads start to sound alike, with few standouts.

His first track and first single, "Crazy," has pop appeal with its catchy hook and familiar beat, but doesn't capture his musical strengths or versatility.

A few songs show the range of his ability: "Hey Little Sister," a funky song with Ahmir "?uestlove" Thompson from The Roots on the drums and Javier on piano; "She Spoke to Me," a danceable song with a Latin feel; "October Sky," a slow-tempo jazz tune with trumpeter Roy Hargrove; and "Song for Your Tears," an emotional ballad.

Javier has the potential to make waves on the R&B scene, but the lack of variety holds this album back.

'Bounce'Terence Blanchard, who has successfully bounced between his careers as a jazz trumpeter-bandleader and film music composer, has found a comfortable new home at the Blue Note label.

"Bounce," which mostly features original compositions by Blanchard and his bandmates, reflects his penchant for complex but accessible, hard-driving, modern post-bop jazz. Blanchard's trumpet solos are richly expressive, whether he's breathing fire on the more freeform "Fred Brown" or lovingly caressing the notes on the ballad "Nocturna" by Brazilian composer Ivan Lins.

Blanchard shows on "Bounce" how he has evolved to meld jazz with other styles -- for example, African rhythms on his own ebullient "Azania" or funk beats on his arrangement of Wayne Shorter's classic "Footprints." But the closing "Bounce-Let's Go Off," with its shuffling New Orleans-style beat, finds Blanchard paying homage to his Big Easy roots.

He also deserves kudos for mentoring some talented young players in his own quintet, most notably saxophonist Brice Winston and pianist Aaron Parks, giving them a chance to share the spotlight as both soloists and composers.

'The Voice'From the album's title, you can gather that South African singer-songwriter Vusi Mahlasela has staked the success of his U.S. debut album on his voice.

Smart move.

Mahlasela's voice has an amazing range that stretches from tenor to a sinewy soprano. It also has a tremulous vibrato that shakes alternately with emotion and pride, and it's the album's highlight.

"The Voice" contains a collection of songs from Mahlasela's 11-year recording career. They speak of reconciliation between blacks and whites, exiles and their homeland, and lovers.

The album includes "Weeping," a song with a soaring melody that details some of the darkest hours of oppression under apartheid; the chorus is the refrain of the South African national anthem.

In "Sleep Tight Margaret," Mahlasela's folk influences shine through: imagine James Taylor's guitar-playing and the vocal cadences of Cat Stevens against the background of a traditional South African chorus.

-- From wire reports