Bruce Crowther´s Reviews

The reason for brevity should be obvious. Even brief reviews fails to keep up with the flood of CDs being issued in ever-increasing numbers. So, if you want more information, try going to an artist's own website (some of which can be reached via the Links page), or from the record company links (where shown with the review).

Mostly, these are Jazz Instrumentalists and Jazz Singers, but there are a few superior pop singers, some singers and instrumentalist from the smooth jazz scene, also a number of musicians from Central and South America (and others hard to categorize). Just click on the name of the artist ...

Although Rez Abbasi's previous albums have been more centrally placed in the context of contemporary jazz, the touch of Indian music has long been evident. This time, Rez shifts the focus and draws heavily upon the rich repertoire of Indian music. Playing electric and acoustic guitars as well as the sitar-guitar, he is joined by Hammond organist Gary Versace, percussionist Dan Weiss and vocalist Kiran Ahluwahlia. Adding colour and texture are gusts Rudresh Mahanthappa, alto saxophone, Marc Mommaas, tenor and soprano saxophones, Gautram Siram, mridnagam, and Naren Budaker, whistling. The resulting mixture is dynamic and thought-provoking and fulfils the promise of the album's concept. (Buy this now ...)

This exceptionally talented vibraphone player and composer here demonstrates all his many skills in a set that ranges through introspective pieces to those that are urgent and powerful. Backed by bassist Fred Randolph and drummer Sameer Gupta and with the solo horns of Erik Jekabson, trumpet and flugelhorn, and Mitch Marcus, tenor saxophone, Ben consistently displays eloquence and elegance in music that is by turn reflective and thought provoking. Released on 13 June 2006, this is music of today but remains in touch with the past through Ben's awareness of the impact and importance of jazz masters who have gone before. (Buy this now ...)

In this tribute to Duke Ellington, Carol Akerson reveals a remarkable vocal talent. She swings with that appearance of effortlessness that comes only after years of hard work and experience. Her interpretation of lyrics demonstrates a rare intelligence, and with every note she makes the listener aware of her deep love for the music. Carol is nowhere nearly as well known as her talent demands. A similar comment might well be made about the accompanists hereon: Bob Winter (p), Jon Wheatley (g), John Lockwood (b), Jim Gwin (d) and Herb Pomeroy (t) and Mike Monaghan (reeds). You might have to look hard for this 2000 release, but the effort will be amply repaid. Fine music given the kind of treatment it deserves by a singer of note. (Buy this now ...)

This exceptional CD vividly displays the remarkable legacy of pianist Mary Lou Williams (1910-1981) and at the same time makes clear that thanks to pianist Geri Allen that legacy is in safe hands. Accompanied by bassist Buster Williams and drummer Billy Hart, Geri reminds us how good and advanced was Mary Lou Williams' composition, 'Zodiac Suite', back in 1945. Treating the work respectfully yet vitally, Geri demonstrates that this music is timeless. In addition to the suite's twelve movements, Geri also plays MLW's 'Intermission' and, with Andrew Cyrille replacing Billy Hart, adds Herbie Nichols' 'The Bebop Waltz' and Geri's own composition, the appropriately titled 'Thank You Madam'. This CD is strongly recommended to all who love good jazz piano playing. (Buy this now ...)

In this 2003 recording, the gifted Norwegian bass player Thomas Winther Andersen's regular band, Line Up, is joined by American tenor saxophonist Jimmy Halperin for a thoroughly contemporary exploration of some pleasing melodies, most of which are Thomas's compositions. The musicianship here is of a very high order and there are numerous attractive and thoughtful solos by Thomas and Jimmy as well as by trumpeter Torgrim Sollid and guitarist Hakon Storm-Mathisen, while drummer Steve Altenberg provides a firm yet fluid base to the improvisations. Certainly, these are musicians to look out for. (Buy this now ...)

An attractive CD, her first, by a singer who has clearly had a lot of experience. Indeed, Leonisa Ardizzone and her quartet have been playing together for about eight years. This brings a seamlessness to their playing and each is fully at ease with all the others. Speaking of the others, they are guitarist Chris Jennings, bassist Bob Sabin and drummer Justin Hines. Of the three, producer Chris has most solo space and he takes full advantage of this turning in some attractive and deceptively simple-sounding solos. The repertoire chosen by Leonisa and Chris is a very pleasing mix of standards, 'Autumn Leaves' and 'You Go Yo My Head', jazz works, 'Anthropology' and 'Goodbye Porkpie Hat', and some new songs of which Justin's 'Afraid Of The Heights' (that's Washington Heights) is a witty and enjoyable excursion. (Buy this now ...)

The continuing popularity of the organ-guitar-trio format brings together elements of hard grooving sounds of the 1960s and the smoother stylish effects of recent years. The result is often good, sometimes more so. This set is particularly attractive in that it has these two basic elements not only in musical terms but also in personnel. Guitarist Kyle Asche is a young musician who has been active in Chicago for the past decade while his principal partner here is Melvin Rhyne, a veteran organist whose jazz career ranges from 1950s dates with Rahsaan Roland Kirk through 1960s sessions with Wes Montgomery to leadership of his own bands in which he teamed with artists such as Blue Mitchell and Brian Lynch. The third member of this band is drummer George Fludas, who has worked with jazzmen such as Ray Brown and Cedar Walton. The combined experience of these three men is such that an excellent CD is offered to the many fans, both old and young, of this kind of music. Two of the tracks are compositions by Kyle, with four from Melvin alongside pieces such as Luiz Bonfa's 'Gentle Rain' and Charlie Shavers' 'Swedish Schnapps'. Hard to think of anyone who will dislike this set. (Buy this now ...)

A scorching set of hard bop with a hint of the powerhouse organ trios of that still retain their yesteryear popularity. Not that there is anything the least bit dated about this contemporary jazz quartet. For this date, drummer Al Ashley brings on board organist Oliver Von Essen, guitarist Rick Stone, and special guest saxophonist Dave Liebman. Together, they make tough-edged gutsy statements that vigorously confirm their masterful ability. The seven tracks are all originals by one or another of the quartet and ably display their writing skills. Although a veteran of the modern jazz scene, this is Al's first date is leader. We must hope that it is not his last. (Buy this now ...)

