Soul Jazz CD Reviews

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The Brewin Rating System: * = D (poor); ** = C (fair) ; *** = B (good); ***1/2 = B+ (very good); **** = A- (excellent); ****1/2 = A (superior/outstanding); ***** = A+ (superlative/exceptional/rare). Criteria includes: overall quality of musical performance (group and/or individual(s)), creativity and improvisation, originality, interpretation, composition, arrangement, aesthetics, interplay of musicians (where applicable), sound quality and recording factors, etc.. In all cases, adding 1/2 * to a disc's rating helps refine the distinctions. (These ratings are naturally subjective.)

Speak of the Devil, John Abercrombie Trio, John Abercrombie, guitar. Unbeknownst to many, from the inception of his career, Abercrombie has had a virtual love affair with the organ. Comfortable in the context of an archetypal trio, he and cohorts Dan Wall (organ) and Adam Nussbaum (drums) engage the listener in swirling dynamics, like ocean tides, on this recording of all original themes by this musical triumvirate. Abercrombie waxes wistful and impressionistic ofttimes, while Wall lays down textures and plays accomplished solos, with Nussbaum setting crisp grooves and providing rhythmic nuances. ECM, 1994, Playing Time: 68:20, ****.

Alima, Willie Akins, tenor saxophone. This is a straightahead blowing session, recorded in three days in 1997. Missouri resident Akins is a tenor saxophonist in the tradition of Hank Mobley. He swings and bops soulfully over walking bass, ride cymbal and hi-hat triplets, and accented keyboard comping. Selections include standards and originals. Sidemen include pianist Simon Rowe, bassist Willem von Hombracht, and drummer Montez Coleman. This native of the "show me" state displays a lot of flowing, expressive horn, especially in the lower register. Catalyst, 1998, Playing Time: 68:29, ***.

Take your pick, Howard Alden, guitar. Here is another album with first-rate players, including the marvelous Renee Rosnes on piano, tenor saxophonist and flautist Lew Tabackin, and the tight rhythm section of drummer Bill Goodwin and bassist Michael Moore.

While he is admittedly not an innovator or an original on the guitar, Alden neverthless has clearly assimilated the legacy of the traditional jazz guitar players exceptionally well, especially the licks and chordal style of Joe Pass. On this latest Concord release, Alden follows in the footsteps of 1930s era jazz pioneers George Van Eps and George Barnes, performing on electric and acoustic 7-string guitars (the additional string is an octave below the fifth string (A)). It's almost uncanny; close your eyes, and you'd swear it was a 70-year old guitar player, instead of a member of the so-called "generation x"!

Furthermore, unlike some of his less-talented contemporaries, Alden does not pretend to be a jazz songwriter. Instead, he relies on tried-but-true standards, and he plays them impeccably, with class and grace. On this session, Alden and associates perform popular classics by Cole Porter, Billy Strayhorn, Duke Ellington, Richard Rodgers, Irving Berlin, a couple of Herbie Nichols specials, The Gig and House Party Starting. Of special note: Lew Tabackin's beautiful flute tone on U.M.M.G.. Concord, 1997, Playing time: 61:40, ****1/2.

Full Circle, Howard Alden, Jimmy Bruno, Joe Pass, Herb Ellis, guitars. As part of Concord Records' 25th anniversary, the company has released a double-CD package which contains the last session which Carl Jefferson produced before his death in 1995 (Bruno-Alden) and the first record Jefferson's Concord label ever released 25 years ago (Pass-Ellis). Actually, the album concept was a nice idea - the package juxtaposes pairs of some of the most accomplished traditional jazz guitarists from two different generations.

The Joe Pass-Herb Ellis disc is a reissue of the Jazz/Concord album and also features bassist Ray Brown and drummer Jake Hanna. Pass and Ellis work marvelously well together, engaging in sensitive interplay and counterpoint on the arrangements of standards like Honeysuckle Rose, Shadow of Your Smile, and Georgia on My Mind. While Pass demonstrates greater agility and intensity in his soloing, Ellis' playing exudes a Texas warmth that helps set a mood for these tunes. At times, Pass' fleet, inventive lines are truly amazing; Good Man Blues is an excellent example. Brown and Hanna also get their chances to shine, too.

In March 1995, Carl Jefferson produced his final session, recording Concord artists Jimmy Bruno and Howard Alden together with a rhythm section of bassist Michael Moore and the late drummer Alan Dawson. For those who aren't familiar with Bruno, he is a Philadelphian who was touring with Buddy Rich at 19, moved to L.A. to do studio work and play jazz, and then returned to Philly, tending bar and playing jazz, before landing a contract with Concord. Bruno is one of the great jazz guitarists. His aggressive playing owes a decided debt to the influence of another Phillie -- bop master Pat Martino. Bruno has also assimiliated the styles of other jazz masters (such as Joe Pass), and his years accompanying vocalists has left him with a nice touch on ballads, too.

Alden has been with Concord for more than a decade now. A wunderkinder of sorts, too, the Southern Californian was playing with Red Norvo at 20, and was recording with people Dizzy Gillespie and Woody Herman shortly thereafter in New York. Alden's playing is often rooted in the more traditional style of players like George Van Eps and Charlie Christian, but he also checked out Pass and Barney Kessel, too.

On this guitar session, Bruno and Alden begin with the uptempo Benedetto Blues, a joint ditty which showcases their respective playing. Bruno is a burner on guitar, and Alden would be hard put to maintain Bruno's speed and fluidity. However, Alden excels in harmony and general musicality. The tandem really takes off on Terrie's Tune (by Alden), with nifty harmonized guitars cavorting on the heads, in a modernist twist to the old twin-guitar Texas Swing bands. They do it again on Johnny Smith's Jaguar. On Django Reinhardt's Manoir de mes Reves (Manoir of my dreams), Alden plays delicate chords and Bruno picks an acoustic guitar for flavor. The set also includes standards Always, Polkadots and Moonbeams, and I Can't Give You Anything But Love, a couple of Bruno originals, and a Barney Kessel closer.

All in all, although Bruno and Alden don't quite achieve the total empathy and interplay that Pass and Ellis attained, this is nevertheless a very special guitar album. Concord, 1998, Playing Time: 94:06 (Disc 1: 58:42; Disc 2: 35:24), Disc #1 (Bruno-Alden) ****1/2, Disc #2 (Pass-Ellis) *****.

Echoes of Jilly's, Monty Alexander, piano. Jilly's was a 60's nightspot in New York where Alexander had some of his first steady gigs - and a famous fan, Frank Sinatra. This instrumental recording celebrates the aura of Jilly's with a set of songs commonly identified with Ol' Blue Eyes. Selections include such classics as I've Got You Under My Skin, Just One of Those Things, Call Me Irresponsible, Fly Me to the Moon, and Strangers in the Night. Bassist John Patitucci and drummer Troy Davis round out the piano trio. Concord, 1997, Playing Time: 60:44, ***.

Gimcracks and Gewgaws, Mose Allison, vocals and piano. Mose Allison's softly drawled blues have been much admired and imitated for 30 years, including such tunes as Young Man Blues, Parchman Farm, and Seventh Son. Allison is also an accomplished jazz pianist with a unique, personal approach that is bluesy, lyrical, rhythmic, and occasionally polytonal. He is a gentleman who is also generous with the solos he accords his sidemen at gigs (as I can attest from my own personal experience performing with him as a guitarist).

On this disc, Mose is accompanied by yet another respected crew of musicians: guitarist Russell Malone, drummer Paul Motian, tenor saxophonist Mark Shim, and bassist Ratzo Harris. All make solid contributions on this CD, including some quirky, angular solos from Malone. However, it is Mose's vocals and piano that predominate here.

Mose's lyrics often contain wry and incisive commentary on life in general and on our culture. For example: "The panic goes on day after day, With your cellular phone you're into the fray, The chance to make money is hard to refuse, But the more you get the more you have to lose." (from The More You Get)

The CD's finale, Old Man Blues, is another biting irony that speaks volumes about America's superficial society: "...an old man ain't nothing in the USA. In the orient, Where the old man is a wise man, All the people kowtow when the old man walks by. But in the USA, Where the young man knows how to wheel and deal, The young man's got that sex appeal, The young man is the man of the hour, Thirty five years of purchasing power. And an old man today, Ain't nothing in the USA."

Well, Mose is an elder statesman of jazz and blues who continues to merit respect -- both for his musical individuality and integrity. "I'm in cruise control, I might just keep on going, What's ahead no way of knowing, Could be sunshine could be snowing, Today I'm on a roll, In cruise control..." Blue Note, 1998, Playing time: 44:43, ****.

You Don't Know What Love Is, Chris Anderson, piano, Sabina Sciubba, vocals. Twenty-something, German-Italian Sciubba has a charming and tender Mediterranean vocal delivery, which more than compensates for her relative lack of enunciation in interpreting timeless standards in English. Chris Anderson is a veteran of the New York and Chicago music scenes. Although both visually and physically disabled, this elderly pianist is an excellent accompanist and improviser, too. Sciubba and Anderson are supported by the esteemed rhythm section of drummer Billy Higgins and bassist David Williams. The repertoire includes classics like The More I See You, Polka Dots and Moonbeams, Ain't Misbehavin', My Romance, and You Don't Know What Love Is. Impassioned sincerity -- sciubba, doobie, doo! Naim, 1998, Playing Time: 68:41, ***1/2.

Madrid, Marc Antoine, guitar. Marc Antoine is another one of the current crop of "smooth jazz" marketed guitarists adorning the computerized airwaves. While this album is certainly pleasant, easy-listening music, it may lack the depth which satiates serious jazz lovers (or guitar fans). If you like basic melodies, repetitive, mechanical drum programming, and acoustic guitar without any distracting improvisations, this CD may be right up your alley. GRP, 1998, Playing Time: 46:23, *1/2.

If We Never Meet Again, Dan Balmer, guitar. On his first release in five years, Dan takes his own interpretive journey over paths paved by guitar innovators Pat Metheny and Bill Frisell. Here he plays with members of his regular trio, which features two more of my own former bandmates, versatile keyboardist George Mitchell and always solidly-satisfying drummer Carlton Jackson, as well as stalwart bassist Phil Baker, and Jeff Leonard and other area notables. The album has a crossover tenor, with a discernible country inflected, happy-jazz aura throughout. The guitar double stops on Reunion recall vintage Metheny, All Are One features Frisell-style country triad swells, and the uptempo Attractive Nuisance has a funky, bluesy head in E with a neat little whole tone (augmented) section, reminding one of trendy Charlie Hunter or Scofield. (Hans Teuber guests on alto sax.) Mom'song is another Metheny-sounding piece, this time with a funky backbeat; Dan's solo here displays harmonized octaves, trills, and harmonics. Midcourse Correction is a wistful ballad in a country-jazz vein, with a Larry Carlton-influenced tone during the guitar solo. Another medium tempo Metheny-sounding number, Movin' On, features country pull-offs and trademark Metheny double stops. My own favorite number, Samba Nueva, is a lively tune, again with a pronounced Metheny influence. The countryish title track ballad, If We Never Meet Again, recalls the sentiments of lovers separated by distance; here Dan uses a stinging, bluesy pick attack, then flashes shades of Wes (dark octaves). The album concludes with Taking Off, again replete with some Metheny licks.

Compositionally and playing wise, this is a very strong, carefully crafted album for Balmer and company; Mitchell, Jackson, and Baker lend tremendous support throughout, and occasionally get their own moments to shine, too. All in all, this was, by far, Dan's hippest CD of the '90s! CMG, 1998, Playing Time: 54:57, ****.

