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It's only rarely that an artist pops out from a hole in the ground with an album that hits you like a fresh crush. But Michael Nau's Page France did that towards the end of last year. Up from the grass came his head, and he was singing songs that all but made me cheer. Page France play a light-footed music that's at once swaying folk and cheering pop: guitars, harmonies, glockenspiel and gladness. Nau's rhymes seem as natural as bracken and streams, and his melodies seem destined for songbooks and campfire sing-alongs. While some reviews have assigned Hello Dear Wind to the musical ghetto known as "Christian music", Page France seems no more necessarily Christian than Leonard Cohen seems necessarily Jewish (or Christian, or Buddhist). The small handful of gospel references feel like touches of the fantastic, bold images on which to hang tambourines and ribbons.

Acun~a sets the tone early on, with a Latinized "My Romance," followed by a beautiful version of Cuban singer-songwriter Pedro Luis Ferrer's "Ay Mariposa," segueing into her reading of Thad Jones's "A Child Is Born," and so on. Throughout the disc she crosses back and forth, from English to Spanish, from jazz standards to the Latin American songbook, from weary-eyed maturity to nearly girlish innocence. Here and there she is a tad affected in her delivery just when she needs to trust the song and sing out, as with Milton Nascimento's feminist anthem "Maria Maria." But at her best she sings with authority, clarity and purpose. She revisits the work of Chilean singer-songwriter Violeta Parra -- Acun~a had included Parra's "Gracias a la Vida" on her previous album -- de-dramatizing "Volver a los 17" with a lush arrangement. There is much to enjoy here, and it suggests that there is more to come.