Striking and dynamic contemporary jazz from a virtuoso bass player and a group of exceptional instrumentalists. Gregg Austin is classically trained but has played for many years in jazz and Latin groups, mainly in and around New York. Here, Gregg teams up with trumpeter John Bailey, saxophonists Myron Walden, Stacy Dillard and Yosvany Terry, pianist Luis Perdomo and drummer E.J. Strickland. The music they play is exhilarating and forceful and the set is awash with sparkling solos and fiery ensemble passages. Writing the music with the players in mind, Gregg has created a set of exceptional pieces. Individually, the music and the musicians are very good indeed; collectively, the result is an album of jazz for today that will surely be heard often in future years. (Buy this now ...)

Over the years, awareness of the true role of Mildred Bailey in the story of jazz singing has varied. Mostly though, true believers, whether performers or listeners, have never lost sight of the fact that she was a major talent and a significant influence. Often, this influence has come down second or even third hand. Ella Fitzgerald was influenced by Mildred, and heaven alone knows how many singers were affected by Ella; the numbers who must owe something to Mildred is incalculable. For this reissue, producer Ted Takashi Ono has selected 23 tracks on 11 of which she is with the Ellis Larkins Trio; a further 8 are by a Red Norvo small band, which also includes Larkins. The result is a reaffirmation of Mildred's qualities; subtle, delicate, softly swinging, and filled with integrity. Here also, is also an opportunity to hear the supreme skills Ellis Larkins brought to the art of accompaniment. Larkins, who died on 29 September 2002, once observed that of all the singers he accompanied in his long career, Mildred was the best. This CD will help you understand why Larkins thought this way. (Buy this now ...)

For the past year or so, playwright Alan Plater has toured the UK with a live show in which he recounts anecdotes about some of the lesser-known names in jazz but who are still giants in our collected memories. It is not just talk, though, for Plater has also written the lyrics to several songs about these giants and with music by Alan Barnes they are played by a top-flight band of UK jazzmen and sung by leading jazz singer Liz Fletcher. This CD captures the music - but sadly not the anecdotes. And what good music it is too. Lively compositions, witty words, superbly played by the band and eloquently sung by Liz. Among other instrumentalists on hand are trumpeter Bruce Adams, saxophonist Stan Sulzman, pianist Brian Dee and drummer Clark Tracey. The jazzmen to whom tribute is paid include Sonny Criss, Slim Gaillard and Joe Harriott. And a more than passing acknowledgement is paid to those other unsung heroes of the jazz world, Blue Note Records, Miles Davis's fans, and those local rhythm sections that seek vainly but always hopefully to rise beyond their limitations when the visiting giant comes to town. This thoroughly engaging and hugely entertaining CD has something for everyone, be they musician or fan, student or anorak. (Buy this now ...)

Christy Baron sings with a light yet assured touch, bringing to the songs on the first of these two CDs a thorough understanding of the emotional depths of the lyrics. Among the songs chosen by Christy are familiar titles such as 'A House Is Not A Home', 'That Old Devil Moon' and 'The Lies Of Handsome Men' and works that while less familiar are of equal quality, among them Carole King's 'Bitter With The Sweet' and 'Stand Behind Me', and David Finck's 'The Way He Captured Me'. David, who is a regular musical colleague of Christy's, is also arranger and musical director and plays the bass. Altogether, this is a wholly admirable set of very good songs sung effectively by a singer of considerable merit.

A glance at the song titles on the second CD generates quite a surprise: 'Froggy Went A Courtin'', 'Home On The Range', 'Baa Baa Black Sheep', 'Three Blind Mice' and still more familiar melodies from the nursery gardens of our memories. The concept for this intriguing set came from pianist-arranger Roger Davidson. It presents a selection of children's songs set to the rhythms of the Caribbean and Brazil. What is most compelling is that nowhere is there any hint of condescension. This is an ideal CD to play for even the youngest of kids with the confidence that it will also delight the grown-ups. Perhaps I should add, although it isn't really necessary for a singer of Christy's calibre, that the lyrics are sung with clarity and warmth. The musicians involved with Christy and Roger are David Finck again on bass, Paulo Braga on drums, saxophonists Oscar Feldman and Aaron Heick, who between them appear on almost every track, as well as percussionist Marivaldo dos Santos and oboist Susan de Camp. (Buy this now ...)

Off the recording scene for a decade since his debut album, It's About Time, singer Danny Barrett returns with a delightful set of songs, mostly romantic ballads, for which his rich and fluid baritone is ideally suited. Here, he is backed by a fine group of jazz, Latin and session musicians who ably and accurately perform pianist Bill O'Connell's arrangements. Here, then, is a CD that will appeal to lovers of romantic ballads. (Buy this now ...)

You will know that Ray Barretto died before this, his last recording, was released. Adding to the sense of dismay at this sad loss, the pianist on the set, Hilton Ruiz, also died in early June 2006. Fortunately, there is nothing sad about the CD - the music is lively and filled with the exhilaration that comes from musicians doing what they love to do. The CD is a fitting tribute to both men, and they are ably aided by bassist John Benitez, drummer Adam Cruz, along with guest horns David Sanchez, Papo Vazquez and Chris Barretto. As the album title makes clear, the music hereon is largely from the great standards but none is hackneyed; for example, 'Suddenly It's Spring', 'I Had The Craziest Dream' and 'Baby, Baby, All The Time'. In any event, all of the songs are treated with fresh eyes and ears. A CD to appeal to those who like the jazzier side of Latin music. (Buy this now ...)

Even though it has been a long wait since April's remarkable debut, My Dream Is You, the waiting has not been in vain. Once again, most of the music and lyrics are her own and, also as before, these are beautifully crafted songs. In performance, the same huskily confident vocal sound is in evidence, and she delivers her lyrics with all the appropriate nuances. Also repeated, is the accompaniment of her long time musical associate (and occasional partner in writing and arranging) guitarist David Hungate. Together, these consummate artists, aided by a subtly supportive rhythm section and guest soloists, who include saxophonist Denis Solee and veteran guitarist Chet Atkins, provide a delightful set of what must surely become standards of jazz and popular song. Hopefully, a new album from April will be along soon and perhaps also the reissue of some earlier work, especially that outstanding debut CD. (Buy this now ...)