Companion, Patricia Barber, vocals, keyboards. Just when you thought you'd heard the Sonny Bono hit, The Beat Goes On, for the very last time, Patricia Barber comes along and does a hip recreation. That tune and others characterize this quirkily attractive, live Chicago set, which also includes Black Magic Woman, Bill Withers' Use Me, and four originals. Barber exults in atmospheric B-3 swirls and effects, which she uses to good effect behind her distinctive, contemporary jazz-rock vocals. She is an assertive straightahead pianist, as well. All the while, her rhythm section lays down sanctified accompaniment and some engaging solos (bassist Michael Arnold, guitarist John McLean, drummer Eric Montzka, and percussion Ruben Alvarez). Barber is certainly interesting -- and different from the crowd... Blue Note, 1999, Playing time: 46:29, ***1/2.

Que Pasa, Gato Barbieri, tenor saxophone. Popular South American saxophonist Barbieri has been playing passionate sax in various musical settings internationally for many years. On this "smooth" contemporary-oriented disc, Barbieri has put together a marketable parcel of mostly forgettable tunes that are partly redeemed by some electric Latin grooves (e.g. Indonesia, Cause We've Ended As Lovers, and Granada) and very pleasing sax. An occasional bit of jive talking included, too. Columbia, 1997, Playing Time: 59:41, **1/2.

Swamp Sally, Kenny Barron, keyboards and bass, and Mino Cinelu, vocals, drums, banjo, mandolin, and guitar. Not having heard Kenny Barron in a context like this before, this album was somewhat of a shock. From the first track, Louisiana Memories, which recalls the Cajun music of the bayous, proceeding next to the fusionary Relentless Pursuit, with its synth strings and bongos, it became readily apparent that this was not going to be your typical Kenny Barron record. Continuing here - Simple Thoughts is an impromptu modal piano-percussion duet. Title track Swamp Sally begins as a Southern gumbo of bluesy funkdom which makes a transition into an uptempo, stridely walking groove, and then alternates with a recapitulation of the head. Mystere opens with the sounds of crickets and ocean waves, followed by synths and percussive effects. Such a Touch is a pretty, multi-ethnic folk song on the acoustic guitar. Beneath it All employs chromaticism and polytonality on the piano, with attendant percussion and synths. By now, you get the idea; this is esoteric. At this rate Kenny Barron will be ready to join up soon with the Neville Brothers or Doctor John, or maybe even Tracy Chapman. There are some interesting moments here... Verve, 1996, Playing time: , **.

The Only One, Kenny Barron, piano. This is Barron playing in his natural idiom, traditional mainstream jazz, with the steady rhythm section of bassist Ray Drummond and drummer Ben Riley. Barron penned two of the tunes on this date, the title track, The Only One, a tribute to Thelonious Monk, and Dolores St. S.F., a slow jazz waltz which is the album's most pensive and heartfelt piece.

Barron's Surrey With the Fringe on Top is an uptempo, roadster rendition of this show tune, The Courtship is a laid-back Latin take on a Benny Carter chart, Blueswatch is self-explanatory, the trio struts down the Sunny Side of the Street, Warm Valley is sedate - like a lazy summer afternoon, Manila is a pretty bossa by one of Barron's students, the swinging Tones for Joan's Bones is a Chick Corea standard, Cole Porter's Love for Sale opens and closes with a bass figure, and All God's Children wear Nike running shoes, in this case. Barron burns up the keys throughout. Reservoir Music, 1990, Playing time: , ***1/2.

Blew Year's Proposition, Keith Barry, viola. Keith Barry is a talented multi-instrumentalist, who plays both strings and woodwinds. On this self-produced disc, Barry is accompanied well, indeed, by bassist Ed Bennett, guitarist John Keyser, and drummer Dave Weinstock. The album reminds one of vintage 60's Blue Note sessions. The six-song set includes a blues (Like Young), Monk's Trinkle Trinkle, My Foolish Heart, a Barry bossa (Easy Groove), another blues (Soft Winds), and a second Barry original (a boppin' Blew Year's Proposition). This album will particularly appeal to those who appreciate the rare art of jazz viola. Saphu, 1995, Playing Time: 45:55, ***1/2.

Swing Shift, Count Basie Orchestra. There have been many incarnations of the fabled Count Basie band. The newest generation of Basie bandmembers (together with the stabilizing presence of longtime veterans Butch Miles (drums), William Hughes and Clarence Banks (trombones), and Kenny Hing and John Williams (saxes)), is true to the tradition established by the late great Kansas City swing-blues master himself. Nothing novel or extraordinary here, but swing and big band fans will probably enjoy this disc, anyway. The horn sections are especially tight on this assortment of newer and standard arrangements. (Allyn Ferguson and Bob Ojeda contributed the majority of the compositions/arrangements.) Grover Mitchell directs the proceedings nowadays. Mama, 1999, Playing time: 59:52, ***.

Homesick for the Road, Tab Benoit, Debbie Davies, Kenny Neal, guitars and vocals. This minor pentatonic guitarfest is raw roadhouse blues, in this case a trio of talented kids singing like B. B. King and Bonnie Raitt and playing the 12-bar blues -- three-chord, gutbucket style. Benoit, Davies, and Neal each have authentic-sounding voices and get around handily on Fender guitars over Chicago shuffles, Texas boogies, and Louisiana swamp-blues. No surprising or new riffs here, just another generation rediscovering, revering and maintaining American folk traditions. At least somebody's doing it... Telarc, 1999, Playing Time: 54:25, ***.

Standing Together, George Benson, vocals and guitar. George Benson is one of jazz guitar's legendary trend-setters, whose CTI recordings and Breezin' album in 1976 sent many guitarists running back to the woodshed. Unfortunately, since then, he has focussed primarily on a career as a money-making pop vocalist, while virtually ignoring the superlative, mainstream guitar playing that first brought him to prominence. Longtime fans of Benson's easy-listening, pop vocal tunes will probably enjoy this disc of mostly forgettable tunes, but jazz guitar aficionadoes will generally be disappointed, as I was (once again). At my first full-time pro gig, with a founding member of Steely Dan, we used to alternate sets with the George Benson Trio. I recall vividly sitting there, absolutely amazed by his wonderful musicianship. One day, I hope he will remember his jazz roots and record something more exemplary of the great guitarist he still is, instead of calculated rote formulization. I await that day. Until then, he would do well to find some better vocal material. GRD, 1998, Playing Time: 44:25, **1/2.

Riddles, Bob Berg, tenor and soprano saxophones. A whole stable of noted studio studs assist on this contemporary, ethnic flavored, melodic pot-pourri, which features a little smooth jazz (A Primeira Estrela), a James Taylor folk tune (Something in the Way She Moves), some Brazilian rhythms (Ramiro's Dream and [Pat Metheny's] Ahmed-6), funk (Coaster), a tender ballad (Ebony Eyes), and the continuity supplied by Berg's expressive saxes, Jim Beard's keyboard colorings, John Patitucci and Victor Bailey on bass, Steve Gadd's solid drumming, and the percussive effects of Arto Tuncboyaciyan.

The Joy, Shelly Berg, piano. Shelly Berg is the current head of the jazz department at USC. A composer as well as a player, his works have been performed by such orchestras as the Royal Philharmonic and the Houston Symphony. On this disc, Berg's first as the leader of a piano trio, he, bassist Lou Fischer, and drummers Randy Drake and Steve Houghton play a mixed mainstream set of familiar standards and Berg tunes. Berg offers up new, exciting interpretations of Star Eyes, Body & Soul, How Deep is the Ocean, Here's that Rainy Day, and (especially) On Green Dolphin Street. Berg's own tomes are very "listenable"; for example, Deedle Deedle is a swinging eighth-note blues groove, Man Tuna is a melodic samba, The Joy is a light-hearted bossa, and When We Next Meet is a wistful, lovely ballad. Berg is a sensitive and marvelous pianist, with both outstanding technique and a gift for expression. His rhythm section, particularly bassist Fischer, provides excellent and sympathetic accompaniment. This is an absolutely delightful piano trio album to kick back with - anytime. DMP, 1996, Playing Time: 65:25, *****.

Taking Notes, Jeff Berlin, electric bass. For almost 20 years, Jeff Berlin has been one of fusion's hottest electric bassists. This CD is basically an opportunity for him to once again demonstrate his prodigious facility on the electric axe, and his Peavey bass certainly predominates throughout. Whether soloing over the changes of Tears in Heaven, laying down a Jaco-esque walk on Johnny Joker, playing melodies (Madrugada), or rocking out (Scarecrow Soup), Berlin definitely covers all the bases, stylistically.

While electric bass players may exult over this tour de force CD, others might find it a bit tedious - depending upon one's appetite for extended bass solos. Denon, 1997, Playing Time: 56:40, **1/2.

Midnight without you, Chris Botti, trumpet. Young Chris Botti appears groomed to inherit the mantle of Herb Alpert, as he dishes up consonant melodies with soaring, sustained notes on his horn over a funk-rock backup. Grooves form the basis of these mellow excursions, with programmed drumbeats combined with live musicians on most tracks. The disc includes two pop-rock vocals. Verve, 1997, Playing Time: 46:57, ***.

Tales from the Hudson, Michael Brecker, tenor saxophone. My first impression of this collaboration of jazz giants occurred while returning from the Oregon Coast and picking up the perennially faint signal of KMHD as we approached Beaverton; over the airwaves wafted the Trane-influenced sounds of Brecker's composition, African Skies, by far the finest new jazz track I've heard all year. I spent the next three weeks trying to find a copy of this disc, finally reluctantly paying an exorbitant price for this otherwise excellent CD.

In the past, Brecker has had some successful pairings with musicians featured on this album. Last year Brecker performed on McCoy Tyner's Grammy Award winning release, Infinity (and #2 on my 1995 Top Ten list). In 1980, Brecker appeared with Jack DeJohnette and Dave Holland on Pat Metheny's double album, 80/81 (another Grammy winner, which also featured Josh Redman's dad, Dewey). [There's a little ancillary history behind that recording, too; in the late 1970s, I organized an after-hours jam session for some ECM musicians at Baudelaire's in Santa Barbara and enticed DeJohnette and Metheny to play together for the first time. Both of them were so pleased afterwards that they vowed to record and work together sometime in the near future.]

Anyway, with such commendable past collaborations in mind, Brecker recruited another all-star contingent for this latest release. Tales from the Hudson has Metheny, DeJohnette, and Holland together again, while Joey Calderazzo and McCoy Tyner share duties on the piano. (It was Tyner's inimitable playing that instantly grabbed my attention when I first heard African Skies on the radio.) Don Alias provides percussion on the two tracks on which Tyner appears.

Regarding the music on this disc, Brecker and company present another tour de force performance throughout. The sheer virtuosity of these musicians is, at times, almost overwhelming; sometimes even the listener needs a little breathing space in between the formidable and ferocious streams of notes. Six of the nine pieces were written by Brecker, with charts by Metheny, Calderazzo, and Don Grolnick comprising the rest of the disc's selections.

Slings and Arrows kicks off the set at a furious tempo, with Brecker's trademark funky, progressive, and angular bop tenor leading the charge. Midnight Voyage struts its stuff over a clean, swinging groove. Song for Bilbao, the Metheny selection here, is set over a smart Latin beat, with Pat's guitar synthesizer (using his timeworn, favorite tonal patch) enunciating the melody along with the sax. Sheets of descending arpeggios immediately identify Tyner's unique piano style. Beau Rivage is a more subdued number, with Brecker's horn even waxing lyrically here. Metheny, more accustomed to such mellow musings, lets his fingers slide and meander around the fretboard over the subdued backing of the rhythm section, until Brecker comes in again and leads the ensemble into a subtle swing feel and, then, back into the original tranquil groove.

African Skies, reminiscent of some of the later compositions of John Coltrane, asserts itself immediately with its insistent repeated riff over attractive, syncopated percussion. Then, Tyner's piano constructs the harmonic framework upon which he and Brecker alternately deliver inspired solos, with the piece gradually softening and resolving to its conclusion. Once more, this tasteful selection gets my vote for best jazz track of 1996.

