The Herald's regular team of reviewers

listens to the best sounds around

English & Scottish Folk Ballads/The Bird in the Bush, Various Artists (Topic)

n TWO generous raids into Topic's vaults, of interest to folk historians, singers seeking repertoire extensions and lovers of good, stout traditional singing alike, writes ROB ADAMS.

The former covers much familiar territory, including The Cruel Mother and Lord Randal, and the latter what are charmingly referred to as songs of sexual circumstance. Largely unaccompanied, some of the mannerisms (eg Mike Waterson's rustic glissando) may take some getting used to, but the effort is worthwhile for the reminders of Ewan MacColl's smouldering power, Anne Briggs's charm, Frankie Armstrong's command, and transplanted Doricmeister Norman Kennedy's compelling gelling of rhythm and narrative.

Umbrellas, The Pete Hurt Quartet (ASC)

n SOPRANO, alto and tenor saxophonist Pete Hurt is one of those musicians on the London jazz scene who invariably get called reliable, a euphemism for someone who goes out on tour with, in Hurt's case, George Russell and Carla Bley, masters charts apparently invaded by inky-footed ants, and solos his dangly bits off to much acclaim. Yet when he does something under his own name, he can't get arrested.

So, Mr Hurt, you are hereby charged with releasing a CD full of airily attractive tunes (the folksy Les Parapluies de Stoke Newington - Part II is a particular favourite) featuring intelligent and incisive playing from all concerned, and I sentence you to sell it by the small vanful.

Crossing the Borders, The Clydesiders (Rel)

n THE recently re-invigorated Clydesiders return, positing a mystery link with Michael Jackson - perchance their version of Stay Young, co-written by Graham Lyle who co-wrote a track on Jackson's Bad album. Or maybe Jacko's recorded Lady Nairne's splendid Land o' the Leal (also included here) to mark Rabbie's bicentenary.

Whatever, Crossing the Borders presents an imaginative selection of weel kent traditional songs, social commentary (including Ewan MacColl's increasingly foresighted My Old Man), contemporary songs and toe-tapping fiddle sets that will please their many fans at home - and next-door, too, of course!

Quadrophenia, The Who (Polydor)

n AH yes, the concept rock-opera - where would we be without it, writes DAVID BELCHER? Insightful lyrics you can't forget, things like He's a piebald lizard and he likes to do the twist . . . piebald lizard's got such a subtle list. Of course, that was from the Who's first foray into concept rock-opera, Tommy.

This is their second one, first issued in 1973 and now digitally re-mixed and re-mastered on two CDs, complete with the original booklet outlining Quadrophenia's story: young mod laddie seeks self-knowledge. You'll find one or two good tunes here - principally 5:15 - but otherwise this is much too baroque, orchestral, and overly-ambitious for its own good. And for a full appreciation of the whole deal, you really need to see the film version of Quadrophenia. So let's hope no-one ever plays this to that other devotee of all things British and beaty, Noel Gallagher. An Oasis concept rock-opera? Crikey . . .

Sinking, the Aloof (East West)

n IN the wake of Leftfield, Portishead and Underworld, more quirky and ecelctic dance ambiences from a bunch of old lags - sorry, that should of course read ``seasoned veterans whose age has given them increased sonic wisdom''. This debut album is all dubby glacial grindings, plangent piano, disaffected vocal wistfulness, and echoing percussion. And quite nice it all is, too.

Chroma, Scanx (F Communications)

n SHIMMERING and pulsing post-minimalist sounds from French techno-ambient boffin Stephane Dri, by Kraftwerk out of Debussy. Music by which to drive along the autobahn of your mind - and actually arrive at a destination. Neat.

Time Capsule, Chris Bowden (Soul Jazz)

n ONE half of Mo' Wax's acclaimed Palmskin Productions, Chris Bowden has also worked with Jhelisa Anderson. This solo album is a cool, quizzical exercise in chamber orchestral trip loop. Imagine if the Shaft blaxploitation movies were to be subtly updated and re-shot now in modern Britain . . . well, they'd have incidental music as intriguingly unincidental as this.

Debussy: Chamber Music (Philips)

n THE ultimate collection of some of the most exquisite music ever penned, writes MICHAEL TUMELTY, this collection features the composer's single string quartet, the three sonatas, and Syrinx, the three-minute miracle for flute. And what performers. Devotees of the great Quartetto Italiano - who, in their day, were the supreme quartet of this century - will still have the wonderful old vinyl recording which coupled the Debussy and Ravel quartets.

The Debussy transfers well to CD (and remains a classic performance). The three sonatas (Debussy died before he could complete the projected set of six) are among the most important pieces he wrote. Structurally and stylistically he was forging a new path. First-class versions and more great performers appear on this disc: Maurice Gendron plays the Cello Sonata, and Arthur Grumiaux - unmistakably silver-toned - plays the Violin Sonata.

Roger Bourdin, Colette Lequien, and Annie Challan perform the most ravishing and beguiling of the set - the Sonata for Flute, Viola, and Harp. Bourdin - with a tone that couldn't be anything other than authentically French - plays the elusive mini-masterpiece, Syrinx. Essential collection.