Dirty Dozen Brass Band Medicated Magic
(Rope-a-dope/Outside)
The double-D double-B celebrate their silver anniversary this year. That’s a quarter century as New Orleans’s leading instigators of the raucous, modern brass band sound. The basic ingredients are old-fashioned marches and party jazz, pinned down by the raw, baritone croaks of the sousaphone, but these cats take it where they want—jam rock, gospel, even classical—while maintaining an almost nauseating degree of funkiness. New Orleans bestowed upon them their own official day on the yearly calendar, and so DDBB return the favour with a tasty tribute to their town. Tunes tackled are by the Meters, Allen Toussaint, Prof. Longhair and the legendary Dr. John, who cameos here alongside jazz deb Norah Jones, the ever-busy DJ Logic, trumpet-tooter Olu Dara and pedal steel wiz Robert Randolph. Seriously, you’ve gotta hear their monstrous rendition of “Cissy Strut.” 10/10 (Rupert Bottenberg)

Elvis Costello
When I Was Cruel (Island Def Jam/Universal)
On his first “rock” album since ’94’s Brutal Youth, Costello presents a stellar set of eclectic, moody tunes, reflecting styles such as mod, ska, klezmer, trip hop and dub. All songs are touched with Costello’s expert construction and wordplay, whether it’s the sparse, rhythmic “Dust,” the bright mod pop of “Tear Off Your Own Head” or the melodic, rockin’ “Daddy Can I Turn This.” The beauty of this album is that it sidesteps that past-it, aging sound that everybody knows and tolerates. This is simply the sound of someone reveling in an oeuvre that he’s long since mastered. 8/10
(Lorraine Carpenter)

Bodega Without a Plan
(Brobdingnagian/Outside)
Ex-Montrealers Bodega moved down the 401 in search of fame and fortune, and if Without a Plan gets the attention it deserves, that won’t be long in coming. Head honcho Andrew Rodriguez stretches out here and seems very comfortable taking chances. He might have just more then a passing fancy for Lennon, Cobain, Neil Young and Elliot Sharp, but his own personality manages to transcend his influences. The production by Mercury Rev’s David Fridmann alone will have the hairs on the back of you neck standing on end. 8/10 (Johnson Cummins)

Sarah Slean Night Bugs (Atlantic/Warner)
Co-produced by bizarro maestro Hawksley Workman, who also plays and programs drums, Slean’s sophomore album treats her classic songwriting style and strong, emotive vocals with both the orchestral grandeur and respectful subtlety they deserve. As an ambitious pianist/singer/songwriter, Slean is at times reminiscent of Tori Amos, though Jeff Buckley and Rufus Wainwright are equally apt comparisons. In her more severe moments, Slean even conjures up Nick Cave, biblical drama and all. But, as weighty and night-bound as this album sometimes feels, a starry-eyed sweetness persists, culminating in the exuberant final track, “Bank Accounts.” 8.5/10 (Lorraine Carpenter) With Kevin Hearn at Café Campus on Sunday, May 5, 9pm, $13.50

Tuuli Here We Go (Linus/Warner)
In their debut pop-punk rawk-out, Toronto’s Tuuli deal with bad boys, dis ex-friends and defiantly face the drag that is life. In fact, this feels a lot like high school, only with slicker production and less homework. The Go-go’s spirit shows itself in the speedy sunshine melodies and clean harmonies, but difficult keyboard parts, effects and ’80s cheese guitar work create a plastic din that sounds more like Jem than Belinda and friends. But this is no pre-fab band. These four gals have been writing and playing together since ’97, so, overeager producer aside, the live act is the real test. 7/10
(Lorraine Carpenter) With Mister Hyde at Petit Campus, Fri., May 3, 9pm, $8

Gluecifer Basement Apes (SPV/Fusion III)
In this post-Hives world, it would seem that Gluecifer’s time to rule the R&R roost is ripe. With this new one, these Norwegians lay down their trademarked four-on-the-floor sound but still manage to challenge with the Oasis-y “Losing End,” the rocker “Round and Round” and the psychedelic “Little Man.” Of course, none of this packs the same punch that the band does live, but splintering off in the new directions has definitely proven to be a healthy move. Singer (get ready for this name) Biff Malibu’s Danzig/Ian Astbury croon alone will get you every time. 8.5/10 (Johnson Cummins)

Mushroomhead XX (Universal)
Gotta hate it when someone has the same idea you do, then heads out with it and gets a huge following. In Mushroomhead’s case, some bigger boys on the block get all the credit for wearing masks and overalls. But wait! Mushroomhead were first! Doesn’t matter. Slipknot have a tight knot around the necks of their rabid fans, who want nothing more than to have it tighter. Both have two vocalists, both use samplers, and both have bludgeoningly brutal guitars, so nobody will care who was first—what matters is the music. Fuck it, they should go on tour together and see who’s king. 5.5/10 (Lateef Martin) With E-Town, Concrete and Five Pointe 0 at Foufounes Électriques, Tues., May 7, 8pm, $12