This highly talented young singer is new to me and a very welcome addition to the ever-growing fold. Joy Bellis has a light and slightly sinewy vocal sound, swings ably and interprets lyrics with warmth and understanding. Here, she is joined by a highly compatible trio, again new to me but, like Joy, all are familiar on the New York jazz scene. The pianist is David Epstein, on bass is Robert Sabin and on drums Jeff Davis with additional percussion by Doug Hinrichs. Interestingly, Joy does not hog the limelight and allows plenty of solo space to the pianist and also some to the bassist and drummer. These solos are very well taken and I shall welcome hearing any or all of these instrumentalists again. This said, the album is a vocal set and I like it a lot. The songs are well chosen and while most are familiar none is overused. You might have to look hard for this CD but any effort spent will be very well rewarded. Joy is a fine singer and her debut CD is one that I will return to often in the future. I should also mention that everyone here sounds as though they are enjoying themselves and are not above a gently tongue-in-cheek reading where one is appropriate. How rare that is these days, and how nice. (Buy this now ...)

Louie Bellson The Sacred Music Of Louie Bellson & The Jazz Ballet (Percussion Power)

These are remarkable compositions by master drummer Louie Bellson. The first of these works was inspired by Duke Ellington's sacred works, which Louie played while a member of Ellington's band. Additionally, Louie was encouraged by Ellington to write this music. The works are performed here by Louie with students of the University of Southern California, the Thornton School of Music Jazz Band, and the Symphony String Orchestra and Choir. The music is commanding and inspired and the playing matches the needs of the music in every respect. Throughout this fascinating CD there is much that appeals to the ear and to the mind and will be welcomed by those who appreciate not only this very fine musician but also to those for whom jazz can be a highly appropriate vehicle to transport the listener to other forms. Released on 1 June 2006, this is warmly recommended set. (Buy this now ...)

Recorded in Cape Town in, respectively, 1999 and 2002, the first two of these CDs demonstrate the liquid skills of this highly distinctive singer. Relaxed and introspective interpretations of classic songs abound - 'When Day Is Done' and 'Body And Soul' on the first, 'I'll Follow My Secret Heart' and 'Someone To Watch Over Me' on the second are examples. There are also lesser known songs, such as Duke Ellington's 'All Too Soon' and one of Sathima's own compositions, 'Musical Echoes'. Matching the loving care that the singer brings to this music is fine playing from her accompanists. On Cape Town Love she is joined by the veteran South African pianist Henry February, bassist Basil Moses and drummer Vincent Pavitt; while on Musical Echoes, Stephen Scott is at the piano and Lulu Gontsana at the drums. This is music for the connoisseur of elegant singing by an artist whose appearances on record and in live performance are not nearly as frequent as her talent demands.

The third CD, released in September 2006, consists of eleven tracks from earlier albums, plus a previously unreleased duet, on 'It Never Entered My Mind', by Sathima and her husband, internationally renowned pianist Abdullah Ibrahim. Elsewhere, Sathima is accompanied by Duke Ellington on his own 'I Got It Bad And That Ain't Good', from a 1963 session, A Morning In Paris (Enja ENJ 9309 2); by Kenny Barron, with Buster Williams and Billy Higgins, on 'Indian Summer', from 1985's Windsong (ekapa 006) 'Lush Life' and 'Loveless Love', from 1989's Southern Touch (Enja ENJ 7015 2). This last song starts out with the original lyrics sung a capella, before pianist, bassist and drummer enter in high life rhythm and Sathima sings the later 'Careless Love' lyrics. This has always been one of my favourite tracks and is one that defies any listener to stay in his or her seat. I recall Sathima telling me that it was not planned to include this on the session, but was something the four of them had played before and they used it as a warm-up and, praise be, the tapes were running. Among other songs on this compilation Sathima sings 'Ah! Sweet Mystery Of Life', from Dedications, 'I Only Have Eyes For You', from Cape Town Love, and 'I'll Follow My Secret Heart', from Musical Echoes. If you are unfamiliar with this fine singer, do try this compilation, released in celebration of Sathima's 70th birthday. I am sure that it will lead you irresistibly to the other CDs from which it is drawn. (Buy these now ...)

In 2000, a collaborative essay by Bruce Crowther and Ed Anderson appeared in the book, Sathima Bea Benjamin: Embracing Jazz, edited by Lars Rasmussen, an enterprising Danish jazz lover. The book, complete with 2 CDs (and other books and CDs) can be found at Lars Rasmussen's own site.

Alison Bentley Songs Of Leonard Bernstein & Irving Berlin (Slam SLAMCD 248)

Growing in stature with every release (this is her third CD), Alison Bentley has become a formidable talent in the UK jazz scene. Blessed with a true, strong voice, she is somewhat more inclined towards the jazz end of the jazz-pop spectrum than are many of her contemporaries in the field. Here, she is joined by a very good band with hard bop leanings: Dave Frankel (p), Dave Jones (b), Paul Cavaciuti (d) and sharing solo spotlights, trumpeter Steve Waterman and alto saxophonist Martin Speake. With CDs like this one to her credit, international recognition must surely be beckoning. Certainly, Alison has enormous potential, and should she decide to move towards a more pop-oriented style she will do wonderfully well. The financial benefits of that aside, I rather hope she stays where she is; the jazz singing scene needs singers like this. (Buy this now ...)

Although this is Chuck Berghofer's first own-name album he has appeared on many hundreds under the names of other leaders. For this release he has formed a trio with pianist Jan Lundgren and drummer Joe LaBarbera to perform a delightful set of songs most of which were first heard in films. As the CD's subtitle makes clear, this is the film music of Ralph Rainger. Unlike many other songwriters from Hollywood, Rainger tends to be overlooked and the unfairness of this is apparent from a glance at some of the titles Chuck, Jan and Joe play here: 'Easy Living', 'Please', 'If I Should Lose You', 'June In January', 'I Wished On The Moon'. All of these songs are lovingly interpreted by the three instrumentalists and the true value of the melodic gift of the composer is apparent throughout. Most of Rainger's songs were written in collaboration with lyricist Leo Robin and a measure of his contribution to their partnership can be heard when the wonderful Sue Raney steps up to sing two of their songs, 'If I Should Lose You' and 'Thanks For The Memory'. If all this were not enough, after more than hour of this exceptional playing and singing, there is a ten-minute track that has Jan and producer Dick Bank introducing two radio clips from the era when the songs were written. On the first clip, Rainger talks about his work and then plays 'Love In Bloom', then the same song is performed by Rainger and Robin at an ASCAP show. Extremely well packaged, with lengthy notes by Mark Gardner, Dick Bank and others, this CD is an absolute must not only for jazz fans, for the performances, but also for all those who love the music of this era and who might have overlooked this consummate songwriter. (Buy this now ...)