Introduction to Naked Soul is a brief Brecker-Holland chart, leading into Naked Soul, a comparatively sparse and expressive ballad emotionally stated by Brecker. Holland finally gets in a short bass solo, before the tenor restates the theme wistful theme. The head possesses some metric interest here, dividing eight beats into phrases of three and five.

Willie T. has a relaxed, swing pace that ably supports Calderazzo and Brecker's flights and Metheny's polytonal chromaticism. This wouldn't be a Michael Brecker album, though, if it didn't also include at least one snappy, clever, uptempo riff tune, upon which Brecker could indulge himself a bit in the funky bop playing for which he is most notable. Metheny and Calderazzo also solo on this fast one. Cabin Fever, indeed! Definitely one of the better progressive jazz albums of 1996. GRP, 1996, Playing time: 60:28, ****1/2.

Time is of the Essence, Michael Brecker, tenor saxophone. Any time a recording session has a congregation of all-stars, expectations can run high. In this case, the progressive, hard-boppin' Brecker has assembled guitarist Pat Metheny, organist Larry Goldings, and an triumvirate of alternating standout drummers: Elvin Jones, Jeff "Tain" Watts, and Bill Stewart. Brecker penned most of the set's straightahead tunes, which include two numbers by Metheny and one by Goldings. As anticipated, the playing is energetic and accomplished, with plenty of "blowing" room. With different drummers at the rhythm helm, the tracks segue from a nifty blue waltz (Arc of the Pendulum), to some hard-driving jazz (Sound Off), to a funky Latin groove (Half Past Late), to a blues shuffle (Timeline), into a contemplative adagio mood (The Morning of This Night), add some soul sauce (Renaiisance Man), and so forth. While there are no particular surprises here, the musicians are vigorous and inventive (with Metheny and Brecker invoking their own characteristic sounds and riffs), the thematic rhythmic juxtaposition proves effective, and the charts provoke interest. Verve, 1999, Playing time: 70:01, ****.

Two Blocks From the Edge, Michael Brecker, tenor saxophone. Michael Brecker is, simply put, one of the great modern jazz saxophonists around today. His playing evinces a unique blend of bop, funk, and advanced melodic harmonization. During the past decade, Brecker has released a string of quality recordings, and his last album, Tales from the Hudson, was an all-star, mainstream progressive session that worked very effectively (and won a Grammy, too). His current release will definitely not disappoint his legion of fans, either. On Two Blocks From the Edge, Brecker leads a driving acoustic combo through some frenzied romps (including the title track, Cat's Cradle, Madame Toulouse, and The Impaler), a Latin-flavored groove (El Nino), two ballads (How Long 'Til the Sun and Cat's Cradle), and a honking Delta City Blues. His excellent band here features pianist Joey Calderazzo, bassist James Genus, drummer Jeff Watts, and percussionist Don Alias. Impulse, 1998, Playing Time: 55:45, ****.

Première Classe, Claes Brodda, saxes and woodwinds. Here's a guy who plays practically every woodwind in existence; on one track, he plays seven different instruments! This is a mainstream and traditional jazz album of standards, such as 'S Wonderful, Harlem Nocturne, Star Dust, Polka Dots and Moonbeams, and a couple of Brodda originals. In Sweden, Brodda is a well-known and much recorded artist with a sweet Swing sound. This has to be the only record I've ever heard of which was dedicated to a pooch - Claes' late Boston terrier, Bonnie, "a musically gifted dog." (In that case, this disc should have been released on RCA Victor.) Bonnie, 1995, Playing Time: 67:04, **1/2.

Live at Scullers, Ray Brown Trio. Venerable bassist Brown, pianist Benny Green, and drummer Gregory Hutchinson recorded this swinging album of jazz standards during a two-night stint at a Boston Doubletree Hotel in 1996. From the opening bass riff of Miles Davis' Freddie Freeloader this baby grooves, as the gents romp thorugh numbers like You're My Everything, But Not for Me, and Bye, Bye Blackbird. Green absolutely dazzles with his impeccable technique on the keyboard, Brown lays down satisfying, toe-tapping lines, and Hutchinson sizzles on the cymbals, snare and tubs. A classic jazz trio club recording! Telarc, 1997, Playing Time: 56:09, ****1/2.

Some of My Best Friends are Singers, Ray Brown Trio, with guest artists. Following the formula of two previous records (one showcasing saxes and the other, piano), one of Ray Brown's last releases is a smorgasbord of popular jazz vocalists. The artists here are Dee Dee Bridgewater, Etta Jones, Nancy King, Diana Krall, Kevin Mahogany, and Marlena Shaw. Each singer brings a specialty to the table: Krall phrases coyly, Jones is gutsy, Bridgewater soars, extends notes, and flutters with vibrato, King emotes lyrics and scats like a goddess possessed, Shaw swings phrases, and lone male vocalist Kevin Mahogany lends his honeyed baritone to the fest. The finale, Perfect Blues (by Brown) supports my contention that Oregon's Nancy King is the most inventive scatter since Ella Fitzgerald. The musicians here are bassist Brown, pianist Geoff Keezer, drummer Gregory Hutchinson, and guests Russell Malone (guitar), Antonio Hart (alto sax), and Ralph Moore (tenor sax). Nice concept! Telarc, 1998, Playing Time: 59:00, ****.

Summertime, Ray Brown Trio with Ulf Wakenius, guitar. This album consciously reprises the sounds of guitarist Wes Montgomery and the Wynton Kelly Trio, beginning with Wes' composition West Coast Blues. Though clearly not as soulful or original as Wes, Wakenius is nevertheless a very tasteful and agile guitarist (e.g. Yours in My Heart Alone) who occasionally flirts with octaves and flashes familiar Wes and Benson riffs. Keezer's prodigious piano-playing shines throughout the proceedings, while Brown and Hutchinson maintain a wonderful foundation for the primary soloists. The interplay among the four musicians is splendid. Brown takes the head himself on It's Only a Paper Moon, and he plays masterfully on every tune. Standards include Honeysuckle Rose, Watch What Happens, My One and Only Love, and Summertime. Telarc, 1998, Playing Time: 65:57, ****1/2.

Live in London, Ruth Brown, vocals. Grammy winner Brown is also a recent inductee to the Rock and Roll Hall of Fame in Cleveland. Better known in the past as a rhythm and blues singer, Brown is also a jazz stylist, captured here during an entertaining live set of standards at Ronnie Scott's club in London. JACD, 1995, Playing Time: 68:00, **1/2.

In their Own Sweet Way, Dave Brubeck, piano, and sons. This recording session was the fortuitous result of an apparent calamity - a mobile classical recording session in Westchester, New York had just been cancelled due to a blizzard, but the engineers and equipment were within a drive of another Telarc artist, Dave Brubeck, in Connecticut. Luckily, the entire Brubeck clan was assembled for the holidays, and this album is the happy result. Dave and Darius perform in tandem on pianos, Chris on electric bass, Dan on drums, and Matthew joins in on cello. Judging from the ebullient spirit of this session, a good time was had by all! Selections include In Your Own Sweet Way, Sweet Georgia Brown, and an assortment of other Brubeck tunes. The Brubecks play very sympathetically together, and Darius's piano stylings and Matthew's cello are particularly noteworthy as creative contributors to the more regular unit of Chris, Dan, and Dave. Telarc, 1997, Playing Time: 69:26, ****.

So What's New, Dave Brubeck, piano. On this outing, Dave serves us up a hearty meal of his latest compositions. Bandmates here are Bobby Militello on alto sax and flute, bassist Jack Six, and drummer Randy Jones. At 77 years young, Brubeck sounds as fresh as ever. Check out this beauty for yourself. Telarc, 1998, Playing Time: 57:31, ****.

Like That, Jimmy Bruno, guitar, with Joey DeFrancesco, organ and trumpet. Bruno is another one of those talented musicians who has worked as a sideman for a host of established artists, such as Lena Horne, Frank Sinatra, and Tony Bennett, finally releasing his first record for Concord in 1992.

On this swinging session, Bruno and DeFrancesco recapture the classic sound of a guitar-organ combo. Bruno's playing has been discernibly influenced by fellow Philadelphian, Pat Martino (as evidenced by Bruno's own blazing tribute, Pat's House), as well as by Joe Pass and Wes Montgomery (Bruno's own take on Wes' tune, Unit 7, mixes speedy, flatpicked bop runs with glissing octaves).

From the first beat of the opening cut, E.V., this album swings - and continues to swing. Bruno is a smooth, polished mainstream soloist, whether ripping on boppy lines, toying with intervals and arpeggios, or delivering silky octaves. Check out his awesome playing on The Iguana's Uncle, Pat's House, and Like That, and his lush treatment of a ballad (on Nightdreamer)! He also composed half the nifty tunes on this first-rate recording.

DeFrancesco lives up to his sparkling reputation as the hottest young organist on the block, and bassist Craig Thomas and drummer Steve Holloway provide strong grooves throughout. DeFrancesco displays his considerable trumpet skills on No Greater Love and Stars Fell on Alabama. Jimmy Bruno - a tremendous jazz guitar-player! Concord Jazz, 1996, Playing time: 60:55,*****.

Live at Birdland, Jimmy Bruno, guitar. For the uninitiated, Jimmy Bruno is one of the great jazz guitarists. Here he leads a Philadelphia rhythm section of Craig Thomas (bass) and Vince Ector (drums) on a live, recorded date at Birdland, in New York. Veteran alto saxman Bobby Watson guests on half of the tracks.

Bruno is a master bebopper who can shift from blistering Pat Martino-like runs to Wes Montgomery influenced octave licks to chord-melody passages which recall Joe Pass (on f8). He also favors very fast tempos, such as the feverish Move, where Bruno puts on a showcase of speed, sweeps, and rhythmic chords. The rest of the disc comprises mostly standards, including Charlie Parker's Au Privave, Segment, and Anthropology, on which Bruno and Watson play unison lines on the hurried heads.

Although I personally prefer Bruno's 1996 release, Like That, this disc is a pretty fair indicator of how he sounds on any given night - awesome! Guitar fans might be interested to know that he plays a 7-string instrument built by Bob Benedetto. Concord, 1997, Playing Time: 66:04, ****1/2.

Live at Birdland II, Jimmy Bruno, guitar. For those not already familiar with Bruno, he is an absolute master of mainstream jazz guitar, possessing both technique and taste in overflowing abundance. Captured here in the second installment of live tapes from a 1996 trio stint at Birdland in New York, he is accompanied by drummer Vince Ector and bassist Craig Thomas. The topping on this musical banana split is the presence of saxophonist Scott Hamilton on the second half of the CD. Whether laying down impressive chordal melodies, burning on single-note flurries over fast changes, flashing prodigious sweep technique (Joy Spring), or playing a ballad (Lover Man), Bruno is the complete package for a trad jazz guitarist. The set includes its share of familiar standards, and when Hamilton adds his lovely tenor tone to the proceedings (beginning with Broadway), the heat turns up even further. If you like Joe Pass, you'll probably love Jimmy Bruno, too. Concord, 1998, Playing time: 61:17, *****.

Tha Go 'Round, B Sharp Jazz Quartet. B Sharp is a contemporary acoustic jazz quartet, with a decidedly progressive, mainstream bent. Drummer Herb Graham Jr. composed most of the tunes here, which offer ample freedom for Randall Willis' forays on the tenor and soprano saxes. Osama Afifi's bass lays down insistent grooves, and pianist Rodney Lee comps and solos effectively.

Midnight at the Village Vanguard, Kenny Burrell, guitar. Over the years, Kenny Burrell has enjoyed recording live dates at the Vanguard. On this 1993 session, Burrell performs a set of mostly standards with a veteran rhythm section, consisting of pianist James Williams, drummer Sherman Ferguson, and bassist Peter Washington. The session includes Monk's Bemsha Swing and Ruby My Dear, Freddie Hubbard's Little Sunflower, Ellington's Cottontail and Come Sunday, Bird's Parker's Mood, and a couple of Burrell's blues pieces. While Burrell understandably takes the spotlight here (on both electric and acoustic guitars, e.g. Come Sunday), James Williams' playing, in particular, is a treat throughout. Evidence, 1995, Playing Time: 76:52, ***1/2.

