New Day Yesterday Joe Bonamassa In 1990, when blues guitarist Stevie Ray Vaughan died prematurely in a helicopter crash at the age of 35, some say that a little bit of the blues died with him. In his wake, many have tried to cultivate his raw electric sound, and innumerable blues guitarists have since cited Vaughan as a primary musical influence, Joe Bonamassa simply adds to the litany of names. What Bonamassa, with his album A New Day Yesterday, also adds is confusion. Modern blues has always been difficult to define, and this, his first solo outing, defies strict categorization even more.

Bonamassa’s thick guitar and husky growl anchor the album, and are most welcome when he pounds out a down-home shuffle, “Trouble Waiting.” If his musical voice isn’t distinctive, it is at least passionate. Bonamassa crafts some potent guitar solos throughout, firing out stripped-down licks and reaching aching, soaring heights on “If Heartaches Were Nickels.” Bonamassa was weaned on all forms of the blues, and dutifully pays his respects to the masters who played in an era when the blues actually mattered.

Alternately, when he strays from his roots, Bonamassa finds himself lost and meandering. “A New Day Yesterday” feels more like a grunge band trying its hand at the blues (but failing miserably), and the hook to “Miss You, Hate You” bears a plagiarism suit-inducing similarity to Matchbox 20’s “Push.” If Vaughan was able to make people care about the blues when rock ruled the roost, perhaps Bonamassa will learn from his idol and stay away from the mainstream. —James A. Crawford

Verve Presents: The Very Best of Christmas Jazz Christmas purists, look away now. For most, the holiday season brings to mind images of white snow outside, green trees inside and Yuletide carols being sung by a choir around a battered upright piano. For the majority, carols sung by the Vienna Boys Choir are just peachy, Bing Crosby pushes the envelope, and jazz should stay where it belongs—at the Village Vanguard. For the dissenting minority, holiday songs have long been beaten into unholy submission by endless bland repetition, and jazz giants provide a perfect remedy by taking tradition and swinging it mightily.

From the strictly traditional (Dinah Washington on “Silent Night”) to the commercially traditional (Jimmy Smith on “Jingle Bells”) to the decidedly un-traditional (Louis Armstong on “Zat You, Santa Claus”), there is hardly an errant note on their disc. Joe Williams, with his voice of liquid gold, oozes sophistication from every pore during “Let it Snow!” Sentimental and sweet without ever saccharine, Williams’ arrangement presents perhaps the best version of the song ever recorded. Pianist Bill Evans strays away from the vocals and brings his light, lyrical tone and novel improvisation to “Santa Claus is Coming to Town,” elevating the joyful little ditty to the status of noteworthy art. It’s unfortunate that Charlie Parker’s groundbreaking rendition of “White Christmas” is absent, but otherwise, there’s little wrong with the set. Ella Fitzgerald, Mel Tormé and John Coltrane, among others, round out a polished, balanced presentation. Christmas music (or movies) make awful presents, but if stumped when buying for a jazz affeccionado, this ain’t a bad way to go.

—James A. Crawford

The Wash Various Artists “My last album was The Chronic,” exclaimed Dr. Dre in the 1999 smash hit “Still D.R.E.,” seemingly ignoring his 1996 compilation Dr. Dre Presents...The Aftermath. Of course, his forgetfulness was excusable; aside from the single “Been There, Done That,” Dre’s lineup of inept guest artists and producers proved one of the most disappointing efforts of his career. Fortunately, The Wash is one compilation he won’t have to disavow anytime soon. Given that Dre and Snoop Dogg co-star in the movie, it’s no surprise to see them open and close with duets (“On the Blvd.” and “The Wash,” respectively). The beats are little more than standard, low-riding West Coast funk, but that’s not the point—Dre and Snoop are rap’s dynamic duo, and they have developed the Midas touch. The guest cuts are no less impressive, from Busta Rhymes’ “Holla” to Bubba Sparxxx’ Southern-fried extravaganza “Bubba Talk.” Even “Blow My Buzz,” the drug-addled offering from Eminem protégés D12, has its priorities in order, featuring a typically hilarious and quotable verse from Slim Shady himself.

But what separates The Wash from other rap soundtracks isn’t that the big stars deliver, it’s that the relative unknowns hold their own. Toi, who sang the hook on Ice Cube’s “You Can Do It,” proves her solo worth with two R&B tracks. Even Knoc-turn’al, who made two mediocre appearances on Dre’s 2001 album, single-handedly holds together the otherwise tired beat of “Str8 West Coast.” At long last, there is a group of colleagues worthy of the good Doctor himself. —Thomas J. Clarke

O U T & A B O U T

So Bad It’s Dangerous Mainly Jazz Presents Mainly Jackson This weekend the blood hits the dance floor as the Mainly Jazz Dance Company tackles the choreography of the world’s most electrifying pop siblings, the Jacksons. After all, the music of the Jacksons wasn’t made for the ears alone. It was made to cause the head to nod, the fingers to snap and the feet to moonwalk. Songs like “Smooth Criminal” have beats so edgy they make your blood bounce and your body shake. Michael Jackson in particular is as celebrated for his elaborate, deceptively smooth dance craft as for his music. But Jackson’s heyday has long since passed, and the artistry of his videos has been buried by time and the emergence of new popstars.

This weekend, relive the magic with Mainly Jackson. For the first time, witness the skills of the Caribbean Dance Company, TAPS and the Mainly Jazz Dance Company as they create HIStory in a performance of dances to the music of Michael and Janet Jackson as well as the Jackson 5. The spring of 2000 found the Mainly Jazz Dance Company incorporating Michael Jackson songs into their routine, and now the winter of 2001 celebrates the triumphant return of pop’s erstwhile king as well as his superstar sister.

Perennial favorites “Thriller” and “Smooth Criminal” are included on the lineup, as well as “Come On, Get Up,” Rhythm Nation,” “Man in the Mirror” and the Jackson sibling duet, “Scream.” In addition, TAPS will be performing to “Black Cat.” The choreography of the music videos will be recreated and blended with original choreography by Mainly Jazz members Kate E. Wattson ’03, Fabiana Kepler ’00, Nell A. Hanlon ’03, Kristen T. Sueoka ’02 and Melissa E. Miller ’04. And courtesy of C. Coble Armstrong ’02 and Diana L. Limbach ’05, the moonwalk makes its comeback, gliding softly across the stage to the sounds of “Smooth Criminal.” So beat it to the ticket office—the glove is coming off.

Mainly Jackson goes up on Friday, Dec. 7 at 8 p.m., and Saturday, Dec. 8 at 2 p.m. and 8 p.m. at the Rieman Auditorium. Tickets are $5 for students and $8 general. —Marcus L. Wang