Baring their souls

Is it mere coincidence that a guy with serious soul chops has landed at the top of the Billboard album chart and that two of this week's most promising releases offer variations on the theme?

PARTY OF THE FIRST PART: Thank goodness albums can't stay on the Billboard Top 200 album chart for more than 18 months - disqualifying comeback-artist-of-the-year Michael Jackson. That ground rule has enabled next-in-line Maxwell to debut at No. 1 with "BLACKsummers' night" (Columbia, A-), his first release in eight years and a terrific rethink of quiet storm music.

Maxwell's grown-up tunes and vocals float as effortlessly as leaves on the wind, on productions equally understated, experimental and cool. Dig, for example the fresh combination of show horns and Japanese koto on "Help Somebody." But what really sets this guy apart are his honest expressions of vulnerability. "And even after years I need you when you don't," he ruminates in "Love You."

Ouch.

MAKING SPARKS: Jordin Sparks has just become my favorite "American Idol" on the basis of her sophomore set, "Battlefield" (19/Jive, B). Wow can this girl sing, with a bright, piercing tone plus warm, honeyed backing harmonies. (And it doesn't seem to matter who's written or done the arranging - T-Pain, Ryan Tedder, Dr. Luke or Sparks herself; most tunes are scorched with heavy synthesized strings, resounding keyboards and brass.)

The title track sets the tone for this treatise on fighting for the wrong guy. But by album's end, thankfully, Sparks is reconciled to cut her losses and start again with the tenderhearted "Faith" (been listening to Randy Newman?) and a healthy dose of "The Cure."

RAPHAEL REFLECTS: "I don't think it's retro, it's what I do," comments Raphael Saadiq between tunes on his new concert DVD, "Live From the Artists Den" (Columbia, A-).

With his prior studio album ("The Way I See It"), the guy did an amazing job of recreating the stomping rhythms, tones and melodic sweep of classic Motown, Stax/Volt and Philly Soul from the late 1960s and '70s, with soundalike tunes like "100 Year Dash" (think "Going to a Go-Go") and "Keep Movin' " (first cousin to "Keep on Pushin'.")

But seeing the man in the act with a band that works all the moves, I'm understanding better. Saadiq isn't just playing a part. He's David Ruffin, Curtis Mayfield, Sam Cooke and Otis Redding reincarnated.

MORE CONCERT TREATS: While I guess the guys can't do a show without "And We Danced," "All You Zombies and "Day By Day," I'd have liked a bit less overlap in material on the double-disc set "The Hooters Both Sides Now" (www.hootersmusic.com, A-).

One CD captures these Philly originals' plugged-in Thanksgiving 2007 concerts at the Electric Factory. The other disc holds "The Secret Sessions," delightfully stripped-down, acoustic versions of Hooters hits (and should-a-beens like "I'm Alive") recorded in early 2008 at their Conshohocken studio. Still, arrangements are sufficiently different that fans (such as I) will happily compare and contrast.

Where was Michael Jackson at the Quincy Jones "75th Birthday Celebration Live at Montreux 2008" (Eagle Vision Blu-ray and DVD, B+)?

Naturally 7's beatbox vocal orchestra version of "Billie Jean" doesn't quite suffice. Still, some other pretty amazing artists - Herbie Hancock, Patti Austin, Al Jarreau, Chaka Khan, Joe Sample, Toots Thielmans and Paolo Nutini (and a smashing band) - fill the bill, surveying Q's arranging, producing and composing career in big-band jazz and crossover soul-pop.

Finally unleashed a decade after it was recorded, the CD/DVD set of "David Bowie VH1 Storytellers" (Virgin, B) captures the man at his most charming, schmoozing about his musician friends, sharing backstories and singing the likes of "Life On Mars," "China Girl" and "Drive-In Saturday."

SUMMER FUN: Sugar Ray basks in sunny pop, imbued with a fair dose of island flavors, on "Music For Cougars" (Pulse/Fontana, A-). Better than expected.

On "Under the Covers, Vol. 2" (Shout! Factory, B), Matthew Sweet and Susanna Hoffs bring new clarity to classics like "Sugar Magnolia," "You're So Vain" and "I've Seen All Good People."

Jazz guitarist Bill Frisell offers themes from his own imaginary Western (and a few covers) on the chamber-country suite "Disfarmer" (Nonesuch, B). Starts weird, then warms to ya.

On "Mighty Long Way" (Enja, B+), drummer/bandleader Alvin Queen and notable friends serve a great batch of goodtime boppin', blues-groovin' and finger-snappin'-cool instrumentals, with snazzy horns, breezy guitar and Hammond organ aplenty.

It's easy to get a summer crush on Canadian singer/songwriter Kate Schutt, playing the "Telephone Game" (ArtistShare, B). She's an enticingly languid vocalist, wry composer and a sophisticated arranger in the pop/jazz vein, a natural next step for fans of Norah, Madeleine, Rickie Lee and Edie. *