Lotus Blossom, Kenny Burrell, guitar. This contemplative CD finds Burrell in a varied solo, duo, and trio format (with drummer Yoran Israel and bassist Ray Drummond). Burrell's close-miked arch-top guitar outlines a tasteful and sedate Satin Doll, his chord-melody playing states the head on Warm Valley, There Will Never Be Another You is a duet with Drummond, Lotus Blossom is an impressionistic acoustic guitar solo, The Night Has a Thousand Eyes is a light bossa, and I'm Falling For You is yet another relaxed affair. An intimate, tranquil recording. Concord, 1995, Playing Time: , ***1/2.

Astor Piazzolla Reunion, Gary Burton, vibraphone. For more than 30 years, Gary Burton has been one of the greatest innovators in the history of the vibraphone. He is a consummate musician with a pleasantly progressive approach to both melody and harmony. While touring with Stan Getz in the 1960's, Burton was first exposed to the music of Argentinian tanguero Astor Piazzolla. He was immediately taken with the melodic passion and polyrhythms expressed in the eloquent compositions. A friendship with the composer soon developed, and Burton and Piazzolla did some tours together, recording a CD on the Atlantic label in 1985. Upon Piazzolla's passing, Burton wanted to fulfill his longing to record a CD of Piazzolla's poignant music.

While tango dancing was preeminent in New York and Western Europe during the second decade of the 20th century, it gradually lost its novelty appeal and was subsequently replaced by the Charlestown, jitterbug, lindy hop, and other fleeting fads. However, the tango has remained a favorite dance and style of music throughout Latin America (especially South America). There is still probably no music or dance as sensuous and romantic as the tango.

For this tribute to the great man and his tango compositions, Burton assembled some of Latin America's finest musicians, as well as pianist Makoto Ozone, who has worked with Burton for a number of years. In a conservative jazz era of retro neo-bop and mundane fuzak, this CD stands out as a remarkable anomaly. Indeed, it is a stunning and tender achievement of the highest order, in my estimation.

If you are a romantic at heart and love passionate, graceful music, then this is a must-have disc for your CD collection. Among the countless discs and tapes in my own album collection, this has been in heavy rotation in my recording studio. Burton's interpretation of Piazzolla's music is a rare gem that radiates beauty, heart, and soul. Shall we dance, my love? 1998, Concord, Playing time: 67:13, *****

Face to Face, Gary Burton, vibes, and Makoto Ozone, piano. This album reminds me a lot of the 1972 Burton-Corea duo recording, "Crystal Silence."
As always, Gary Burton's playing is phenomenal. Ozone, a virtuoso in his own right, comes off a bit dry - by comparison. However, this may be partially due to the miking of the piano, which is somewhat thin sounding; the digital domain gives it a brittle quality, anyway. Performance-wise, Ozone does a nice Corea impression on Kato's Revenge, plays great stride piano on Opus Half (a Benny Goodman tune), and introduces Laura's Dream with a Chopin-like nocturnal mood that segues into a tango. The duo does a rather staid version of Blue Monk, but Burton really shines on My Romance and Eiderdown. Compositionally, Ozone's Kato's Revenge, Times Like These, and Bento Box are highlights of the session. In retrospect, it's too bad I gave away my copy of "Crystal Silence!" GRP, 1995, Playing Time: 73:05, ****.

Like Minds, Gary Burton, vibes. Upon an e-mailed suggestion of guitarist Pat Metheny, Burton phoned pianist Chick Corea and arranged this all-star summit session, which features Burton, Corea, Metheny, drummer Roy Haynes, and bassist Dave Holland performing a set of compositions by Metheny, Corea, Burton, and Gershwin. This is an energetic and masterful set, fulfilling -- and even exceeding -- the protagonists' expectations. Concord, 1998, Playing time: 68:23, *****.

Departure, Gary Burton and Friends, vibes. Burton is one of the all-time greatest vibraphonists ever, probably its most innovative player, and he also functions as the Vice President of the Berklee College of Music. After 50 albums of usually performing modern pieces and his own music, he has finally released an album of standards (albeit some more familiar than others). On Departure, Burton hosts an all-star cast of Peter Erskine on drums, John Patitucci on bass, Fred Hersch on piano, and John Scofield on guitar.

The overall group sound recalls the George Shearing groups of the late 1940's and 1950's, as well as Red Norvo's combos. Burton got his own start in the upper echelon of high-brow jazz circles working with Shearing, after all. However, although the promotional materials make a point of mentioning that Scofield isn't playing with his customary nasty-sounding, distorted tone on the Ibanez semi-hollowbody guitar, even here his chorused guitar does not approach the cleanliness or warmth of other guitarists who have accompanied the great vibists (e.g. Joe Pass, Tal Farlow, or even a young Pat Metheny).

Upon listening to all of the tracks on this CD, I have to give chef Burton his due. This is a delicious jazz entree that is eminently enjoyable - a veritable moveable feast, featuring a multi-course menu of abundantly tasteful playing which should satisfy even the most discerning of jazz palates.

The highlights? Try every track on this offering! Selections include September Song, If I Were a Bell, Tenderly, Ahmed Jamal's Poinciana, Chick Corea's Japanese Waltz, Ellington's Depk, and even the theme from the boob tube show, Frasier. Although Scofield's semi-gnarly tone is occasionally grating, this is a terrific and mellow set. Concord, 1997, Playing time: 64:57, ****1/2.

My Inspiration, Charlie Byrd, guitar. In tandem with saxophonist Stan Getz, Charlie Byrd was one of the first North Americans to popularize the bossa nova. Every once in awhile, he likes to recapture that mood with another Brazilian-oriented project. Hence, it should come as no surprise that his latest release is again a celebration of Brazilian music, wherein Byrd glides through a set of pleasant songs, including five Jobim compositions. Byrd is a solid nylon-string accompanist, and an adequate soloist. On this occasion, he is supported by a cast of musicians well-suited for the project: a Brazilian vocalist and rhythm section (Trio Da Paz), Byrd's regular drummer, Chuck Redd, on vibraphone, and a very Getz-sounding Scott Hamilton on the tenor sax. Hamilton and Brazilian guitarist Romero Lubambo, along with singer Maucha Adnet, provide the highlights. Concord, 1999, Playing time: 62:06, ***.

Sunset Harbor, Ed Calle, saxophones. An alumnus of the Miami Sound Machine and other notable pop groups, soaring saxman Calle is an affable exponent of "smooth" saxophone, whether on the tenor, soprano, or EWI. The pop groove-tunes on this overdubbed CD are sheer cotton candy, spiced with multiple synths, snappy Latin percussion, and of course, wailing sax. The mostly predictable progressions and melodies are quite "user friendly," accessible even for those who don't understand or relate to jazz. Selections include some instrumental versions of golden hits: Earth, Wind, and Fire's Reasons, and Colour My World (Chicago). Trumpeter Arturo Sandoval makes a cameo appearance (on San Sebastian). Concord, 1999, Playing Time: 56:17, ***.

One More Once, Michel Camilo, piano. Pianist-composer Camilo favors high-energy Latin grooves, which in this instance are powered by the rhythm section of Giovanni Hidalgo on congas, timbales, and bongos, Guarionex Aquino on percussion, Anthony Jackson on bass, and Cliff Almond on drums. Camilo's funky Afro-Cuban horn charts are another key factor in propelling the driving beats, especially with musicians like Jon Faddis, Paquito D'Rivera, Chris Hunter, and Ralph Bowen participating. Camilo is no slouch on the piano, either. The rhythms here should get just about anyone (who isn't comatose) shaking and moving to the music. This happy carnival ride is delightful party music! Columbia 1994, Playing Time: 63:32, ****.

Larry and Lee, Larry Carlton and Lee Ritenour, guitars. Probably the most eagerly awaited pairing of L.A. guitarists in years was this very popular release from the two former kings of the Hollywood recording studios (this CD maintained a position at the top of the contemporary jazz charts for weeks). It's almost odd that the two guitarslingers haven't joined forces before, given that they both studied from the same teacher, grew up nearby, and were in and out of the same studios on their way to and from hundreds of record dates. When I used to lead professional groups in California, practically every guitar player was listening to these guys and using a Gibson ES335 semi-hollowbody guitar; it was almost a prerequisite (Seymour Duncan found me a nice 1959 345 with the original patent-applied-for humbuckers). Ritenour has recorded Latin-flavored acoustic records, fusion tunes, and an entire album dedicated to Wes Montgomery. Carlton is probably best known for his work on albums by the Crusaders, Steely Dan, and Joni Mitchell, in addition to television themes (e.g. Hill Street Blues). A two-time Grammy winner, Carlton made a courageous comeback from a critical gunshot wound, incurred in an armed robbery at his studio. Anyway, this pop-jazz session is full of finger-poppin' grooves and tasteful guitar licks. Each guitarist wrote half of the tunes here. Despite the bubbly pop nature of their current repertoire, I couldn't help smiling when I heard these two finally playing together. A highlight is Carlton's dedication to Joe Pass, Remembering J.P. GRP, 1995, Playing Time: 60:34, ***1/2.

The Bass and I, Ron Carter, bass. All-time bass great Ron Carter has played on a ton of albums over the years. His latest offering as a leader is a straightahead set of standards and Carter originals, mostly featuring the acoustic bass (naturally) and supported by Stephen Scott (piano), Lewis Nash (drums), and Steve Kroon (percussion). The musicians recorded the CD in a one-day session this past January at Rudy Ven Gelder's studio. In addition to Carter's fine playing, Scott also contributes some nice solos. Blue Note, 1997, Playing Time: 54:33, ***.

Adama, Avishai Cohen, bass. Those of you who have heard pianist Chick Corea and Origin might recall Avishai Cohen. Cohen is a rare talent on the acoustic bass, and he not only displays his formidable bass technique here, but he also penned and arranged 11 of the CD's 12 compositions. Bandmates include pianist Jason Lindner, drummer Jeff Ballard, trombonist Steve Davis, and soprano saxophonist Steve Wilson. Guest artists include Chick Corea and Amos Hoffman. Stretch, 1998, Playing Time: 60:13, ****.

You Were Meant for Me, Kacy Colleen vocals. Singer Kacy Colleen and husband Dale Lawrence (on guitar) are veteran Portland-area musicians, accompanied here on a mixed bag of tunes by pianist Tom Grant, bassists Joey Seifers and Dave Captein, drummer Kurt Deutscher, and tenor saxophonist Lee Wuthenow, among others. Whether singing soft Latin jazz (e.g. Quiet Nights) or pop standards (Taxi Driver), Colleen's voice -- gliding like a songbird -- is quite moving and convincing. Lawrence, who also produced and engineered this disc, lends very able guitar accompaniment and an occasional solo, too (in addition to those presented by Grant and Wuthenow). Big House, 1999, Playing Time: 58:41, ***1/2.

Softly, Marc Copland, piano. Marc Copland is a first-rate pianist and composer, and he has put together a session of marvelous players here, including saxophonists Joe Lovano and Michael Brecker, bassist Gary Peacock, drummer Bill Stewart, and trumpeter Tim Hagans. This CD features three of Copland's compositions, as well as Softly as in a Morning Sunrise, I Love You, So In Love, Blue (Joni Mitchell), My Foolish Heart, and What's Going On (shades of Marvin Gaye here). Pianistically, Copland sounds like a faithful devotee of Keith Jarrett. (Perhaps that's why he invited Jarrett trio member Peacock for this date?) He even hums while he plays, too; luckily, the band is playing louder, though! His sensitive touch on the ebonies and ivories also recalls Bill Evans. The other musicians clearly must have enjoyed this spirited session, because they all deliver inspired performances here. Savoy, 1998, Playing Time: 65:25, *****.

