Not at all unlike Jewel is the Canadian upstart Martina Sorbara.

In fact, their vocal acrobatics and melodic wanderings sound similar enough that you'll have to do a double take on your first listen.

Now, being a sort of musical clone could be seen from several perspectives.

Taking the high road is suggested, because The Cure for Bad Deeds warrants some positive reinforcement for the talented Sorbara.

The songs are interesting and engaging, weaving folk, pop, and even jazz into a lovely tapestry.

(How many mainstream artists can you think of who veer into a jazz improv section in the middle of a song as Sorbara does on "This Ship"?) The production is crisp and simple, supporting Sorbara's fine piano and acoustic guitar work with minimal effort or interference.

And, hopefully, this release is only the first step on a path of artistic discovery for Sorbara.

The path will more than likely lead her to find her place in the world of music, a place far from the shadows of Jewel or anyone else.

Think of Sarah McLachlan's inconsistent debut, Touch, and the creative leap she made in just two albums to the wonderful Fumbling Towards Ecstasy.

That's the kind of track that's clearly evidenced in The Cure for Bad Deeds.