Collegiate harmony groups an unexpected treat

Never imagined an album of collegiate harmony groups would be leading this "best new releases" column. Live and learn.

A TALE UN-FOLDS: A cappella has come a long way from those corny barbershop harmony quartets and the jolly Yale Whiffenpoofs (formed at a New Haven bar way back when in 1909).

Today, there are 1,200 undergraduate a cappella (all vocals, no accompaniment) singing groups performing on U.S. college campuses. And some of the material they work over is surprisingly hip.

Proof positive, "Ben Folds Presents: University A Cappella!" (Epic, A). After hearing that his work was a fave with a-cappellers, this semi-detached chronicler of life (bitter and blue) put out word that he wanted to record their performances. "Within days" more than 250 student groups had submitted their tracks over YouTube.

As folk archivists used to do, Folds then hauled a recorder and a suitcase full of microphones to the college towns where the ensembles dwelled to record them in student lounges, lecture halls, campus TV studios and even a synagogue.

"I considered this my new record," said Folds. "And I wasn't f- - -ing around."

As you've gathered from the grade, I love this thing. There's something utterly amazing in the contrast of a Sacramento State Jazz Singers putting their breezy, swinging sound to the brittle, bitter kiss-off that is "Selfless, Cold and Composed," or the Ohio University Leading Tones chiming in cheery seasonal tones about a "Brick" of a woman slowly drowning a guy.

Also dripping in yin/yang irony is Folds' own, super-bouncy, multi-tracked homage to the town of "Effington" wherein he wonders if he could "get a new Effin life."

But this isn't a one-trick pony.

Choir performances that openly empathize with the material also work well, like the hearty, old-school West Chester University Gracenotes detailing the last day at work (sigh) of a 25-year newspaper vet ("Fred Jones Part 2"), or the dancing-in-the-moonlight-themed "Magic," brought to wonderous life in the bell-like tones and warm harmonies of the University of Chicago's Voices In Your Head.

In sum, inspired and inspiring work.

GIRLS IN MY HEAD: Previously billed on her album debut as a neo-jazz singer, Chrisette Michele has taken two steps toward the soul-pop center and reached "Epiphany" (Def Jam, A-). Think a classy hipster with universally appealing material and just enough funkiness about her (thank you Ne-Yo, Rodney Jerkins, et al.).

Legend has it that Philadelphia-based Melody Gardot discovered her cool, winsome cabaret style while recuperating from a serious accident. Her new album, "My One and Only Thrill" (Verve, B), produced by Larry Klein (longtime bassist, creative partner and sometime hubby of Joni Mitchell), has plenty of intimate charm, tenderness and slow-steaming romance about it, the latter especially appealing on the title track and "Our Love Is Easy."

Mexican-born, New York-based, multi-lingual singer/composer Magos Herrera seems closest in lyrical sweep to the folkloric/samba/jazzpop tunesmiths of Brazil. On her new "Distancia" (Sunnyside, A-), she even dares mix a Milton Nascimento classic ("Vera Cruz") with her own originals - and yes, the latter hold up well in comparison.

Grace Kelly is back on "Mood Changes" (Pazz, B+), reincarnated as a brilliant young Asian-American jazz saxophonist, thoughtful composer and pretty good singer, too. Even when tackling a warhorse like "Ain't No Sunshine," Kelly brings fresh and thumping stuff to the table.

OLD PALS: He's Yusuf Islam now. We knew him as Cat Stevens. On "Roadsinger" (Universal, B), his second Yusuf album since coming out of self-imposed retirement, the man carries on with gently spiritual, enlightened, unifying messages carried aloft on airy folkpop melodies. Yes, the voice is deeper, but the music's very close to the seeker stuff that charmed millions in his glory days.

Ben Harper returns with a new group, the Relentless 7, and another bluesy rocking set he calls "White Lies For Dark Times" (Virgin, B-). A better singer than composer, much of his material blends together in my brain, though I hear the band's tearing it up in concert. (Harper's at the TLA on Saturday.)

On "I Know That Name" (429 Records, B+), blue-eyed soul singer Paul Carrack (of Squeeze and Mike & the Mechanics fame) serves up originals graced with classic Memphis flourishes. *