One of the first questions about any new Springsteen album is always, Is this "Brooding Bruce" or "Upbeat Bruce"? After his last two efforts were primarily filled with songs reflecting "Brooding Bruce" (and nothing wrong with that, as The Rising was superb), his latest is DEFINITELY, even DEFINITIVELY, upbeat Bruce. We Shall Overcome is an album of traditional songs associated with (not written by) folk icon Pete Seeger, which Springsteen has re-arranged for a large band format. And by large band, I do mean large-fiddles, banjo, upright bass, washboard, trumpets, trombones, saxophones, acoustic guitars, drums, assorted percussion and, most prominently, accordion, are all featured throughout the disc. Springsteen accurately describes this music as "street corner music, parlour music, tavern music, circus music, [and] church music". Being a native Hoosier, I might also add "barn-dance music" to this description, as the vast majority of the tunes sound like they are accompanying a giant, old-fashioned hootnanny. The sessions were recorded live (no overdubs) over just three days and, as Bruce says, capture music being MADE rather than just played. Setting out his good-time intentions on the first tune, Bruce joyously sings "Old Dan Tucker was a fine old man, washed his face in a frying pan, combed his hair with a wagon wheel, died with a toothache in his heel," as the full band joins in to give a rollicking and, yes, rocking, rendition of this song. A particular highlight is O Mary Don't You Weep No More, an old spiritual done up as ramshackle parade music, but the whole disc is fine and, despite the upbeat arrangements, steers away from the tendency towards bombast that can occasionally afflict Springsteen's efforts. The weakest cuts here are also the most somber (Shenandoah, We Shall Overcome) but this is a minor quibble with a very strong album. Whether the intent was to infuse traditional tunes with enough spark and modern sheen to make them fit contemporary times and carry the folk canon forward, or whether it was simply to make a great sounding album full of good-time tunes, Springsteen has accomplished both tasks.

One final thought: If we start hearing bands use a lot more accordion in future efforts plowing the alt-country/Americana fields, this disc will be to "blame".

There must be something "traditional" in the air lately, as the highlight cut on jazz diva Cassandra Wilson's latest effort is her rendition of Red River Valley, featuring just her superb voice and a slide guitar. In fact, the whole of this fine album has a rootsy feel to it, no doubt courtesy of producer T-Bone Burnett, who also produced the O Brother Where Art Thou soundtrack as well as a slew of similar efforts. But this does not mean that the jazz has been left behind on this album. Rather, Thunderbird finds Wilson skillfully blending her jazz chops with big doses of blues and roots, yielding one of the finest efforts of her distinguished career. Accompanied on most cuts by the superb guitar work of either Marc Ribot or Keb Mo, Wilson moves through traditionals (the bluesy Easy Rider being another highlight), self-penned originals, and songs penned by Burnett. The entire album has a hushed sense of intimacy created by very spare arrangements that highlight the power and allure of Wilson's voice. To those who say "jazz is dead," listen here for proof to the contrary.