One of the outstanding big bands of the 1970s, Bill Berry's LA Band was rich in talented soloists, powerful in execution, and dedicated in its approach. Sadly, it was barely recorded. Only Hello Rev and the almost impossible to find vinyl, Hot 'n' Happy, were issued. This CD incarnation of Hello Rev is therefore a 'must have' for all lovers of big band jazz at its fiery best. Soloists include Richie Kamuca, Marshal Royal, Jack Sheldon and Dave Frishberg. This album almost matches the awesome experience of hearing the band live, something that I will never forget. Some idea of the durability of this music might be gained from the fact that every week for several years I opened my radio show with the title track without ever tiring of it. The small groups on Shortcake also abound in distinguished soloists and additionally are marked by ingenious and witty charts.

For several years in the 1990s, Bill Berry and his wife Betty organized the Pacific Jazz Party, a richly rewarding trans-oceanic collaboration between musicians from America and Japan. The fine mainstream set, Jazz Party, is one result of this meeting of musical minds. Cornetist Bill co-leads with his counterpart, clarinetist Eiji, and they are joined in the frontline by young tenor saxophonist Sam Sadigursky. The pulsating rhythm section similarly draws from both countries: pianist Kotaro Tsukahara and the veteran bass and drums team of Ray Brown and Jake Hanna. There are very attractive solos from all participants in a tuneful repertoire that draws from the great standards, some items from the Ellington-Strayhorn song books, and a few un-hackneyed items and originals. This album might be hard to find but it is very well worth the effort. The same comment might also be applied to Live at Capozzoli's, which was recorded during a late 1990s Las Vegas club date. The uncommon front line of Bill's cornet and Jack's baritone saxophone lend interesting textures to a nice selection of numbers, most of which are standards.

Bill Berry's death, in November 2002, brought to an end a personal friendship that existed between us since the late 1970s. I shall miss Bill but count myself lucky to have known him and to have heard him play many times live, with various small bands and on one never-to-be-forgotten occasion, with his mighty big band. At least, we still have the records. (Buy this now ...)

On his debut CD as leader, guitarist Marco Bittelli presents a relaxed and melodic selection of his own compositions. Now based in the USA, Marco's music reflects on his Italian heritage, summoning up the warmth of the Mediterranean but always hinting at the eagerness with which his homeland has accepted jazz. Marco's musical companions here include tenor saxophonist/flautist Horace Alexander Young and pianist Charles Argersinger and their solos complement Marco's. There is also subtle support from the rhythm section of David Snider, bass, David Jarvis, drums, and Ruth Boden, cello. An attractive set that throughout achieves its aims. (Buy this now ...)

A smoothly polished performance from alto saxophonist Tyrone Birkett, this debut release brings a contemporary touch to gospel and also offers an opportunity to hear the artist's own compositions. Here, he is joined on some tracks by vocalist Paula Ralph-Birkett and is backed by instrumentalists such as Pablo Vergera, Garnet Walters Jr, and Steve Williams, keyboard, Willie Brown, Tim Reyes, guitar, Kirk Lyons, bass, and Lonnie Christien, drums. Attractive music, played with skill and integrity. (Buy this now ...)

A very experienced alto saxophonist, David Bixler, a former student of George Coleman, has worked over the years with many noted big bands including those led by Lionel Hampton and Toshiko Akiyoshi as well as the Chico O'Farrill Afro-Cuban Jazz Orchestra. Here, David leads his own striking small group that includes trumpeter Scott Wendholt and the front-rank rhythm section of guitarist John Hart, bassist Ugonna Ogekwo and drummer Andy Watson. David is also an accomplished composer and all the music on this CD is his own. Now involved in jazz education, David is bringing his approach to music to the next generation and it is clear from this set that the future of the music is in good hands. (Buy this now ...)

One of the outstanding performers in contemporary jazz, Jane Ira Bloom has remained consistently at the forefront of new concepts and has been unfailingly committed to her art. In the first of these CDs there is much more than the music - which is adventurous and thought-provoking, delving as it does into the interpretation of dreams - there is also an opportunity for the listener to enter into Jane's thought processes. These are what have brought this remarkable artist to where she is today and in particular to what she has sought to achieve with this release. She is joined here by three like-minded instrumentalists whose roles are never limited to those of accompanists only; they are full participants in this musical journey. They are keyboard player Jamie Saft, bass player Mark Dresser and drummer Bobby Previte.

Following the death not so long ago of Steve Lacy, it is hard to think of anyone playing soprano saxophone today who brings to music qualities such as those Jane displays. On the second CD, she is joined by Dawn Clement, acoustic and electric piano, Mark Helias, bass, and Matt Wilson, drums. With the exception of the closing piece, 'This Nearly Was Mine', all compositions are Jane's and they allow unfettered playing by all four members of the group. Jane's playing of the soprano saxophone is fluid, graceful and impassioned, while that of her companions follows her example and results in some exceptional solos. This is music for today, played with fervour and conviction; and it is always melodic, charming and above all accessible to the discerning listener. (Buy these now ...)

This thoroughly enjoyable set by Suzy Bogguss is a foray into the very musical field of traditional country music. Although labeling music can be limiting and potentially misleading, I will risk suggesting that this is what might be termed contemporary Western Swing. Suzy is a highly talented singer and here she offers a lively take on some attractive material, included among which are good versions of three songs by April Barrows. As April is one of my favourite songwriters (and a very good singer in her own right), appearance of her music alone makes this a set worth hearing. Add to this the fact that Suzy has an extraordinarily attractive voice and this is clearly a CD worth hearing. If you are unfamiliar with Suzy's work, this is an excellent place to start. (Buy this now ...)

One of the outstanding guitarists of the day, Paul Bollenback has appeared on numerous albums, both in support of others and under his own name. This set, released in October 2007, is his seventh as leader and is thoroughly delightful. For this CD, Paul has brought in trumpeter Randy Brecker to share the solo spotlight. Paul and Randy are subtly and superbly supported by bassist Ed Howard and drummer Victor Lewis. In addition to the instrumentalists there is also a very attractive vocal touch from Chris McNulty on some of the tracks. On this set you can hear some of Paul's original compositions, 'Dancing Leaf', 'Songline' and 'Invocation', the latter a longer work presented in two parts; there are also interpretations of John Coltrane's 'After The Rain' and Johnny Mandel's 'Emily', as well as the standard, 'How Deep Is The Ocean'. This is a first-rate example of an exceptionally good contemporary jazz musician in fine form and playing with front-rank collaborators. (Buy this now ...)