Native Sense, Chick Corea, piano, and Gary Burton, vibes. Ever since Corea and Burton recorded their first duet album, Crystal Silence (1973), fans have looked forward to similar reunions. Their personal musical visions complement each other well, and Burton's vibes tend to bring out the heart qualities in Corea's music.

This sparkling disc opens with Native Sense, a minor pentatonic jam with harmonized intervals, followed by the luscious Latin structures of Corea's Love Castle (which has never sound better), and the polytonal shifting in the mysterious Duende. On the Return to Forever classic, No Mystery, Burton's vibes form a filigree of intricate figures over the head, and Corea's light right-hand flurries ornament this intimate version of the piece. For this occasion, Armando's Rhumba becomes a vibes vehicle, wherein Burton displays his impressive mastery over a complex chart.

The duo also perform a couple of Bela Bartok bagatelles; for Bagatelle #6, they adopt a cool jazz approach (Third Stream), while Bagatelle #2 is a schitzy hallucination. Corea's Tango '92 is a progressive look at the Argentinian form, a torrent of unison arpeggios shower the entrance of the spirited Rhumbata, and the finale is a marvelously formidable and freakish Monk fest, Four in One.

With the exception of Bagatelle #2, this is a superb CD. Stretch, 1998, Playing Time: 64:48, ****1/2.

Origin, Chick Corea, piano. This Corea ensemble was recorded at 10 shows at the Blue Note in New York; the CD selections were compiled from the ADAT tapes. On this occasion, Corea has reached into the past, with a larger ensemble sound that eschews electronics in favor of straighahead jazz. Participants include bassist Avishai Cohen, drummer Adam Cruz, trombonist Steve Davis, and multi-reedmen Bob Sheppard and Steve Wilson. With the exception of It Could Happen to You, the compositions are clearly Corea's. Soul Mates, a waltz dedicated to Chick's wife, Gayle, is an especially heartfelt selection. Stretch, 1998, Playing Time: 65:40, ***1/2.

Remembering Bud Powell, Chick Corea & Friends, piano. Yet another stellar contingent of marvelous jazz musicians: Corea with drummer Roy Haynes, alto saxman Kenny Garrett, bassist Christian McBride, tenor saxophonist Joshua Redman, and trumpeter Wallace Roney. This offering is a beautifully executed tribute to one of Corea's favorite bop influences as a pianist, the inestimable Bud Powell, who never quite attained the notoriety of some of his colleagues.

The musicianship here is superb, and there are both busy and placid tunes on this modern bop date, all Powell compositions (save one Corea contribution). Every participant delivers a technically sparkling, standout performance. Roney has really stepped up in the last few years, and Redman provides some soul, as a change of pace from the decidedly intellectual approach here. Stretch, 1997, Playing Time: 73:49, ****1/2.

Miles Davis Quintet, 1965-'68. To commemorate Miles' last acoustic group, Columbia has reissued a six-CD compilation of the LPs of the classic mid-1960's ensemble, featuring Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams. The band performs such representative tunes as E.S.P., Nefertiti, Stuff, and Madness. The original tracks have been remixed and remastered in the studio, reflecting the newer technology of enhanced 20-bit digital recording. Even in death, Miles remains a steady, profitable source of income for some people. Anyway, if you don't already have Miles Davis albums from this period, this is the definitive set. Columbia, 1998, *****.

Paco De Lucia, Al DiMeola, John McLaughlin, acoustic guitars. These three top-rank guitarists have recorded two previous, acclaimed albums together. The first, Friday Night in San Francisco, was voted best guitar album of 1981 by the readers of Guitar Player magazine. With each successive regrouping, this trio has evolved from basically staging a glorified jam session to a point where they now each bring a few carefully crafted pieces to these reunions.

Opening with De Lucia's La Estiba, a flamenco-flavored number, the guitarists take turns soloing (as they are wont to do). Beyond the Mirage is a mellow DiMeola piece with arpeggiated figures and harmonized treble riffs. McLaughlin's Midsummer Night starts with some impromptu fun and then swiftly engages the talents of each musician, as the piece segues through various arranged sections. Luis Bonfa's Manha de Carnaval (theme from "Black Orpheus") is a duet by McLaughlin and DiMeola. Letter from India, a McLaughlin piece (and a duet here with Paco and "Mahavishnu" John), begins delicately and then alternates with some Hispanic-tinged soloing at several points. DiMeola contributes a spirited solo number, Espiritu, wherein he plays a bunch of overdubbed guitars and percussion. Le Monastère dans les Montagnes, another McLaughlin composition, features a tender melody and some lively soloing by the tres amigos. Azzura and Cardeosa are yet two more lovely numbers.

A splendid guitar album, replete with loads of acoustic thrills, all set within the parameters of tunes written for the occasion. Ironically, this recording is head and shoulders above the live album that garnered them plaudits from legions of other guitar players. Alas, such is the profane nature of fame in this illusory world... Verve/Polygram, 1996, Playing time: 53:07, ****1/2.

The Infinite Desire, Al Di Meola, guitar. One-time wunderkinder Di Meola has matured from the fiery, electric picker of fast scale patterns (with Chick Corea's Return to Forever) into a passionate, Mediterranean influenced exponent of expressive and melodic world music stylings. Following in the wake of World Sinfonia and Orange and Blue, Infinite Desire is a cohesive series of themes on a similar continuum. Although Al first embarked on this particular stylistic journey about 20 years ago, today his ideas are much more fully realized and entrancing. Herbie Hancock, John Patitucci, Peter Erskine, and rocker Steve Vai all appear here, too. Telarc, 1998, Playing Time: 63:24, ****.

Going Home, Shirley Eikhard, vocals. Canadian singer-songwriter Eikhard is a very soulful, deep-throated singer. From the moment her husky, bluesy voice first appears on this disc, one is taken with the sincerity in her singing. She soars over a set of her own heartfelt tunes, backed by a fine jazz group featuring guitarist Ed Bickert, pianist Bob Erlendson, drummer Mark Kelso, and bassist George Koller. Trumpeter Marcus Printup and saxophonist Mike Murley make guest appearances. Considering the relatively small size of its population, Canada seems to produce an abundance of good jazz musicians and singers (including Renee Rosnes and Diana Krall, among others). Eikhard is yet another pleasant discovery -- a vocalist who consciously prioritizes soul and substance above the false, flashy fluffiness of countless others who pose as jazz interpreters. Blue Note, 1998, Playing Time: 48:05, ****.

Eliane Elias Sings Jobim, Eliane Elias, piano and vocals. For adult hetero males, the sexy cover shot alone on this disc should be enough to raise blood pressure and inspire many to pull this gem out of CD record store bins for a closer examination. Thankfully, decolletage isn't the whole package that this Brazilian bombshell is selling. After all, what could be finer than an entire collection of classic Jobim tunes presented in an absolutely authentic Brazilian manner? As if that were not enough, Elias not only plays great piano, but she sings softly and seductively, too. Even if one doesn't understand a word of Portuguese, this is the way these songs were always meant to be interpreted. Likewise, tenor saxophonist Michael Brecker does a nice take on Stan Getz's memorable approach to some of the same tunes. Selections include Girl from Ipanema, One Note Samba, Desafinado, How Insensitive, Once I Loved, and A Felicidade, etc. Jazz albums don't get much more romantic or relaxing than this balmy, tasteful honey... Blue Note, 1998, Playing Time: 51:15, *****.

The Messenger, Kurt Elling, singer. Elling has a generally pleasant and expressive, husky, baritone voice which is much stronger in the lower part of his range. A pensive hipster at heart, Elling reminds one of a rawer Mark Murphy as he scats and performs two sets of heartfelt, innovatively arranged mainstream tunes like Nature Boy, April in Paris, Prelude to a Kiss, and some lesser known tunes. Drummer Paul Wertico (from Pat Metheny's group), bassist Rob Amster, and pianist Laurence Hobgood not only provide appropriate accompaniment for Elling's voice here; the musicians paint a colorful canvass of textures and tonalities. Orbert Davis guests on trumpet and flugelhorn, and Cassandra Wilson joins in on Time of the Season. Blue Note, 1997, Playing time: 72:06, ***1/2.

The Essential Recordings, Duke Ellington. This is a collection of remastered Ellington band recordings from 1940 to 1942, with the group that featured Ben Webster on tenor and Jimmy Blanton on bass, as well as Johnny Hodges' alto, Harry Carney, and Billy Strayhorn (as additional pianist and arranger-composer). The album contains 22 of the band's best tracks of the period, including Ko-Ko, Concerto for Cootie (which later evolved into Do Nothin' Till You Hear From Me), Cottontail, the Ivie Anderson vocal on I Got It Bad, Never No Lament (which became Don't Get Around Much Anymore), Take the A Train, In a Mellotone, and Perdido. Although the 1940 era audio fidelity is definitely not up to today's technological standards, this is a classic compilation nevertheless. Le Jazz, 1993, Le Jazz CD 2, Playing time: 68:42, *****.

Digital Duke, Duke Ellington Orchestra. Another compilation of Ellington orchestra tunes, this time featuring some all-star guest soloists (e.g. Roland Hanna, Branford Marsalis, Clark Terry, Louie Bellson, Eddie Daniels) conducted by Mercer Ellington. Highlights: Cottontail is played at a blistering pace here, Satin Doll adheres to classic form, Juan Tizol's Perdido opens with choruses of boppy brass and features neat soloes by Terry and Daniels, Hanna introduces Mood Indigo as if it were Blue Monk, Barry Lee Hall plays a rollicking muted trumpet on Do Nothin' Till You Hear From Me, In a Mellotone swings elegantly, and Marsalis lends his melodic tenor talents to Take the A Train. GRP Records, 1987, GRD-9548, Playing time: 68:32, ****.

Duke Ellington: Black, Brown, and Beige, Louie Bellson Orchestra. As always, this Bellson session cooks. Drummers, especially, will love the audio mix of this recording; from the first beat of Hawk Talks, the snare cracks and the cymbals absolutely sizzle! Bellson's drums are prominent throughout this recording (e.g. solos on Skin Deep, tom-toms on Work Song, etc.). The band swings, the horn and woodwind sections are rhythmically in synch, and the engineer did a nifty job of tastefully separating the two sections in the speakers via some masterful stereo imaging). Teo Macero, best known for his collaborations with Miles Davis, produced the lush version of Black, Brown, and Beige, Ellington's war-time tone poem on the history of black Americans. Joe Williams makes a cameo appearance on The Blues. More than 50 years after Duke penned this piece, the beginning of the Beige section still sounds exciting and modern, then proceeds from stride to an urban waltz, and then onto powerful musical statements evoking the community pride and awareness epitomized by the Harlem Renaissance, before finally concluding with a trumpeted patriotic appeal to "fight for right 'neath the red, white, and blue!" This opus, in particular, is a wonderful showcase of Duke Ellington's compositional brilliance at its mature fullness. The disc ends with Bellson's tribute, the Ellington-Strayhorn Suite, featuring Clark Terry and pianist John Danko. Maurice Peress, Conductor. Musicmasters, 1994, Playing time: 71:12, *****.

Happy Reunion, Duke Ellington. Recorded in Chicago in 1957-58, Happy Reunion is a short set of seven tunes (plus two "out-takes"). The set includes blues (Way Back Blues, Play the Blues and Go, Where's the Music, and Diminuendo and Crescendo in Blue), "Rhythm changes" (Rubber Bottom), and two takes each of In a Mellotone and Happy Reunion (for Ellington discophiles). Johnny Hodges (alto), Clark Terry (trumpet), Paul Gonsalves (tenor), Jimmy Hamilton (clarinet), and Duke all shine respectively. Gonsalves really stretches out on Diminuendo... - 31 choruses! Sony, 1995, AK 40030, Playing time: 33:59, ***.

