CDs

Adrian Legg, Fingers and Thumbs

Logic dictates that Adrian Legg's guitar is made of rigid materials just like any other, yet on "Not Remotely Blue" and other selections on his latest travelogue/album, he makes it sound as though it's made of rubber. Legg journeys from arid country-and-western soundscapes such as "McPherson" and "Lunchtime at Rosie's" (with Eric Johnson) to "Shorelines," a windswept panorama of introspective picking and original photographs featured in a multimedia presentation on the CD. He also conjures images tender and graceful on "Cradle Songs" and "Tracy's Big Moment," which emanates from the pastoral territory once frequented by J.S. Bach. (Red House)

—Jim Ohlschmidt

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Various artists, Mali to Memphis

By tracing the route of the blues from the heart of Mali to the levees of Mississippi, this collection of hot African and American acoustic blues artists shows how, in our modern world, American blues has had as much impact on African traditional musicians as they've had on us. The chosen artists are all first-rate, from Malians Habib Koité and Boubacar Traoré to blues greats John Lee Hooker, Muddy Waters, and Taj Mahal. From track to track, each tradition continually tips its hat to the other. Some of the transitions are remarkable, like Guy Davis' "You Don't Know My Mind" followed by Traoré's "Kar Kar Madison." Similar melodies shift from a dark blues mood to a joyful shout, revealing deep connections. Taj Mahal's contribution is a perfect example of how, in the right hands, the conscious, organic incorporation of African influences can become truly American music. (Putumayo)

—Danny Carnahan

Rob Ickes, Slide City

On Slide City, Rob Ickes proves conclusively that resophonic guitar can range freely beyond the often-limiting stylistic boundaries of straight-up bluegrass. Ickes uses the recording to demonstrate his love of and skill at playing small-ensemble jazz and other styles. The opening cut, "Dwight's Blues," features his wailing slide solos backed by a piano trio, followed by a killer version of Herbie Hancock's classic "Watermelon Man." Ickes also shows his roots with a bluegrass version of Blind Faith's "Can't Find My Way Home" with Tim O'Brien on mandolin and vocals. (Rounder)

—David McCarty

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Ben Swift Band, Chimpanzee

After a pair of promising neo-folkie cassettes, Boston's Ben Swift has found his groove, leading a trio that combines funky acoustic guitar, jazz trombone, and African polyrhythms. It's an earthy, hard-driving, idiosyncratic mix that's smart enough to be on the cutting edge and, like the Dave Matthews Band, sweet enough to cross over into mainstream pop. Playing acoustic and electric guitars, Swift knows as many chords as any Berklee student, but he uses them carefully, varying his approach from sensitive on "Walking Away" to muscular on "Cup and Saucer" to anguished on "China." The melodies are brightly complex, the beats deliciously syncopated, and the playing consistently tight. (Stonebone)

—Kenny Berkowitz

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Colin Reid

Irish guitarist Colin Reid's debut CD is full of hot and snappy fingerstyle playing. The CD opens with a Jerry Reed burner, "Blue Finger," one of three cover tune arrangements and the first tune Reid learned when he switched from electric to acoustic guitar. Flavors of Irish traditional, ragtime, Nashville, and chamber music lace themselves among the strands of Reid's original tunes. The occasional touch of an accompanying violin or cello adds depth while highlighting the guitar work. Reid's liner notes reflect an easy sense of humor, and the music reveals a matching upbeat spirit. (Veesik)

—Gary Joyner

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José Serrano and Antonio "El Aguajetas," Two Cries of Freedom

The circumstances under which this CD was made are themselves notable. Every two years the provincial governments and major flamenco clubs of Spain sponsor a contest among incarcerated flamenco singers. The prize is 5,000 pesetas (about $35) and a reduction in sentence. In 1997, there were two winners: José Serrano and Antonio "El Aguajetas." They were brought in shackles to a recording studio where, accompanied by Rafael Trenas and Miguel Ochando on guitar, they each recorded a handful of traditional flamenco songs, including a fandango they sang together. Serrano's voice is a little smoother and more accessible than that of El Aguajetas, but both offer first-rate contemporary flamenco puro. (ROIR)

—Stephen Dick

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Doc and Richard Watson, Third Generation Blues

With the intimacy of a living-room picking party, Doc Watson and his grandson Richard offer a fine sequel to the duet albums made by Doc and his son Merle (who died in 1985). At 74, Doc puts new life into folk and blues standards ("If I Were a Carpenter," "House of the Rising Sun") that lesser singers have turned into clichés. Richard's clean picking recalls that of his inimitable father, especially on the lively "Milk Cow Blues." The album-closing "Precious Lord, Take My Hand" is as life-affirming as it is heartbreaking. (Sugar Hill)

—Shelton Clark

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David Raphaelson with Salvatore Salvaggio, Moonlight Reverie: 19th-Century Music for Guitar

Although the guitar was not the most popular American fretted instrument of the 19th century—it took third place after the banjo and the mandolin—composers were writing some delightful music for it. On Moonlight Reverie David Raphaelson plays a selection of these pieces on an 1840s Martin and Coupa parlor guitar. Much of the music has a strong European flavor that reflects the recent immigrant status of many of the composers. In some of the works, you can hear the new citizens experimenting with blending different styles, a process that continues to be one of the defining features of American music today. (David Raphaelson)

—Michael Simmons

Here's something you don't hear every day: Irish-Mexican-Cajun music with an attitude and a wild and edgy rhythm section. This band knows how to have fun. They play original songs by Irish-American songwriter and vocalist Nancy McCallion, who writes about the edge of society, telling stories of lost and forgotten souls who sometimes fall between the cracks while searching life for love and meaning. (Apolkalips Now)

—Steve Givens

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Tara Nevins, Mule to Ride

Old-time fiddler Tara Nevins, who has explored a fusion of old-time and power pop with the Heartbeats and hippie groove jams with Donna the Buffalo, turns her sights to early bluegrass and country music on her first solo outing. While her ferocious old-time fiddle remains the main melody instrument, she revs the tempos and adds bluegrass tenor harmonies from Ralph Stanley and Don Rigsby to standards like "Pig in a Pen" and "Down the Road," creating a powerful sound much like that of the Stanley Brothers or Lonesome Pine Fiddlers. Rhythm guitarist Jim Miller's clear, pure vocals have been the highlight of every recording he's graced, and his lead vocals on 11 of these 20 cuts make this the closest thing yet to a much-hoped-for Jim Miller solo album. (Sugar Hill)

—Scott Nygaard

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Apolkalips Now, PO Box 40940, Tucson, AZ 85717; (520) 326-9565; www.mollys.com.

David Raphaelson, PO Box 262, Laurens, NY 13796; (607) 433-0288; Guitarerro@juno.com.

ROIR, 611 Broadway, Suite 411, New York, NY 10012; (212) 477-0563; www.roir-usa.com.

Stonebone, PO Box 275, Whately, MA 01093; www.benswiftband.com.

Veesik, Havelock Cottage, Back Charlotte Lane, Lerwick, Shetland ZE1 0JD, U.K.; veesik.records@zetnet.co.uk.