On the first of these CDs from Joyce Breach, she selects songs recalling favourite movie moments and delivers them all with warmth and understanding. If this is an exercise in nostalgia, then it is one that is accomplished without sentimentality. Joyce has such understated good taste that not only does she summon up reflections of the original placing of the songs but finds new things to say that refreshes the material, making it sing out anew. Among the songs Joyce sings here are 'That Old Feeling', 'That's For Me', 'Laura' and 'A Certain Smile'.

On the next two CDs, Joyce pays tribute to the artistry of Mabel Mercer, something that she achieves with effortless grace. She does much more than this, however, because along the way Joyce also vividly demonstrates to anyone who might not have encountered her before now that she is an artist of considerable stature in her own right. Drawing upon the depthless well of lyrical interpretation that was Mabel's legacy, Joyce places her own stamp upon all of these songs. She also injects a fluid swing, something in which she is aided by the always excellent Keith Ingham on piano (who is also on Reel Songs), to say nothing of the subtle cushioning of James Chirillo, guitar, and Greg Cohen, bass. Some of the songs are familiar: 'From This Moment On', 'My Shining Hour' and 'Lucky To Be Me' for example. Other songs are less well known these days: 'Year After Year', 'On The First Warm Day In May' and 'Merely Marvelous' come to mind, but are of similar stature.

The fourth CD, released late in 2005, is a live recording of Joyce, made at one of her regular visits to Larry's Room at the Pizza On The Park. Again, Keith Ingham is on piano and on bass is Simon Woolf. Joyce's song selection is once more wholly admirable and her penchant for films songs is again revealed with familiar songs such as 'It Might As Well Be Spring' as well as lesser-known items that include 'There's No Such Thing (As The Next Best Thing To Love)' and 'Incurably Romantic'. For those unable to hear Joyce live, this club session recorded on 18 and 19 June 2004 is an opportunity to her in a setting that adds atmospheric immediacy to another excellent performance by this gifted singer.

Finally, the third volume of Joyce's tribute to the inestimable Mabel Mercer maintains the very high standards of the earlier volumes. Among the songs are 'I'll Be Easy To Find', 'My Resistance Is Low', 'Time Heals Everything' and ''By Myself'. This is very good music, performed to perfection by an artist of exceptional merit. Together with her accompanists, who include Keith Ingham on piano, Jeff Tillman on bass and John Beal on guitar, Joyce engages the emotions of her listeners and delivers magical sounds. These fine songs, performed by an outstanding singer, truly is a tribute not only to Mabel Mercer but to an age that some might think has gone by. That it has not is due to a handful of remarkable artists of whom Joyce Breach is one.

In summary, all of these CDs brings together singing and playing of the highest quality, and music and lyrics that are a timeless delight. I am sure that anyone so far unfamiliar with this fine singer will find much to enjoy not only on any of these CDs, but also on any that she has recorded for Audiophile Records over the past few years. Among those others are Love After All (ACD 282), This Moment (ACD 293) and Nothing But Blue Skies (ACD 302). (Buy these now ...)

Although not released until the late 1990s, this fine double album was recorded in Toronto in June, 1983. Accompanied only by bassist Dave Young, who was then relatively unknown, the guitarist flows impressively through a selection of standards, offering new ideas and thoughtful improvisations, all wrapped up in seemingly effortless swing. By this time, Lenny was in his early forties but was already a seasoned veteran, having started playing professionally at age seven. Highly talented, this recording clearly demonstrates how gifted he was. Sadly, though, a little more than a year after this session took place he was murdered - a crime that remains unsolved. It is thanks to this album, and other previously unreleased recordings on the same label, that it is possible to see just how much the world of jazz lost. (Buy this now ...)

Although classically trained, pianist Cole Broderick has made himself known to and admired by jazz fans, especially in upstate New York. With this, his latest CD (due for release in March 2006), the spotlight widens to encompass not only his playing but also his composing skills. All the tracks are his own work and display his eclectic musical interests. Unaccompanied here, on his sixth CD, Cole swings through elegiac ballads, Latin rhythms and some down home blues with a touch of soul. Thoroughly enjoyable and always interesting, this is very good contemporary piano playing that echoes many of the moods that form the basis of jazz. (Buy this now ...)

This contemporary ensemble fields up to 17 musicians under the direction of drummer and composer Wade Barnes. They play an interesting mix of original compositions, mainly by Wade but with some compositions by soprano saxophonist Tom Olin, and pieces written by musicians as diverse as Bob Dylan and Oliver Nelson, all sprinkled works from the Great American Song Book, such as 'Body And Soul'. There are deft solos from the gathered musicians although the many delights on this CD stem from the ensemble passages, which are played with urgent delight. Good stuff for those with adventurous minds. (Buy this now ...)

With her third CD, Rosie Brown demonstrates that she is here to stay. A gifted singer with a wide stylistic range, Rosie is one of many young UK singers who are well worth looking out for. Her repertoire here includes songs by Rodgers and Hart, the title track and 'It Never Entered My Mind', jazz pieces, such as 'A Night In Tunisia', very attractive readings of 'Inside A Silent Tear' and 'The Night We Called It A Day', and there are also a couple of songs by a particular favourite of Rosie's, Antonio Carlos Jobim. Her accompanists here are: Richard Wetherall (p), Riaan Vosloo (b), Dave Walsh (d) and guest trumpeter Andrew Colman. Rosie is a very welcome presence on the jazz singing scene. (Buy this now ...)