The Great Paris Concert, Duke Ellington. This marvelous and historic two-CD set is essentially a reissue of a 1960's era Atlantic LP (by the same name, recorded during four concerts at the Olympia Theatre in February, 1963), except that it is also packaged here with a reissue of a Reprise LP, "Duke Ellington's Greatest Hits" (from assorted 1963 Paris, studio, and other European concert tapes). The original recordings have been remixed for optimal digital reproduction. The band is in fine form here on the concert tracks, performing many of Duke's timeless compositions for the discernible pleasure of the French audiences. Ellington's Suite Thursday (entitled after the John Steinbeck novel, Sweet Thursday) and Tone Parallel to Harlem (a work commissioned for Toscanini's NBC Symhony in 1950) are notable concert inclusions, too. Duke's verbal introductions and exhortations to his musicians are also captured clearly, further recreating the concerts' atmosphere - enhancing the overall CD listening experience. Personnel include: Duke, Cootie Williams, Cat Anderson, Ray Nance, Johnny Hodges, Jimmy Hamilton, Paul Gonsalves, and Harry Carney. "C'est étonnant, n'est-ce pas?" Atlantic, 1989, 304-2, Playing time (2 discs): 2 hrs: 2 min:26, *****.

Duke Ellington Swings, all-star tribute. Here is a compilation of previously recorded material of Ellington compositions by a top-drawer cast of mainstream heavyweights (in fine form), put together to commemorate the 100th anniversary of Duke's birth. Notables include singers Mel Torme and Bobby Short, pianists Oscar Peterson, Dave Brubeck and Ahmad Jamal, bassist Ray Brown, and guitarists Joe Pass, Jim Hall and Ulf Wakenius. Selections include Cottontail, Rockin' in Rhythm, Satin Doll, I Got it Bad, In a Mellow Tone, Take the A Train, In a Sentimental Mood, Things Aint What they Used to Be, and It Don't Mean a Thing... With this lineup, how can you lose? Telarc, 1999, Playing time: 74:20, ****.

Getting Your Feet Wet, Ramsey Embick, keyboards, Al Criado, electric bass, Reinhard Melz, drums. Oregonian Ramsey Embick has had a distinguished career in the music business, most notably as an arranger-pianist for the Pointer Sisters. After decades spent making other artists sound great, he has finally released his own album of originals and unique versions of standards.

After the title cut, a probable concession to the ever-challenging reality of commercial viability, Embick gets down to business - presenting a smorgasbord of pleasurable grooves galore. One of my favorite selections is Fran's Dream, a relaxed samba that features nicely structured, ascending, diatonic chord changes. Ramsey's take on Herbie Hancock's Speak Like a Child is another treat; Scotty Wardinsky's Latin percussion supports the groove admirably here. Dulce de Coco, another Latin number (this time built around a central i-vi-ii-v progression), includes some tasty piano and bass playing.

On a more interesting musical note, Ramsey's trio enunciates an extraordinary reggae beat interpretation of Wayne Shorter's exquisite composition, Fall, from the great Miles Davis group of the mid-Sixties (note: check out Nefertiti). Miles' Tune, another Embick composition, approximates the grooves and polytonality of the latter-day electric Miles. Trumpeter Clay Jenkins lends his considerable talents to this tune. All in all, this is both a solid and accessible album - a fine debut effort! Piquant Records, 1996, Playing Time: 54:32, ****.

Beyond the Seven Hills, Mehmet Ergin, acoustic guitar. When I lived in Italy, the 'seven hills' referred to Rome. On this disc, Ergin associates them with Germany (for some reason). Anyway, this appears to be GRP's crossover attempt to reach more of a world music audience. Unfortunately, Ergin is no John McLaughlin, however, when it comes to guitar technique. He resembles a Turkish Peter White on the guitar - smooth contemporary jazz with a decidedly Anatolian influence. Synthesizer washes abound in the background here, too. The vibe is groovy, though, particularly on the more ethnic sounding selections (e.g. Cabuk). GRP Records, 1997, Playing Time: 55:23, *1/2.

Rain or Shine, The Ron Escheté Trio, Ron Escheté, guitar, Todd Johnson, electric bass, and Paul Humphrey, drums. This straightahead Los Angeles guitarist comes from the Joe Pass-Herb Ellis school of jazz guitar. On this recording date, Escheté's trio performs a number of mellow standards and one ballad, Theme for Jeff, which Escheté wrote. Escheté, an accomplished mainstream musician who has paid his dues over the years, displays tasteful chops, chords, and sensitivity throughout. Latin percussionist Poncho Sanchez spices up the proceedings on several cuts, especially the bossa rendition of Coltrane's Naima. Concord Jazz, Playing Time: , ***1/2.

Live at Bradley's, Kevin Eubanks, guitar. In 1995, the congenial and talented Eubanks supplanted a petulant and sulking Branford Marsalis as leader of the Tonight Show band. It's both funny and pathetic how many of today's pampered multi-millionaire musicians, athletes, and movie stars are so doggoned wretched about prostituting themselves in their obsessive, egotistical scramble for fame and fortune. Whether it's Sharon Stone whining about how she had to bare her body (and worse) in order to break into Hollywood, an NBA player complaining because he's only making $3.5 million this year, or Marsalis moaning that he had to actually play pop snippets and make small talk with Jay Leno on national television, don't these folks realize that's what comes of making conscious choices in life? If integrity (and not money and ego) were truly that important to them, they could have simply said "no, thank you" and walked away on day one, like so many of the nameless people who thanklessly toil all their lives in oblivion, but with their dignity (and souls) intact.

Eubanks, despite some crass packaging by his commercial handlers in the past, at least carries himself like one who understands the nature of the fame game in our banal materialist culture. Certainly, he may have sold out, but he also has the unabashed temperament and talent to quietly balance that occasionally with truly gifted jazz guitar playing, instead of publicly resorting to hollow complaints, feeble excuses, and misplaced blame. Fortunately for jazz fans, Live at Bradley's, recorded at a New York jazz club in 1994, was one of those occasions.

Playing mainstream standards in a trio with pianist James Williams and bassist Robert Hurst for an obviously small audience (the meager applause is a dead giveaway, on that account), Eubanks demonstrates on this disc that cranking out the sausage daily for television hasn't diminished his jazz abilities - in the slightest. Whether ripping through a warm-toned solo on Speak Low, mellowing out on In a Sentimental Mood, or getting down on Joe Zawinul's churchy Mercy, Mercy, Mercy, Eubanks displays good taste and a mature jazz sensibility. Stylistically, his riffs echo the Wes Montgomery school of jazz guitar and its most notable descendants, including George Benson and Pat Martino.

Bassist Hurst and pianist Williams, especially, provide outstanding accompaniment on this set, which also includes a Williams composition, Alter Ego. Thankfully, Eubanks can still walk the walk, without any attendant abrasive talk. Blue Note, 1996, Playing time: 73:03, ***1/2.

My Ideal, Dan Faehnle, guitar. Portland, Oregon, the jazz oasis of the Pacific Northwest, has an abundance of first-rate jazz guitarists, and since relocating to Oregon from Toledo, Ohio about 10 years ago, Dan Faehnle has steadily established himself as one of the top younger, straightahead jazz musicians in the Pacific Northwest - and on the entire West Coast. In recent years, Dan's guitar playing has been featured on the albums of respected bassist Leroy Vinnegar and drummer Dick Berk (who previously worked with Billie Holiday and Cal Tjader). Thanks largely to the efforts of executive producer JoAnne Hasbrouck, Faehnle now has his own CD release as a leader.

My Ideal is an auspicious debut disc that signals the maturation of somewhat of an anomaly in this present era of acid-jazz, fuzak, and computer sequencing of classic grooves - a younger musician who has comfortably found a fresh musical voice in the bebop sound of the 1940's and '50s. Indeed, Faehnle's traditional playing is rooted in the lineage of such notable mainstream jazz guitarists as Wes Montgomery, Pat Martino, Kenny Burrell, and early George Benson (e.g. Blue Benson), as well as exhibiting the obvious considerable influence of various bebop horn players.

While My Ideal doesn't purport to chart any new terrain, it exemplifies the best of straightahead jazz as performed by contemporary musicians. From the bluesy opening riffs of Charlie Parker's Perhaps to the closing original tune, Buddy's Blues, Faehnle's playing on his big, hollow-body Guild guitar is spirited, flowing, tasteful, and melodically inventive. One can readily discern the influence of a blue George Benson on Perhaps, the Pat Martino-like fourths, chromaticism, and rhythmic accents on The Mask, and the Wes Montgomery tone and octaves on Willie's Tune and God Child. The recording also features the solid playing of drummer Mel Brown, acoustic bassist Ed Bennett, percussionists Curtis Craft and Bobby Torez, and three pianists, Tony Pacini, boyhood chum Larry Fuller, and Tom Grant (who also produced the recording session).

Following another jazz tradition, the album was essentially recorded in one day at White Horse studios in Portland. Later, Dan recorded a lovely solo rendition of A Nightingale Sang in Berkeley Square at Tom Grant's home studio.

Speaking both as a jazz reviewer and professional guitarist, I heartily recommend this CD; this is a terrific and enjoyable jazz guitar album. Incidentally, the overall audio mix of this recording is also excellent. Pillar, 1997, Playing Time: 65:59, *****.

Modern Art, Art Farmer, trumpet. In the late Fifties, Art Farmer was refining his smooth, evocative sound alongside tenor saxman Benny Golson. On these classic, straightahead sessions, recorded in September, 1958, Farmer and Golson are joined by Art's bassist brother, Addison, drummer Dave Bailey, and pianist Bill Evans, who was helping Miles Davis forge a modern, modal style. All the musicians involved here deliver splendid performances; Farmer's trumpet is warm and expressive, Golson's sax is rich and fluid, while Evans explores progressive lines and impressionistic harmonic nuances. Tunes include two originals and some standards, such as I Love You, Darn That Dream, and Like Someone in Love. Blue Note, 1991, Playing time: 40:27, ****1/2.

Here's That Rainy Day, Art Farmer, flugelhorn. This is a thematic, composite CD of recordings released in 1972 and 1974, featuring two distinct sessions. On most tracks, Farmer plays flugelhorn with orchestrated strings and a European rhythm section. On opener Here's That Rainy Day and Some Other Time, however, he is joined by pianist Cedar Walton, saxophonist Jimmy Heath, bassist Sam Jones, drummer Billy Higgins, and percussionists Mtume and Warren Smith. The effect is decidedly mixed: what begins as a hip session soon fades into innocuous, orchestrated mood mellowness. There are some bright moments here, though -- usually Farmer's horn, thank goodness. Heritage, 1991, Playing time: 50:45, **1/2.

Gentle Eyes, Art Farmer, flugelhorn. This CD, recorded with a European orchestra in 1971, contains many of same tracks as Here's That Rainy Day. Tracks include God Bless the Child, We've Only Just Begin, and a parcel of dated-sounding themes. One forerunner of John Klemmer's Touch (and "smooth" music), So Bist Du, is renamed So Are You here. Mainstream, 1993, Playing time: 49:33, **.

My World, Farzin, saxophone (and additional keyboards). This is another inoffensive, smooth contemporary piece of mall music, this time with apparently Persian inflections. Farzin possesses a nice tone on his alto saxophone, though, some minor pentatonic chops, and an aversion to looking at the camera in his promo photos. Say, "Cheese, please!" CTX, 1997, Playing Time: 44:16, *1/2.

Brass Attitude, Maynard Ferguson & Big Bop Nouveau, Ferguson, trumpets. Yet another solid, brass-heavy effort from the redoubtable, high-C trumpeter and big bandleader. This baby features Ferguson and current bandmembers Tom Garling (trombone), Carl Fischer (trumpet), Sal Giorgianni (tenor sax), Ron Oswanski (piano), and alums Christian Jacob (piano) and Denis DiBlasio (bari sax and vocal). Selections include standards Just Friends and I Love You, Italian tune Caruso, and six original charts by Ferguson's musicians. [Also, well-recorded and mixed by Dom Camardella in Santa Barbara.] Concord, 1998, Playing Time: 66:29, ***.

