CDs

Catie Curtis, A Crash Course in Roses

If there were an American Bandstand for singer-songwriters, Catie Curtis would surely be its highest-scoring scribe. Her danceable, hummable tunes provide just the right setting for the bent-but-not-broken characters in this baker's dozen of radio-friendly songs. Curtis' groovin' acoustic guitar provides the rhythmic underpinning, locking in with a great rhythm section, while Duke Levine's acoustic and electric guitars and Jimmy Ryan's mandolins provide the grit, snap, and sparkle. But Curtis is not just a party girl. "Roses" is one of the most poignant antiwar songs ever written, a meditation on family, religion, and duty, set to a heartbreaking melody. (Rykodisc)

—Scott Nygaard

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Todd Hallawell, Before My Time

The 1997 Winfield fingerpicking winner covers a lot of territory on his debut, from stunning solo arrangements of "Brazil" and "Tico Tico" to nifty renditions of Jerry Reed's "Jiffy Jam" and "Reedology." Hallawell brings other musicians into the mix on a few tunes; Jeff Ervin's saxes and John Moore's flatpicking help the old novelty tune "Flat Foot Floogee" swing like crazy, while Pat Kirtley's pristine picking brings a glow to "Simple Gifts." It's a pity Hallawell doesn't write more pieces like "Cydney" and "Leola Kay," some of the loveliest guitar melodies I've heard. (Soundset)

—Jim Ohlschmidt

Darrell Scott, Family Tree

On his latest solo record, picker and songwriter Darrell Scott plays no fewer than ten instruments. He's also engaged the talents of other Nashville golden boys, including Viktor Krauss, Roy Huskey, Jr., Vassar Clements, Sam Bush, Tim O'Brien, and others. But the commendable thing about Family Tree is that Scott's songs don't need all that help to shine. They're a rich exposé of family life—the good, the bad, the epic, and the mundane—expressed through Scott's powerful vocals, confident guitar, and direct, poetic writing. The rest is just icing on the cake. Standouts are "Mahala," a paean to Scott's daughter; "Lazarus," a new look at an old miracle; and the humorous title cut. (Sugar Hill)

—Rani Arbo

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Various artists, Every Road I Take: The Best of Contemporary Acoustic Blues

Three generations of artists are represented on this compilation, from elder statesmen R.L. Burnside and Dr. John to veteran traditionalists such as John Hammond and Steve James to the current crop of hot-picking youngbloods, including Keb' Mo', Corey Harris, and Alvin Youngblood Hart. The most delightful cut is Burnside's "Long Haired Doney," a back-porch foot-stomper worlds away from his urban-edged electric playing. Other standouts include Chris Smither's caffeinated cover of "Memphis in the Meantime," Sue Foley's smoky "Every Road I Take," and James' arrangement of "Stack Lee Blues." (Shanachie)

—David Gold

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Sean Whelan, End of Autumn

Sean Whelan's first solo outing is an instrumental landscape painted by a guitarist with a richly diverse musical heritage. Whelan wanders through precise native Irish articulations, world and Gypsy music, and jazz-influenced dance tunes, with the opening track, "Broken Pledge Set," setting the standard. Only three of the 15 pieces are self-penned or collaborations, but all the arrangements bear Whelan's highly original stamp. The west Cork–based player, who has recorded and toured with the Irish jazz group Hotfoot and Irish fiddler Maire Breatnach, stretches his considerable acoustic chops on End of Autumn alongside mandolinist and fiddler Paul Kelly, Breton accordionist Michel Philippot, and flautist Emer Mayock. (Malgamu Music)

—Julie Bergman

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Perla Batalla, Mestiza

There are few words in the English (or Spanish) language to describe a voice like Batalla's. Comparisons don't work either. Batalla is a singer-songwriter who, along with co-writer and guitarist David Batteau, has created a song cycle celebrating the mystical and magical history of Mexico, paying homage to both native Mexican spirituality and the country's adopted faith of Christianity. Mestiza is a spiritual journey, a pilgrimage of sorts, and Batalla's voice and Batteau's guitar lead us along the mysterious and mythical way. (Discoteca Batalla)