Dale Bruning (with Jude Hibler) The Timeless Music of Harold Arlen (Jazz Link Enterprises JLECD 6029)

Dale Bruning (with Jude Hibler) The Timeless Music of Harry Warren (Jazz Link Enterprises JLECD 7938)

Dale Bruning (with Ali Ryerson) Classical Connections - Vol I (Jazz Link Enterprises JLECD 4860)

Intentionally hidden from wide public attention for decades, master guitarist Dale Bruning is joined in the first of these CDs by his much better known pupil, Bill Frisell, in a richly evocative exploration of the great heritage of jazz guitar. This double CD contains song book classics, like 'Body and Soul' and 'All the Things You Are', and jazz standards, such as 'Round Midnight' and 'Anthropology', all of them revitalized by these outstanding musicians. The next two CDs are wholly admirable evocations of an interesting concept. The music of some of the great songwriters has long been a staple of the jazz world. Here, the master guitarist together with jazz writer and producer Jude Hibler present on record examples of their live show. the JLE Narrative Theme Concerts. In these. Jude narrates the life of the chosen composer, explaining with anecdotes the origins of some of his most memorable songs. Then, Dale and his quartet perform these songs. The narration is informed and succinct and the interpretations superb. The other musicians on hand are bassist Michael Moore, saxophonist Rich Chiarluce and drummer Paul Romaine. On these CDs, the composers concerned are Harold Arlen and Harry Warren. Their music, in both instances significant components of American popular song, is extremely well served.

On Dale's CD, Easy Does It!, he plays the music of a long-time friend, Charles Eakin. With his quartet, Chiaraluce and Romaine again with bassist Mark Simon, Dale explores elegant melodies with warmth, wit and understanding. This is an exceptional tribute to and for many of us also an introduction to a fine composer we might have thus far overlooked. One to savour. Then comes another of the concert collaborations between Dale and Jude. On this occasion, recorded live at Dazzle Restaurant & Lounge in Denver, the narration is omitted from the recording although helpfully Jude's words are transcribed in the enclosed booklet. Dale's choice of music here is, as always, exemplary: 'Besame Mucho', 'Lover Come Back To Me', 'The Breeze And I' and 'Baubles, Bangles And Beads'. There are also two delightful pieces from the classical repertoire, by J.S. Bach and Joaquin Rodrigo, skilfully adapted by Dale for his group. The accompanying musicians here are Jeff Jenkins on piano and Simon and Romaine on bass and drums. Dale's guest is flautist Ali Ryerson, whose skill on both concert flute and alto flute is wholly admirable. This is seriously good music, played with verve and understanding by a group of musicians it would be hard to better anywhere in the world. (Buy these now ...)

An imaginative and highly individual singer, Katie Bull is here in duo with bass player Joe Fonda. The pair present a very good set that mixes well-known songs with some of Katie's originals. She is a strong and assured singer, willing to explore and take chances, which she pulls off with considerable aplomb. Joe's bass playing is a constant delight; he is supportive of his partner, similarly imaginative in his solos, and always swinging. Among the familiar yet far from overdone songs are 'I Could Have Danced All Night', 'I'm Old Fashioned' and 'Bluebird Of Happiness'. Katie's originals include 'Speak Louder' and 'Love Spook', the latter being the title song of her previous and similarly adventurous CD on this same label and upon which Katie and Joe worked with pianists Frank Kimbrough and Michael Jefry Stevens and others. (Buy this now ...)

A highly talented singer, mature and unforced, Donna Byrne sings with the liquid grace of a horn player. Her interpretation of lyrics shows a profound understanding of their emotional depths. Joined here by the excellent rhythm section of Tim Ray (p), Marshall Wood (b), Jim Gwin (d), Bucky Pizzarelli (g), along with tenor saxophonist Scott Hamilton, Donna delivers a fine set of mainly standards. This is a thoroughly engaging CD by a singer of considerable merit and who deserves the wider attention she is now beginning to receive. (Buy this now ...)

The piano, bass and drums trio of Rex Cadwallader, Mike Asetta and Arti Dixson is an exceptionally attractive group. Their last CD, Broadway - West Side Story with guest flautist Ali Ryerson, was of familiar music. On this 2005 CD all the pieces are originals by Rex and all are vivid and imaginative compositions. Individually, these are first class musicians, collectively they have a flair that marks them out from most p-b-d trios. Fiery and exhilarating, this is a group to listen out for, live or on record. If these three musicians are new to you, this album is a first-rate introduction to their many and considerable skills. (Buy this now ...)

An exciting date from driving hard bop trumpeter Elliott Caine. This is Elliott's third CD and on it he blends in touches Latin jazz, ably abetted by a fine group of like-minded, Los Angeles-based musicians. All the music here is Elliott's and he shows himself to be as adept at composition as he is in performance. The core rhythm section features pianist John Rangel, bassist Bill Markus and drummer Kenny Elliott and all are in top form. Also on the date are tenor saxophonists Carl Randall and Justo Almario, as well as percussionists Munyungo Jackson, Inocente Alvarez and Antoine Cayito Dearborn, with appearances by vibraphone player DJ Bonebrake and Probyn Gregory on theremin. Altogether, this is an attractive date from a group of musicians who are well known in the Los Angeles area and on this showing clearly deserve a much wider audience. (Buy this now ...)

Set for release on 1 January 2007, this is an attractive guitar and organ trio set by Jason Campbell, an Australian guitarist whose band, JC & the Jazz Hoppers, has made a big impression Down Under. With Col Nolan, on Hammond B3, and Andrew Dickeson, on drums (Evan Mannell on one track), Jason drives smoothly through a pleasing selection of material. There are two takes of Tadd Dameron's Our Delight, an original by Jason, and a few items usually heard in performances by contemporary pop musicians, all of which he turns into straightahead jazz pieces. No frills, no egocentric excesses, just good solid and swinging music from some very talented musicians. The aim of this set is to introduce Jason to a worldwide audience, and especially in America. This should do the trick. Admittedly, there are a lot of very good guitarists out there, but Jason has the ability to make his presence felt and heard. (Buy this now ...)

First come two very welcome reissues - from 1994 is a set that teams guitarist Royce Campbell in a succession of duos with fellow guitarists Larry Coryell, Pat Martino, John Abercrombie, Dave Stryker, and Bucky Pizzarelli. Whether soloing, dueting, trading fours or backing one another, these fine musicians ably confirm the CD's subtitle, A Jazz Guitar Celebration. The song selection is admirable: three of Royce's originals, pieces by jazz masters Miles Davis, John Coltrane and Bill Evans, and four standards. To all of this music, these fluent and skilled guitarists bring invention and imagination and the entire set swings. The six guitarists are backed by bass and drums drawn from a high-quality pool: Ugonna Ogekwo, Essiet Essiet, Bill Moring and Lynn Seaton; Billy Drummond, Marcello Pellitteri, Joe Cocuzzo. All those with an interest in jazz guitar will find this attractive set very much to their taste and will want to add it to their collections. The second CD appeared originally in 1995 in a very limited edition on the Japanese King label under the title Waltz For Debby. The 1999 reissue in the USA, as Royce Campbell With Strings, was jinxed; a warehouse fire destroyed most of the prepared stock. Third time lucky perhaps for this tasteful set of beautifully performed love songs. The arrangements by Carroll DeCamp admirably set off Royce's playing and there are also fine solo piano moments from Fred Hersch, with stellar support from bassist Lynn Seaton and drummer Mark Wolfey, while the strings are conducted by Carroll. Smoothly romantic, this is the kind of music that goes well with a fine wine and the right company.