These Cats Can Swing, Maynard Ferguson, trumpet, and Big Bop Nouveau. Maynard's latest crew recorded this album in Santa Barbara, with my old Oasis bandmate Dom Camardella engineering and co-producing (with Maynard). Nice arrangements permeate this session (e.g. Caravan and Sugar), and we are also treated to the unique experience of Maynard singing the blues and chanting "om" over a fusion of a Bai Rav raga with big band music; would you believe it? There is some fine piano work here from Ron Oswanski, and some great Latin percussion from another old compadre of mine, Lorenzo Martinez. Concord, 1995, Playing Time: 59:32, ***.

First Instrument, Rachelle Ferrell, singer. A reissue of a 1990 recording, this Lenny White produced disc features rhythm and blues singer Ferrell singing mostly standards and a couple of original tunes. Superstars Wayne Shorter, Stanley Clarke, and Michel Petrucciani make a cameo appearance on Autumn Leaves. As for Ferrell's instrument, she definitely has a most expressive and seductive voice. I get the impression, though, that this was her attempt to prove that she is a "legit" jazz singer; do we really need any more recordings like this of You Send Me, Bye Bye Blackbird, My Funny Valentine, and Autumn Leaves? Oh, well. George Benson's version of You Don't Know What Love Is sends me a lot more than Ferrell's. Ferrell does the apparently obligatory scatting on various tunes, some cooing and moaning on Prayer Dance, a Bobby McFerrin impression on Inchworm, and a very breathy and flighty rendition of My Funny Valentine. This session conjures up images of smoke-filled nightclubs; perhaps that was the intention. A nice effort; Ferrell would do well to find a hot songwriter. Blue Note, 1995, Playing Time: 56:56, ***.

Just Jobim, Manfredo Fest, piano. For almost four decades, Brazilian pianist Manfredo Fest has been an enthusiastic interpreter of Jobim's classic bossa nova compositions. Amidst the host of Jobim tribute recordings in the last few years, this one also stands out -- for Fest's assurant piano playing, the deft Brazilian grooves of the rhythm section, and the material itself, of course. The other musicians are bassist David Finck, percussionist Cyro Baptiste, and drummer Steve Davis. Jobim standards include Wave, Desafinado, Ipanema, Quiet Nights, and Agua de Beber, and some less familiar compositions. Very fine treatment! dmp, 1998, Playing time: 63:52, ****.

Are You Afraid of the Dark?, Garrison Fewell, guitar. This Philadelphia native studied with bebop guitar legend Pat Martino and lists Jim Hall as one of his main influences; it shows. Fewell has great chops, a lovely, warm, dark tone, and a progressive compositional style. Notable bassist Cecil McBee is among the musicians playing with Fewell here; McBee's Song of Her (featured on Charles Lloyd's Forest Flower album) is one of the many nice arrangements on this CD. Fewell, who has traveled extensively throughout Asia and the Middle East, clearly absorbed much from Eastern wisdom and mysticism. For example, the title of one piece, Ten Directions, is a description from the Buddhist Lotus Sutra. Musically speaking (like the other tunes here), Ten Directions is a modern, straightahead affair. Both pianist Laszlo Gardony and drummer Matt Wilson shine on this session, too. What does Are You Afraid of the Dark signify? According to Fewell, it represents "the innate darkness of life, which is illuminated by the creative spirit." Amen. Fewell is an undiscovered jewel. Accurate 1995, Playing Time: 52:13, ****.

Left of Cool, Béla Fleck and the Flecktones, banjo, bass, drum synth, and saxophones and assorted woodwinds. Béla Fleck is the premier banjoist of all-time, Victor Wooten is the favorite bass player of thousands of electric bassists, and Future Man has revolutionized concepts about drum sets. That having been said, this is essentially a jam album, recorded and edited after countless hours of jamming in Béla's home studio. Béla and company like taking chances in their music and exploring new terrain. Sometimes it works well, and other times... When these guys are playing (and not singing like the Grateful Dead) it works very well, indeed. Newcomer Jeff Coffin rounds out the group on this disc, which features cameo appearances by popular singers Amy Grant and Dave Matthews. The group garnered a 1997 Grammy award and six other nominations in recent years. Whether you personally like their music or not, at least these guys are true originals, daring to be different from the crowd. That merits some respect (and an extra 1/2 *). Warner Brothers, 1998, Playing Time: 76:30, ****.

Serendipity 18, Bob Florence Limited Edition, Bob Florence, conductor/piano. Bob Florence is a respected mentor and staple of the L.A. music industry, with 13 Grammy nominations and two Emmy Awards. He has arranged for Louis Bellson, Harry James, Ray Charles, Sarah Vaughn, and the Tonight Show, to cite just a handful of collaborations. From the slam-dunk opening on this CD's title track, Serendipity 18, Florence makes it absolutely clear that he is a master of big band arranging. His inventive arrangements may juxtapose brass and sax section parts against quiet solos, or contrary moving reeds over brass patterns, or perhaps syncopated sax lines over complementary, accented brass figures -- this guy knows all the tricks of the trade! Florence is also an exceptional pianist; for decades he has been in demand as an accompanist for leading vocalists (such as Julie Andrews and Vikk Carr). Among the 18 bandmates featured on this disc are notable trumpeter Carl Saunders, tenor saxman Terry Harrington, and woodwind meister Kim Richmond. Mama, 1998, Playing Time: 73:11, ****.

Ghetto Paradise, Antonio Forcione, acoustic guitars. Forcione is a fine Italian guitarist who has obviously listened a lot to John McLaughlin, who pioneered this genre of music. In fact, Forcione even chose two former members of McLaughlin's trio for this recording -- bassist Kai Eckhardt and drummer/tabla player Trilok Gurtu. In contrast to "Mahavishnu," however, Forcione does not display much improvisational mastery in his own approach, though he possesses a very nice touch on an assortment of acoustic guitars. Forcione apparently listened to the late New Age guitarist, Michael Hedges, too. He composes interesting pieces, with lots of unison lines. For their part, Gurtu shines on rhythm, while Eckhardt's electric bass playing is Jacoesque and solid. The album also features the saxes of Roberto Manzin and Ed Jones, singer Sonai Varsani, and various other musicians. Naim, 1998, Playing Time: 48:44, ***.

The Authorized Bootleg, Robben Ford, guitar and vocals. Grammy nominee Ford is mostly known for his distinctive, electric blues guitar playing. However, he also likes to pick up an acoustic axe, too, as he displays on this live CD recorded at Yoshi's in Oakland in December, 1995. Curiously, the more subdued acoustic guitar here seems to inspire his vocals to new heights, actually upstaging the guitar at times. The set includes rollicking blues like Start it Up, a light, funk-blues groove on Chevrolet, Ray Charles' laid-back Don't Let the Sun Catch You Crying, the pleading Help the Poor, the classic Paul Butterfield tune, Lovin' Cup, and the fast shuffling Tired of Talkin'. Ford's regular band supports him solidly here: Roscoe Beck, bass, Tom Brechtlein, drums, and Bill Boublitz, piano and organ. Blue Thumb, 1998, Playing Time: 51:57, ***.

Tiger Walk, Robben Ford, guitar. Robben Ford has had a steady meal ticket ever since his fusion days playing in Tom Scott's L.A. Express. At one point in the 1970's, he even did a two guitar thing with Larry Carlton at Donté's nightclub in the City of Lost Angels. Nowadays, Ford is a legit blues honcho (which was always his forte, anyway). His playing has remained relatively the same during the last twenty years. I really liked his Robben Ford and the Blue Line discs. On Tiger Walk, Ford presents 10 new, innocuous instrumentals with his sustained Dumble amp sound (he used to crank Mesa Boogies). Although he isn't much of a songsmith here, he nevertheless knows how to squeak some nice tones out of his electric guitar. Blue Thumb, 1997, Playing Time: 49:41, ***.

Four in One, Sonny Fortune, alto sax and flute. Tribute albums seem to be in vogue right now. Four in One is a collection of Thelonius Monk tunes that provide a framework for Sonny Fortune to improvise upon at length. This blowing session also includes the talents of Buster Williams on bass, Billy Hart on drums, and Kirk Lightsey on piano. Ironically, in contrast to Joe Henderson, Fortune is best-known for his excursions into Latin and African grooves; yet, here he is playing straightahead! This package of Monk compositions again underlines the importance of having great material to play. After all, there are probably thousands of gifted jazz musicians around; but how many unique jazz composers with timeless tunes to offer are there? This recording also serves notice that Sonny Fortune is a saxman we shouldn't forget, in the industry's rush to find upcoming teenagers; the man is a mature monster of the art. Blue Note, 1994, Playing Time: 60:13, ****.

Kicks, Mimi Fox, guitar. A Bay Area resident, Fox is a relative rarity in the music industry, a woman who plays very agile, traditional jazz guitar. In fact, she was so enamored of Joe Pass' playing, that she visited him and took some lessons. Instruction and perseverance have clearly paid off -- Fox is definitely one of the finer women jazz guitarists around; she may well be the most technically proficient mainstream player since Emily Remler. Tasteful and spidery, her playing here is quite appropriate on a set of mostly standards, such as Cherokee, In a Sentimental Mood, A Nightingale Sang in Berkeley Square, and Willow Weep for Me. While Fox's derivative playing covers no new territory (except for some chromatic movement and dissonant flashes on Mr. White's Blues), she is an accomplished musician who romps fluently over chord changes and also displays a nice touch on the acoustic guitar, too. The session also features some well-known artists: organist Joey DeFrancesco, keyboardist Russell Ferrante, and cameos by vocalist Angela Bofill and 8-string electric player Charlie Hunter (a duet with Fox). Monarch, 1999, Playing Time: 53:46, ***1/2.

Classics in the Key of G, Kenny G,, soprano and tenor saxophone. Mention Kenny G. in a crowded room and you'll elicit some pretty strong opinions; people either love him or hate his guts, stylistically. When Kenny Gorelick left Portland's Jeff Lorber Fusion group, went to L.A. and started playing watered down pop instrumentals with that big, lush sappy sound on the soprano saxophone, he quickly became a media star, churning out one hit album after another. Along the way, he earned the enmity of countless jazz musicians, whether deserved or not. Now, the world's best-selling instrumentalist of all-time has turned back toward his early jazz roots to record a disc of jazz classics, including Body and Soul, 'Round Midnight, Desafinado, Girl from Ipanema, In a Sentimental Mood, and other selections. To the surprise of many of his jazz detractors (including myself), G. has rendered a very affecting set here, however schmaltzy the embellishments might be occasionally. The fact remains that he probably gets one of the nicer sounds on the planet from the soprano saxophone -- and the tenor, too, on this project. He obviously gets in a sentimental mood himself when he starts playing some of the tunes (like Body and Soul and 'Round Midnight) which influenced him as a Seattle kid learning to play the saxophone. The arrangements are quite tasteful, his interpretations faithful, and guests include guitarist George Benson and singer Bebel Gilberto (on Girl from Ipanema). Kenny even commits the heresy here of overdubbing his soprano on Louis Armstrong's What a Wonderful World. Technically speaking, his saxophone sound is gorgeous (with a bit too much reverb and echo, however), his intonation in the upper register uncanny, his phrasing excellent, and his sense of melodic drama practically heart-wrenching. So what if he plays consonant licks and milks every lilting phrase for emotion; so much the better on some of these evocative tunes! In the past, I've made frisbees out of his record company's promotional CDs; I even returned a gift of his Miracles Christmas album from my own wife (sorry, honey). However, this time out G.'s efforts should silence all but the most irreconcilable and vicious (or tone-deaf) critics. Whatever else one might feel about Kenny Gorelick and the type of muzak material he usually plays, the guy is a first-rate musician. After the release of this CD, anyone who continues to disparage his playing itself must have wax in their ears. Arista, 1999, Playing time: 55:30, ***1/2.