Cinematic Orchestra “All That You Give” 12” (Ninja Tune/Outside)
Just like the name so eloquently denotes, the Cinematic Orchestra is only interested in making you feel the power of a properly produced, arranged and recorded piece of music, much like some of the heavy hitters who used to score for big film studios in the ’60s and ’70s. This first single off of their upcoming album is a beautiful tribute to the timeless voice of featured vocalist Fontella Bass, who, along with Lester Bowie, brought us many a jazz classic. This song sounds like it’s been aging for years, finally unearthed for attentive listeners to digest, but of course it’s brand new. Remixes from Matthew Herbert are also here, as well as a solid B-side offering called “Kalima.” Prick up your ears because it looks like this album could be very, very good. 8/10 (Scott C)

Kobayashi Movements EP
(independent)
This local jazz-hop nonet deliver the fiver they’ve been promising—recorded almost a year ago, here it is at last, including their signature tracks “Eastside” and “Huxtables.” Bypassing the twists and tangents that bog down all but the best jam bands, Kobayashi keep their natty, nocturnal flow nice and focused. Chris Tauchner’s rich, tasteful keys lay a bed down for the simple, effective horn lines and for Omari Newton’s unhurried, soft-touch raps. There’s a comfortable warmth to all this, bristling a bit around the edges and solid at the core. 8/10 (Rupert Bottenberg) CD launch at le Swimming, Fri., May 3, 10pm, $6

Various Welcome to the Acid Lounge Vol. 1 (Hed Kandi/Fusion III)
Sure, the title is cringeworthy and the bonus comic-book insert, while a cool idea, isn’t too impressive either. But the material on the two discs here more than makes up for the tacky packaging. Compiled by 45 Dip (Mark Daniels and Chris Bemand), who throw in a trio of their own numbers, Acid Lounge gathers together some superior downtempo, sexotica, fine-tuned funk and designer kitsch. Lotsa Latin action going on (Zuco 103, Bebel Gilberto, Amigos Invisibles), plenty of character-driven club pop too (Gentle People, Tim “Love” Lee). Standouts for this writer include the Soul Drummers’ wicked “East Side Story” and “Glider Girl” by Easy Access Orchestra, who you’ll know as the Herbaliser’s boss brass section. 8/10 (Rupert Bottenberg)

Johnny Fiasco Cycles: a Mixed Retrospective (Bombay/Koch)
His name may be Fiasco, but his career has been anything but. Johnny has been laying his unique masonry of taut rhythms on Chicago house since at least 1995 and has beatsmithed for a slew of influential labels such as Cajual, Perscription and Distant Music. Here, Bombay give Johnny carte blanche to cull and string together his favourite sonic moments. Selections feature sax licks and driving percussion that pulsate from beginning to end, while samples from Patti Labelle on “Keep On Dancin’” and Salsoul Orchestra on “Disco Follies” effectively add to his kinetic drum assault. The overall vibe is straightforward but contagious. 8.5/10 (Peter Lightburn)

Ashanti self-titled (Universal)
On the lead single “Foolish,” from her self-titled debut, Ashanti Douglas does the improbable: she samples Debarge’s “Stay With Me” (made famous by Notorious B.I.G.’s “One More Chance”), and gives it a fresh spin. The album is much the same, a surprisingly fresh blend of R&B and hip hop, full of catchy lyrics penned by the lady herself. She lends credibility to these tracks, making you feel her joy (the bedroom knockers “Scared” and “Rescue”) and pain (“Can’t believe it’s over, baby/Every bruise on my heart you gave me,” from “Over”). As ear candy goes, this one’s like M&Ms. 8/10 (Gerard Dee)

Various Flying Dutchman Anthology (Soul Brother)
This collects some of the greatest tunes from the important late ’60s/early ’70s label, Flying Dutchman, which boasted a strong and innovative roster of now instantly recognizable jazz superstars (Lonnie Liston Smith, Gil Scott Heron, Leon Thomas, Gato Barbieri). Label head Bob Thiele obviously had his head in the right place when he was putting together this team of talented musicians, but history can attest to that. If you don’t pick this up for any other reason, pick it up for the Leon Thomas/Louis Armstrong burner “The Creator Has a Master Plan.” Music like this was made from a dream. 9/10(Scott C)

John Coltrane Coltrane
(Impulse/Universal)
John Coltrane Ballads
(Impulse/Universal)
Two deluxe double CDs, remastered by engineering guru Rudy Van Gelder, of the classic quartet of Trane, McCoy Tyner, Jimmy Garrison and Elvin Jones. The former has seven previously unissued tracks, the latter 14. Among the new material, Tyner’s “Not Yet” and alternates of “Miles’ Mode” and “Impressions” on the first and “All or Nothing At All,” “Greensleeves” and a Coltrane/Tyner duet on Irving Berlin’s “They Say It’s Wonderful” on the second—and they are, all 37 tracks. These are the Trane-fancier’s must-haves. Both 10/10 (Len Dobbin)