Open your mouth and your mind will follow

It will be interesting to see how the Argentine singer and sound collagist Juana Molina reproduces her new album, Un Dia, in concert. Though the tracks on the record develop in an organic fashion, they also seem to have minds of their own, so to speak. Using mostly percussion for texture and her multitracked vocals for color, she synthesizes her compositions rather than writes them. Melodies emerge seemingly from non-melodic components, like moans and hiccups. If it all sounds rather cold and intimidating, it's anything but. South American pop is on the whole more complex than much of its northern counterpart, and Molina starts from the position that music is made in the mind after the sounds enter the ear. She enjoys playing with the elements but it's actually up to you to make sense of it. What could be more fun?

Nov. 27 & 28 at 7:00 & 9:30, ¥4,800 & ¥6,800. Box office, 03-3405-1133.

The easiest going guitar player in the world

The 77-year-old jazz guitarist Jim Hall has always distinguished himself by his relaxed, cool tone and his subtle technique. Unlike many of his peers Hall never seems to force his talent on the listener, and yet he may be the most influential guitarist in jazz after Wes Montgomery. His music has a definite scholastic side that reflects the time he spent at the Cleveland Institute of Music and a classical apprenticeship under Vincente Gomez. His wide-ranging style comes from his eclectic work experience: sideman with Chico Hamilton, Jimmy Giuffre, Ella Fitzgerald, Sonny Rollins, and Lee Konitz. His duet albums with the great Bill Evans demonstrated how a softer touch could be exciting. For the past thirty years, though, he's mostly been his own man, either playing solo or leading his own quintet, and the one he's bringing along this time is a doozy: Geeoffrey Keezer on piano, Greg Osby on sax, Steve LaSpina on bass, and Terry Clarke on drums. Even better, the quintet will be accompanied by a string section and the theme is slightly Spanish, which means Hall will probably do some of the classics that made him the musician he is.

Nov. 24 at 5:00 and Nov. 25 at 7:00, Orchard Hall, Shibuya. ¥6,800 & ¥7,500. JEC International, 03-5474-5944.

Confidence is
appealing in the young

Until recently, its five members weren't old enough to play venues that serve alcohol, so Britain's Cajun Dance Party channeled the creative energy new bands usually spend on touring into their debut album. First single "The Next Untouchable" promoted their appeal magnificently: a hyperactive circular guitar riff reinforcing vocalist Daniel Blumberg's clearly enunciated hurt feelings. Anyone over the age of 19 will recognize those feelings as the over-reaction of a callow lad and roll their eyes accordingly, but elsewhere Blumberg tries for sensitivity beyond his years. CDP is undaunted by its lack of life experience and attempts a wide range of styles and emotional situations, from the propulsive isn't-youth-grand anthem "The Colourful Life" ("don't have to spit out your thumb or your Wrigley's gum") to the heavy-breathing heartbreak ballad "No Joanna." Lovers of adolescent abandon will find plenty to appreciate in the upbeat numbers and teenage girls will discover more than enough to love in Blumberg's curly-headed adorability and willingness to throw his heart out over the footlights, which is why they packed the hall at Summer Sonic in August. They love that sort of thing in Japan.

Dec. 11 at 7:00, Shibuya-AX. ¥5,800. Creativeman, 03-3462-6969.

Dance this mass around

Some groups are revelations live while others only make sense live. CSS, Brazil's answer to electroclash and world youth culture, makes records for slackers, drunkards, and people who get everything, including their music, on the internet. They are instant gratification, and their concerts prove that it's no small task. Lead singer Lovefoxxx doesn't always remain on key, but she's never off message. Partying is her mission in life and she makes sure the corwd is on her wavelength, jumping and grinding at the important junctions. The band's song "Let's Reggae All Night" has nothing to do with reggae, but Lovefoxxx makes you forget that little flaw and appreciate her sense of fun. The band no longer puts on the sassy, irreverent front that made parts of their debut sound pretentious, and if individual members' chops still leave something to be desired, they're a surprisingly tight outfit, moving from bouncy disco to clean, energetic pop without any effort.

Nov. 25 & 26 at 7:00, Ebisu Liquid Room. ¥5,800. Creativeman, 03-3462-6969.

Where soul comes from

This vocally inventive 27-year-old came from deep gospel in the Deep South, and though the South, thang God, ain't what it used to be, Shaw comes across like one of those natural soul singers who grew up in the church before TV became an insufferable distraction. Which isn't to say Shaw didn't have his own distractions--he was a member of Tyler Perry's musical acting troupe as a teen. Tyler brought him to New York, where he moonlighted at places singing old Motown hits and other dance music from the 50s and 60s as a member of the Fabulous Soul Shakers. Obviously, he impressed someone because it wasn't long before he was invited to make demos and signed to Columbia. The resulting album, This is Ryan Shaw, was a collection of covers from the golden age soul before he was born, and damn if he didn't nail the suckers: Pickett, Womack, Jackie Wilson. Obviously, all great singers who start at the source end up in the same place, which is a good thing to keep in mind.

Nov. 24 at 6:00, Shibuya-AX (w/Emi Tawada and Rickie-G); Nov. 25 at 7:30, Shibuya Duo Music Exchange (solo). ¥5,500 & ¥6,500. Kyodo Tokyo, 3498-9999.

It pays to practice

This French hip-hop band--it's difficult to call them a crew, much less a "posse," as AllMusic.com does--kicks it old school. Rocking in formation to old soul beats, the instrumental configuration--guitar, bass, drums, keyboard and turntables--tends toward a fusiony sound that would undercut their street cred if they wanted to come across that way. MC 20Syl alternates French and English rapping, but even if you don't parlez vous the Francais it's easy to understand he's not into the hard and real school. In the song "Hip Hop?" he goes through a list of the English hip-hop terms he hates, starting with "bitch" and ending with the N-word. He then lists some hip-hop English words he likes, starting with "jazz" and ending with "peace." Handsome in a Kevin Bacon sort of way, 20Syl wields a mean smile in concert, where they sometimes play that old school anthem "The Message," though in truncated form. But what Hocus Pocus mainly gets from old school hip-hop is a respect for old school skills--show-off scratching and a stage gestalt that exudes harmony and lots of practice.

Dec. 8 at 7:00, Shibuya Club Quattro. ¥6,500. Smash, 03-3444-6751.

The way it sort of is

It's been more than ten years since the Dallas-bred, Brown University graduate zipped to the top of the singles charts with "Stay," despite the fact that its singer-composer lacked a record deal at the time. Since then she's fared well despite the impossibly high expectations, probably because her ambitions were always rather prosaic--music was a living to be made. Though lately she's been playing children's music, it doesn't differ substantially from her first three poppy folk-rock albums about relationships sung in a naturalistic tone--but the lack of growth may be exactly what she wants. She knows what her fans want. In Japan she may find a harbor for her mellowing career. Her greatest hits collection was released here before anywhere else, and the championing of Hello Kitty both privately and professionally (the Sanrio character once adorned one of her album covers) seems like a favor she's confident will pay off in the long run. And she's probably right. Consistency in both style and tone is what makes fans keep believing.

Dec. 3 & 4 at 7:00 & 9:30, Billboard Live Tokyo, Roppongi. ¥6,500 & ¥8,500. Box office, 03-3405-1133.