Maynard Ferguson Presents Tom Garling, trombone. There aren't a lot of trombone players these days who get backing to lead a group on a CD for a quality jazz label. Ferguson must have known what he was doing in promoting Garling; Garling can make his low horn sing lyrically one moment, and then soar fluidly over snappy straightahead rhythms the next. The arrangements of the mostly Garling compositions on this CD are also well crafted. There is some inspired mainstream playing from saxophonist Jerry Pinter, pianist Christian Jacob, trumpeter Ron Stout, bassist Trey Henry, and drummer Tony Pia. Bass trombonist Alex Iles makes a guest appearance on Here's That Rainy Day. Of note: Shrimp Tales conjures up Weather Report-like images; Trinology is Monkish; Bill Evans is haunting and pensive; the harmonized head of Forging Behind is a real cooker; Rainier's Dream is a fragrant tone poem; Ilene's Dance is an absolutely hoppin' seven-beat affair. This is definitely a trombone record I can recommend with some enthusiasm. Concord, 1997, Playing Time: 65:54, ****1/2.

Pursuance: The Music of John Coltrane, Kenny Garrett, alto saxophone. Kenny Garrett is an excellent progressive jazz musician. On this tribute to Trane, Garrett exhibits the requisite chops, chromatic melodic movement, and wailing tone reminiscent of Coltrane's playing. Garrett leads bandmates Pat Metheny (guitar), Rodney Whitaker (bass), and Brian Blade (drums) over a set of Trane standards, including Equinox, Dear Lord, Giant Steps, After the Rain, and Lonnie's Lament. All receive standard treatment, with the exception of Giant Steps, where Garrett takes liberties with the harmonic progression of the head, abbreviating the duration of the chords (they change on each beat here). Metheny flashes characteristic licks and the uptempo, sliding, modulating intervals that have become almost routine in his playing in recent years.

With all the album releases dedicated to Miles Davis and John Coltrane in the last decade, it would seem that musicians might want to explore some new, more original terrain -- just as Miles and Trane did themselves. I mean, if I want to hear a saxophone playing the music of John Coltrane derivatively, then why settle for an imitator, no matter how adept? Nevertheless, this is a very good album. Warner Bros., 1998, Playing time: 65:15, ***1/2.

Blue Skies, Giacomo Gates, vocals. Gates came to jazz singing after spending some years working in construction in Alaska. He has a stylized, hipster approach to most of his vocals; Eddie Jefferson is an obvious influence (Five Cooper Square). His tone likewise resembles Sinatra, on occasion (Lady Be Good). He takes some extreme liberties on his way to Meet Me Where They Play the Blues, and his intonation drifts slightly in places. But Gates knows his vocalese, and he scats with ease on Yardbird Suite. He similarly tackles a Jon Hendricks lyric of Miles Davis' Four. Gates' fine band for this occasion is pianist Harold Danko, saxman Jerome Richardson, bassist Rufus Reid, and drummer Akiro Tana. DMP, 1998, Playing Time: 45:57, ***.

Yours and Mine, Stan Getz, tenor saxophone. Stan Getz was the leader of what has been termed the "West Coast" school of jazz - smooth, cool, and melodic. Always a consummate musician and improviser, even in the last months of a terminal illness, Getz, pianist Kenny Barron, bassist Ray Drummond, and drummer Ben Riley deliver a stellar performance on this new Concord release of a live set recorded by the BBC at the Glascow International Jazz Festival in 1989.

From the outset of the first standard, You'd Be So Nice to Come Home to, Getz's tenor flows effortlessly, with smooth cascades of notes raining from the heavens of this immortal's horn. The second tune is a pretty bossa penned by Barron and dedicated to his wife, Joanne Julia. Well known for his affinity for Latin grooves, Getz's sixteenth notes weave and soar over the pleasant changes laid down by the rhythm section. Barron's work here is also solid.

The remainder of the set consists of jazz standards, some better known than others. Yours and Mine is a charming ballad by Thad Jones which features a nice solo by Barron. Dizzy's Con Alma is introduced with a 12/8 triplet pulse on the cymbals, which alternates with a swinging four-beat groove, and both Getz and (especially) Barron play inspiring solos here. People Time, a Benny Carter reverie, is deliciously succulent, poignant, and relaxed - a tone poem. Barron's piano sets the pace on a What is This Thing Called Love, propelled by Riley and Drummond's driving pulse. The set closes appropriately enough with Jerome Kern's Yesterdays, featuring prodigious flights by Getz and Barron.

Whether recorded yesteryear or released today, this album stands as a living testament to a great jazz musician whose playing transcends the bounds of time and space.

Providing added interest and color on this CD is the inclusion of Getz's introductions and comments on the microphone between each track. Jazz fans take note: this is a historic and absolutely marvelous live disc! Concord, 1996, Playing time: 57:21, *****.

Lip Service, Tom Grant, keyboards. Tom Grant has been a Northwest jazz fixture for some time. In recent years, he has inclined toward a commercially accessible style which has gotten him regular airplay on America's burgeoning smooth jazz stations. The disc opens with a laid-back, funky vamp, as a phrase from Neil Schon's guitar hook on Journey's Who's Crying Now? subconsciously becomes the central theme of Love & Desire. Lip Service is another easy listening piece; Phil Baker contributed the bass and drum programming, as well as co-producing this CD. Poinciana becomes a funk-tango here, George Clinton's Ain't Nobody features lots of panning and effects, Down the Road is a familiar progression, Western Hemisphere has rhythm guitar licks reminiscent of Al Jarreau's We're in this Love Together, If You Want Me to Stay features street grooves and wah-wah guitar, and the Beatles' For No One is an acoustic duet with Grant and Baker. Tom sings on Love & Desire and Far From Home. Patrick Lamb contributes appropriate saxophone on several tracks. Shanachie, Playing Time: 47:54, ***.

Instinct, Tom Grant, piano and vocals. Fifteen years ago Tom Grant was gigging weekly at Cousin's, one of several precursors to Berbati's nightclub in Portland. Nowadays the stellar Oregon pianist is a popular contemporary jazz artist with national airplay and guest artists like Randy Brecker, Najee, and Peter White appearing on his albums.

Meanwhile, music buff Aaron Walker was still growing up in Lake Oswego, Oregon, listening to rhythm & blues and rap records. Walker gradually began to experiment with sampling techniques in his project studio. After a fortuitous chance encounter last year, upon hearing some of Aaron's work, Tom invited him to collaborate in the production of this latest project, with surprisingly solid results - especially for an album that mixes hip-hop and mellow contemporary styles.

Highlights: Fantasy is a 90's take on the classic Earth, Wind, and Fire tune, Lovely Little Dreamer has a slow, sampled hip-hop groove and some tasty piano licks on top, More Than You Know is a finger-poppin' sequence with Grant almost reminding one of Stevie Wonder, Quiet Nights is a faithful rendition of Jobim's gem (with mellow sax from Patrick Lamb), Shimmering Pools is a laid-back, country-flavored excursion on descending 6ths glissandoing to the major tonic (with Bruce Hornsby inflections), S.O.S. is a sequenced return to Headhunters-style funk roots, and Sitting on the Couch... is a swinging Grant original that could double for a classy jazz standard.

A host of other Oregon musicians performed on this overdubbed studio release, including bassists Dave Captein and Phil Baker, guitarists Jay Koder and Dan Faehnle, drummers Carlton Jackson, Graham Lear, and Ron Steen, and percussionist Curtis Craft. These are pleasant tracks for breezy summer cruising... Shanachie, 1995, Playing Time: , ****.

Carryin' On, Grant Green, guitar. I almost didn't want to review this disc, because (other than Nixon) I don't like criticizing the work of those who have departed. However, what probably sounded good in 1969 hasn't aged well after 26 years. The charts and rhythm section sound dated (like the background music to an old television series), the guitar playing could be any run-of-the-mill musician today, and the album is a measly 38 minutes. I don't know why Blue Note persists in releasing stuff like this from its vaults, particularly when there are so many fabulous guitarists around now (read on); instead of letting Green R.I.P., they're into rip-off, in this case. Blue Note, 1995, Playing Time: 37:52, NR (no rating).

Solid, Grant Green, guitar. In recent years, Blue Note has been reissuing a spate of records by deceased jazz artists from its vast storehouse. Fortunately, this is the best Grant Green reissue I've heard so far. In evaluating an era (early 1960's) when the other preeminent jazz guitarists were Wes, Burrell, and Jim Hall, Green sometimes comes across as a lesser light; not on this straightahead session, though, which also features luminaries McCoy Tyner, Joe Henderson, Bob Cranshaw, and Elvin Jones. The ensemble demonstrates tight playing over clever heads (e.g. Duke Pearson's Minor League and George Russell's Ezz-thetic), and each musician turns in his share of fine soloes. Green even contributes an original on this session, Grant's Tune. The title track is a Sonny Rollins blues, which is followed by a boppy blues composition of Joe Henderson - the Kicker, a very satisfying, swinging number. To add some minutes to this CD release, Blue Note appended a Burt Bacharach waltz, Wives and Lovers, to round out the set. Solid, indeed! Blue Note, 1995, Playing Time: 47:37, ****.

All Blues, GRP All-Star Big Band. When I first read the promo for this disc, I wasn't too sure if I would like listening to a big band playing the blues for an hour; however, I can now assure you unequivocally that this album is absolutely tremendous throughout. Not only does it feature players like Michael and Randy Brecker, Chick Corea, Dave Grusin, B.B. King, Arturo Sandoval, Tom Scott, Ramsey Lewis, and Russell Ferrante, but some of the arranger-musicians in the ensemble bring unique interpretations to these tunes. Dave Grusin, Bob Mintzer, Russell Ferrante, Michael Abene, and Tom Scott all contribute great charts. Mainstream fans will enjoy the versions of standards like Stormy Monday, All Blues, Birks Works, Goodbye Porkpie Hat, and Mysterioso. From blues by W.C. Handy to Corea's Blue Miles, this album covers a lot of territory, especially given the chosen parameters of the music. In conclusion, this CD should be required listening for those arranging the blues for big bands. GRP, 1995, Playing Time: 61:20, *****.

Homage to Duke, Dave Grusin. This tribute album by arranger-pianist Grusin features an all-star lineup performing Grusin arrangements of some of Duke Ellington's best-known compositions (and other pieces associated with the Ellington bands). The session opens with an uptempo tune, Cottontail, and Clark Terry blowing hard on both the trumpet and flugelhorn. Terry "mumbles" and plays his horn on Things Ain't What They Used To Be. Mood Indigo opens with Grusin's piano setting a peaceful, Chopin-like mood, joined by Eddie Daniels' clarinet; the arrangement juxtaposes woodwind/horn ensemble choruses with solos - and even a 3/2 time signature. The nomadic Caravan begins with solo piano and segues into a terrific 12/8 Afro-Cuban feel, and then it swings furiously in 4/4 over the bridge - a marvelous interpretation. Grusin provides a very modern piano solo over the proceedings. East St. Louis Toodle-oo, the Ellington theme of the 1930's, is a laid-back major-minor theme affair; this arrangement is fairly true to the original in spirit. The staple two-note C-Jam Blues conjures up myriad images of blowing sessions everywhere; Grusin interjects horn section riff choruses between some of the soloes, which are followed by a brief ad libbed, New Orleans style, collective improvisation. Sophisticated Lady is a delicate and pensive piano soliloquy. The CD concludes with Billy Strayhorn's Take the A Train, rendered at a surprisingly slow and seductive tempo here. All in all, Grusin demonstrates a remarkable resourcefulness in rearranging these pieces and presenting them in both a reverent and fresh light. GRP Records, 1993, GRD-9715, Playing time: 49:48, *****.

As pianist-arranger Alan Broadbent's lush, orchestrated strings swell, the profoundly celestial essence of Shirley Horn's rich contralto voice captures and moves the listener from the first measures of Leonard Bernstein's Lonely Town. Horn is just as i