—Steve Givens

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Apostolos Paraskevas, Visions of Azure

Greek guitarist and composer Apostolos Paraskevas specializes in 20th-century music for the guitar. Visions of Azure features works by contemporary Latin American and French composers as well as a number of Paraskevas' own compositions, which are adventurous, attractive, and well constructed. His readings of Latin American works, particularly Antonio Lauro's "Suite Venezolana," are intelligent and expressive. His performance of French composer Roland Dyens' Latin-tinged "Tango en Skai" also stands out. Paraskevas has a gift for bringing out the overall form of larger works like Francis Kleynjans' "A L'Aube du Dernier Jour." His playing throughout makes these challenging pieces accessible and intriguing. (Centaur)

—Stephen Dick

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Dave Moore, Breaking Down to 3

Fans of Greg Brown may know Dave Moore from his work on some of Brown's projects. Moore's voice and his choice of producer Bo Ramsey and an all-Iowa band accentuate the similarities between Moore and the bard of Iowa. Moore, however, stands on his own as a writer and artist. When he shakes a playful finger in the face of the music business while calling on his muse in the opening cut, "Mr. Music," you know you're in for something special ("All the record deals and every little promo pack / drove you away you're never coming back"). (Red House)

—Steve Givens

Janet Klein avoids the squeaky delivery and the boop-boop-a-doops that plague many women performers who sing songs from the '20s and '30s. Her songs may be saucy, but she is no Betty Boop wannabe. Klein accompanies herself on ukulele, and her material on Come into My Parlor ranges from wistful ("If You Want the Rainbow You Must Have the Rain") to risqué ("Banana in Your Fruit Basket"). She is accompanied by guitarist John Reynolds, a fine player in the Eddie Lang tradition. (Coeur de Jeanette)

—Michael Simmons

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Joseph Sobol, Citternalia

Citterns and bouzoukis are frequently the rhythmic force behind Celtic music, and in a few players' hands these five- and four-string double-course instruments take the melodic lead. Chicagoan Joseph Sobol fingerpicks his citterns, shining a new light on the instrument in this watershed project. Sobol has adapted classical guitar technique to his five- and six-course Stefan Sobell citterns and the result is dazzling speed and precision. Accompaniment on accordion, flute, Uilleann pipes, and percussion adds just the right touch of Irish flavoring to Sobol's repertoire of jigs, reels, hornpipes, and Carolan airs. (Kiltartan Road)

—Art Edelstein

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Centaur, 8867 Highland Rd., Suite 206, Baton Rouge, LA 70808; www.centaurrecords.com.

Coeur de Jeanette, 1318 N. Genesee Ave., Los Angeles, CA 90046.

Discoteca Batalla, 323 E. Matilija St. #110-186, Ojai, CA 93023; www.perla.com.

Kiltartan Road, 1501 W. Chase #3, Chicago, IL 60626; (773) 508-5953; jdsobol@aol.com.

Malgamu, 19 Belvedere House, 46 N. Great Georges St., Dublin 1, Ireland; available through Celtic Notes: www.celticnote.ie.

Red House, PO Box 4044, St. Paul, MN 55104; (800) 695-4687; www.redhouserecords.com.

Rykodisc, Shetland Park, 27 Congress St., Salem, MA 01970; (978) 825-3200; www.rykodisc.com.

Shanachie, 13 Laight St., Sixth Floor, New York, NY 10013; (212) 334-0284; shanach@idt.net; www.shanachie.com.

Soundset, 16627 N. 61st Way, Scottsdale, AZ 85254; www.soundset.com.

Sugar Hill, PO Box 55300, Durham, NC 27717-5300; (919) 489-4349; www.sugarhillrecords.com.