HERBIE HANCOCK
Possibilities
(Warner)

One of the new generation of albums to be retailed at Starbucks, Possibilities follows the template of Carlos Santana’s massive comeback effort Supernatural: A storied instrumental virtuoso, long past his prime, teams up with celebrity singers in search of crossover success. For the most part, jazz pianist Herbie Hancock is just versatile enough to pull this off. Highlights include the soaring, sad vocals of ex-Eurythmics diva Annie Lennox, the effortless blues-funk of English singer Joss Stone, and the thoughtful rendition of the Billie Holiday ballad “Don’t Explain” by Irish singer Damian Rice. Best avoided is the Latin jazz-lite of “Safiatou” with Santana, and “Sister Moon,” with the ever-underwhelming Sting. DG

Dubsensemania
Versatility
(Sony Music Associated Records)

The decline of major international reggae events like Japansplash has been paralleled by a rise of the domestic Japa-reggae community. Seven-member Dubsensemania spearhead the dub and roots reggae side of the scene, and for their second album they employ legendary UK dub producer Mad Professor to touch their tracks with his studio stardust. The result gives Versatility a deeper, spacier sound than their first album. On songs like “Synchrovibes,” Ras Takashi’s alternately mournful and sweet pianica melodies have plenty of room to weave between the dryly mixed drum‘n’bass. And when singer/drummer PJ’s soulful harmonies join in on “Float,” the effect recalls vintage UK roots acts like Steel Pulse or Aswad. Japanese dreads—long may your spliff burn bright. DG

Sheryl Crow
Wildflower
(A&M)

Crow’s last, C’mon C’mon, was a warm, sunny record at odds with the roots-rock leanings of her earlier releases. It did, however, shine a new light onto her career, and its follow-up largely attempts to keep that momentum. Yet despite Wildflower’s generally bright disposition, the songs see Crow gazing back at the past, evaluating friendships and relationships and wondering where it all leaves her. While in “I Don’t Wanna Know” she laments, “Everything I know makes me feel so low,” the perversely titled “Good is Good” ends, “You feel you don’t belong/Neither do I.” The soul-searching pays off, though, on a solid set that includes radio-friendly tracks (“Lifetimes,” “Live It Up”) while still satisfying those who preferred her darker, left-of-center tales. Robert Poole

Elbow
Leaders of the Free World
(V2)

Self-styled as “prog-rock without the solos,” England’s Elbow have won critical plaudits since their 2001 debut was nominated for the prestigious Mercury Music Prize. Leaders of the Free World exposes a wealth of influences worked into another avidly multi-layered, downbeat, and ultimately noncommercial release. While the majority of the somewhat quirky album sounds like a latter-day Caravan or Peter Gabriel-era Genesis, “McGreggor” has the eerie feel of The Specials’s “Ghost Town” wrapped around a deadly Nick Cave tale of death, while “Picky Bugger” recalls Ian Dury at his playful best. It’s the title track, though, that grabs most attention, proving that while they’re often compared to the more epic Doves, Elbow can pen wry, cynical and smart anthems like no other. RP

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