Ana Dearmas

While the U.S., Britain, and to a lesser extent Canada don't have a stranglehold on the blues, these countries account for the majority of music being produced in that genre. Therefore, when someone from a different nationality releases a strong album in the States, it usually makes news, at least in the rarefied blues universe. Born and raised in Yugoslavia, Ana Popovic would seem to have been brought up in an unusual area to soak in the deep soul, robust swamp rock, and husky R&B she reveals on her first album. But music is a universal language, and Popovic, along with noted blues-rock producer Jim Gaines, has delivered a rugged, confident, and eclectic debut that showcases the artist's many strengths (especially on slide guitar) in songs that shift from jazz ("I Won't Let You Down," "Minute 'Til Dawn") to deep funk (an innovative cover of Tom Waits' "Downtown") and soulful pop ("How Lonely Can a Woman Get?"). With a husky, sensuous voice similar to the Pretenders' Chrissie Hynde, she digs into these tunes with authority, even if English isn't her first language.

A superior Brazilian jazz singer, Ana Caram takes a slight detour on this CD, stretching her repertoire while mostly still performing in a style influenced by bossa nova. One does not get to hear such songs as "I'm Getting Sentimental Over You," "Raindrops Keep Falling On My Head," "Smile," and "As Time Goes By" in a bossa nova setting that often. Also unusual is that Michel Freidenson plays all of the instruments other than the reeds (which are performed by Lawrence Feldman), and most of his electronic instruments sound real enough not to be an issue. The focus throughout is on Caram's lovely voice and she excels on this material, showing that it really is not what you sing but how you sing it. Recommended.

An exceptional amount of musical activity took place in the court of Ferrara during the latter years of the 16 th century, in particular thanks to a remarkable trio of female voices who had been trained by Luzzasco Luzzaschi, the court’s maestro di cappella. To hear them was a privilege that Alfonso d' Este allowed his guests only briefly and infrequently. Their repertoire was kept secret and was finally published — and then only in part — in 1601. The singers of La Néréide here devote their first recording to this collection in its entirety, reconstructing the conditions in which these works were created with harpsichord, viol and lute accompaniment: the harpsichord would have been played by Luzzaschi himself, whilst the three singers mastered the other instruments with as much skill as their voices.

Recorded in Nashville, Tenn. , and produced by four-time Grammy winner Keb' Mo', the blues influenced album features guest appearances from Kenny Wayne Shepherd, Robben Ford and Keb' Mo'. A trending theme in today's world is women overcoming obstacles and breaking through the glass ceilings to reach the top. 'Like It On Top' celebrates those that take initiative, develop, inspire and motivate. But it also credits the men who are motivated and enlightened enough to support women in their quest to be their best versions of themselves.

Ana Moura is universally acknowledged as one of the finest fado singers of the present generation. Her plaintive, smoky vocals has garnereda loyal European following, including members of The Rolling Stones. Whether starkly declaiming or swirling into filigreed crescendos of emotion, Ana's burnished alto personifies fado's darkly sensual credo of wisdom born of pain, grace, and futility, and secual passion perpetually on simmer, despite repeated and increasingly bitter betrayals.