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We missed Segall’s run through Nashville, Tenn., earlier this year. That won’t happen again. He has our complete attention.

_Chris Talbott, AP Music Writer (twitter.com/chris_talbott)

Anat Cohen, “Claroscuro” (Anzic)

Israeli-born Anat Cohen is doing her utmost to ensure that the clarinet no longer remains an overlooked instrument in modern jazz. On “Claroscuro” _ a Spanish term referring to the play between light and dark in painting _ Cohen offers a variety of tonal shades ranging from light buoyant tunes to dark intense multilayered pieces as she takes her listeners on a multicultural journey with stops in West Africa, New Orleans, Brazil and her present home, New York.

Cohen engages in intricate dialogues with another jazz clarinet virtuoso, Cuban-born Paquito D’Rivera, on four of the 11 tracks _ ranging from the twisting, minor key “Nightmare,” Swing Era clarinetist Artie Shaw’s haunting theme, to the playful, danceable “Um A Zero” by the Brazilian choro master Pixinguinha. On “La Vie En Rose,” Cohen pays homage to Louis Armstrong’s New Orleans take on the Edith Piaf chanson, slowing the tempo and contrasting her smooth clarinet lines with Wycliffe Gordon’s growling trombone and gravelly vocals.

Cohen gives her music more variety by embracing other reed instruments. She makes her recording debut on bass clarinet on her own tune “Kick Off,” with Gilmar Gomes adding Latin percussion; plays a burning soprano sax solo on drummer Daniel Freedman’s “All Brothers” with its West African rhythms; and displays some soulful tenor sax chops on the closing, gospel-flavored “The Wedding” by South African pianist Abdullah Ibrahim.

_Charles J. Gans, AP Writer (twitter.com/chjgans)

THEESatisfaction, “awE naturalE” (Sub Pop)

For some reason, year-end lists often carry a taint with them, but around here, we love them because of all the leads they give you on new music. THEESatisfaction came to our attention after its appearance on one list or another, and we’re excited to discover “awE naturalE.”

Rapper Stasia Irons and singer Catherine Harris-White’s thoroughly modern mash-up of hip-hop and soul is intoxicating _ they call their songs “funk-psychedelic feminista sci-fi epics” _ and the music weaves back and forth between fierce and fearless.

The folks at Sub Pop, who had a stellar 2012, discovered Irons and Harris-White after hearing a Shabazz Palaces song they contributed to. Already a veteran of several mixtapes, the self-produced “awE naturalE” is ridiculously self-assured and constantly interesting.

Looking for a little ear candy? Check out “QueenS,” which serves as something of a theme song, the jazzy “Existinct” and the fractured jam of “naturalE.”

_Chris Talbott, AP Music Writer (twitter.com/chris_talbott)

Kitty Pryde, “Haha, I’m Sorry” (Self-released)

In between retail store shifts in Daytona Beach, Fla., and navel-gazing about drunken boys, Kitty Pryde found something valuable in 2012. She delivers dream-pop rap that resonates with a restless sliver of hip-hop fans craving something smarter to savor.

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