I've written about four releases from Sean Ryan over the past six years - as a solo singer/songwriter, as part of Jim the Mule, and as the leader of the Dawn (and Sean Ryan & the Dawn). I've always liked his singing voice - a mature blend of authority, precision, and expression. But with much of his work as a solo act and bandleader I've found the combination of standard Americana arrangements and plain-spoken writing dully professional - not vivid enough to avoid the generic.

So the new six-track Waiting on the Storm album from the Dawn came as a pleasant surprise - in particular the expansive rocker "Bring It All Home," a forceful jam that oozes personality and life and has a clear if winding path. An album full of similar songs would quickly become tiresome, but as a startling change-up from Ryan's past work, it reverberates through the entire record.

Jordan Danielsen has made his living exclusively from music for seven years now, so it might seem a little strange that he's in his fourth semester studying music performance at Black Hawk College.

Part of the impetus, he said in an interview last month, was expanding his performance repertoire from his natural instruments of guitar and harmonica to piano and drums. And some of it was self-improvement, a desire to learn to read music and to better hear harmonies.

But he also had an eye to his career, hoping to meet horn players and wanting to learn to write charts so other musicians could play them. The ultimate goal appears to be flexibility - the ability to hire the musicians he needs at any time to get what he wants for a project, without being reliant on a fixed band.

The 31-year-old Danielsen recently released his debut CD, the 14-track Night Alone in the City, and it's largely the product of years hosting open-mic nights at venues such as Davenport's Bier Stube. The songs are straightforward and seem designed to connect instantly to an audience; one can almost hear where Danielsen expects a cheer or a laugh from his listeners. In that sense, the album works, even though the songs outside of a live context feel somewhat thin. ("Open Mic" probably works as a tone-setting invitation in front of bar patrons, but it feels out-of-place on a CD.)