In striking contrast is the third CD, which finds Royce in experimental jazz territory and it is testimony to his skills that he is as comfortable here as in the surroundings of the other more orthodox CDs. Here, he is teamed with woodwinds player Terrence Cook, bassist Ratzo Harris and drummer Stan Gage. All tracks on this set are themes composed by Royce upon which he and his companions weave often complex and challenging variations. A striking change of style and pace for this versatile and always entertaining musician. For Trio By Starlight, Royce returns to standards but not as you might expect. Taking the chord progressions of well-known songs, he and his companions build upon them new melodies and along the way find many new things to say. The resulting whole is a continuous delight. The titles of the songs in their new form (and it doesn't take a degree in musicology to work out their origins) include 'Unforgettable April', Soul And Body', 'Almost Midnight' and 'Who's Got Rhythm'. I think I might have made this sound gimmicky and that would be wrong of me. This album is anything but that, it is filled with inventive and excellent playing by three outstanding performers. Royce's companions are piano veteran Hod O'Brien and relative newcomer Tom Baldwin on bass. Try not to miss this one.

The fifth CD is from 2007 and is solidly in the mainstream of jazz. Unusually, Royce has chosen to partner himself with only a bass player and violinist but his choice of musicians is exemplary. The bass player is Paul Langosch, a solid timekeeper and imaginative soloist. The violinist is veteran Joe Kennedy, whose recording opportunities were scandalously few during a long life in jazz. This was his final recording session, but there is no hint here that his life was moving towards its end. Vital and exhilarating on the faster pieces, fluid and languorous on ballads, Joe and Royce shine throughout, making this a very attractive and immensely satisfying set. On the sixth of Royce's CDs mentioned here, Roses & Wine, he returns to the intriguing concept of Trio By Starlight with every one of the qualities intact. Again, the guitarist is joined by Hod O'Brien on piano with bassist James King on most tracks and Pete Spaar deputizing on a few titles. The manner in which Royce and his collaborators improvise new melodies on the harmonic chord progressions of familiar songs is a joy to the mind and soul. This is exceptional playing and warrants a place in every thinking jazz fan's collection. Then comes a second set of Christmas music (the first was back in 2005), which is very attractive and blew aside my usual dislike of Christmas albums. The playing is as strong as always and here Royce is backed by up-coming bassist Bob Bowen and veteran drummer Ron Free.

Latest of Royce's CDs is his heartfelt tribute to the enormously talented Wes Montgomery. As the title, Solo Wes, makes clear, this is a solo album and Royce ably presents his take on four Montgomery originals, including 'The Thumb' and 'West Coast Blues', and also offers three of his own compositions, all of them tributes to the dedicatee. The other tracks include a couple of standards, 'Body And Soul' and 'Besame Mucho', and a jazz classic, ''Round Midnight'. Throughout, Royce plays with subtle skill and beautifully understated swing. This is jazz guitar at its best and must surely appeal to most jazz fans and especially those who admire first-class guitar playing.

Any or all of these eight CDs should appeal to all who enjoy superior guitar playing by a master of the craft. (Buy these now ...)

Although he has yet to make his mark internationally, Paul Carlon has established a solid reputation in and around New York where he has played in many bands, including those led by Harvie S and Ben Lapidus. On this, his first CD as leader, Paul has composed all but one of the tracks and his compositional skills are matched by his sparkling playing in tenor saxophone and flute. Adding their notable skills to this celebration of Latin-tinged contemporary jazz are trumpeter Dave Smith, trombonists Ryan Keberle and Mike Fahie, alto saxophonist Anton Denner, pianist John Stenger, bassist Dave Ambrosio and drummer Willian 'Beaver' Bausch. Guest artists featured on some of the tracks on this CD are tenor saxophonist Buddy Terry, vocalist Ileana Santamaria, and Max Pollak, tap dancer and body percussionist. Collectively, this gathering of talented musicians offer a highly entertaining and stimulating album. (Buy this now ...)

Based in Sarasota, Florida, George Carroll leads a lively and driving big band. Of particular note are the charts, which come from the likes of Thad Jones, Frank Mantooth, Bob Mintzer and Don Menza, as well as George himself. There are several good instrumental solos, including saxophonists Perry Childs, Bobby DeAngelis, Tucker Antell and Mike Gibilisco, and trombonists Crash Clifton and Greg Nielson. The latter also plays trumpet and flugelhorn and what's more leads his own big band on a couple of tracks. What I have not done so far is to mention that on several tracks George sings and very good he is too. His vocal sound is warm, mature and relaxed. Altogether an attractive CD that should appeal to many who like the sound of a good singer backed by a powerful big band. You are unlikely to find this CD in your local record store and you should therefore contact George direct by email at Moonboy22@verizon.net.

A fine set by this exceptionally gifted singer-pianist. Unaccompanied, Liane Carroll delves into an interesting repertoire that mixes originals and standards, the latter being revivified by her imaginative interpretations. There are few really good jazz singer-pianists around today who depend wholly upon intrinsic worth and ability rather than media hype. Liane is one of these talented few and this is a very good example of her work. An important presence on the London jazz scene for some years, in 2005 she became the first artist to win in two categories in the BBC's annual jazz awards. Liane's considerable talent and skill are now recognized around the world and this very good set sparklingly demonstrates why this is so. (Buy this now ...)

This is a relaxed and pleasing set of Brazilian music performed by the very good duo of guitarist Joe Carter and bassist Nilson Matta. Since a late 1980s performance in Rio de Janeiro, Joe has become a devotee and standard bearer for this musical form and through his honest and able playing has won over a substantial following. This is his third CD of this kind of music and displays not only his musicianship and technical skill but also his love for the form. Brazilian bassist Nilson is a wholly compatible foil to Joe's ideas. (Buy this now ...)

Although Eva Cassidy recorded only a small amount of material in her tragically short life, almost all of it is illuminated by her special touches; notably the manner in which she can subtly and so effectively improve upon even the greatest of songs from the standard repertoire. Try, for example, the gorgeous and often deeply moving CD, Songbird, or Live at Blues Alley, which displays her gift for communication. And then there is her exhilarating collaboration with blues singer, Chuck Brown, The Other Side; or the simple and enchanting pleasures of Time After Time. Dipping into the first of these CDs, almost at random, you will find 'Fields Of Gold', 'Oh, Had I A Golden Thread', and quite astonishing reconstructions of 'Autumn Leaves' and 'Over The Rainbow' that are simply breathtaking. A few tracks are duplicated on the set from Blues Alley but the rest include a superb reading of 'Tall Trees In Georgia' and another remaking of a familiar song, 'What A Wonderful World'. Also on this CD are hints of a different Eva, a gutsy, powerhouse singer who comes into her own on the barnstorming set with Chuck Brown without ever losing those astonishing melodic qualities that made her into a posthumous phenomenon.

With American Tune, the number of available recordings by Eva is extended. Some unexpected delights are here, notably the title track, and also Eva's highly personal approach to songs linked closely to artists as diverse as the Beatles, Ray Charles and Duke Ellington. The end must be in sight now, but there is never any hint that these are scrapings from the bottom of the barrel. Good music, beautifully sung. The foregoing CDs postdate by some years, Eva's recording debut. This came in 1988 with her appearance on a set with David Christopher's rock band, Method Actor. Now reissued on CD, this set shows Eva's extraordinary vocal talent in a setting that is completely different from all that came later. (Buy these now ...)

Drummer turned singer, Steve Johnson presents an attractive selection of songs new and old, the latter category the majority, all set in a decidedly contemporary mood. Steve is backed by guitarist Mike Wiens, keyboard player Mike Cross, bassist Terry Copley and drummer Steve Boggio and there is a lithely swinging feel to all that the band does. This is very much music for today but the harshness that sometimes affects contemporary pop is happily absent. Instead there is a rhythmic urgency that is always controlled and as a result creates an on-the-boil atmosphere. When Steve is not singing, he returns to his percussive past with some nice touches. The familiar songs include 'Nature Boy', 'My Funny Valentine', 'Fever', 'One For My Baby' and 'Angel Eyes'. There are some originals, by Steve, Mike W, Terry and others, and also the jazz standard 'Killer Joe' as well as Freddie Hubbard's 'Little Sunflower'. There is, too, the odd surprise, such as Ludwig Van B's 'Für Elise'. Throughout, there is an air that these guys (should that be guyz) are having fun and it is infectious. Altogether, a very attractive set that deserves your attention. (Buy this now ...)

This is John Chin's debut recording as leader and a very welcome addition to the roster of jazz pianists he is. Joined by tenor saxophonist Mark Turner, Alexis Cuadrado and Chris Higgins alternating on bass, and Bill Campbell on drums, John develops interesting improvisations on some strong themes. Three of the pieces played are John's own, two are by his mentor, Kenny Barron, and there are one each from composers Leonard Bernstein and Billy Strayhorn. Skilful, intelligent and highly accomplished playing make this set a delight from start to finish. This set deserves your attention and quite clearly this is a musician to look out for in the future. (Buy this now ...)

Far too few records are made by Soesja Citroen, a strikingly good singer from The Netherlands. She is also a very good songwriter as is demonstrated on this set as Soesja presents fifteen of her own love songs (one in collaboration with Chris Ellis), all of which are melodically pleasing and have intelligent lyrics. Soesja's sound is mature and assured and the interplay with the clarinet and alto saxophone of Michael Moore is delightful. Also recommended are Soesja's earlier records, including Soesja Citroen Sings Thelonious Monk (Timeless CD JC 11021), from 1983, and Song For Ma (Challenge CHR 70056), a 1998 recording. Three CDs in twenty years is not nearly enough. (Buy this now ...)

An exceptionally talented singer, Holly Cole brings lustre and excitement to an attractive selection of songs. Her voice is full and flowing and she interprets the lyrics with wit and integrity and she is always supremely musical. Holly is supported by several other noted musicians on the Candian jazz scene, including trumpeter Guido Basso, trombonist Terry Promane, saxophonist Johnny Johnson, pianist Aaron Davis, bassist David Piltch, and drummer Mark Kelso. This CD is filled with beautiful music, wonderfully well sung and played. (Buy this now ...)

An unexpected delight, this tough-edged hard bop session by veterans Steve and Iqua Colson. Around for many years, pianist Steve and singer Iqua have profiles that are far too low. For many years, Steve has been closely associated with some of the more advanced music coming out of Chicago and St. Louis and he is ably complemented here by T. K. Blue on soprano and alto saxophones, Andy McCloud, bass, and Reggie Nicholson, drums. Together, the band and the singer launch into a stirring set of mainly originals by Steve. Some of the tracks on this CD are instrumentals and all on hand solo with verve and imagination. Iqua's singing style is appropriately bop oriented and her vocal sound is richly mature. A very nice set, then, from artists who deserve far more attention than they have hitherto been granted. (Buy this now ...)

A rich and tuneful performance by a singer in full control of her considerable talents, this album has since been succeeded by other fine releases. The relaxed ambience here fully suits the material, which mixes jazz standards with high quality originals. The concept behind Carri's work (and vouchsafed policy of the company she operates in collaboration with veteran composer-singer Eugene McDaniels) is 'elegant music for intelligent people' and it is a measure of her skills that this CD fully lives up to that daunting standard. Mostly active in the north-eastern states, this is an excellent opportunity to hear a singer who deserves to be better known. (Buy this now ...)

Singer-pianist Eric Comstock has built a considerable reputation during the years since his 1998 debut CD. This new release demonstrates why this is so. Drawing his material from the masters of the Great American Songbook, as well as jazz songs from Duke Ellington, Billy Strayhorn, Charlie Haden and Benny Carter, Eric sings with a lithe and subtle swing, while his piano playing is an ideal match for his voice. Eric is joined here by the guitar, bass and drums of Peter Bernstein, Peter Washington and Matt Wilson, as well as the tenor saxophone and flute of Frank Wess and the trombone of Wycliffe Gordon (and on five tracks, Eric Reed steps in on piano). This is all very good material, extremely well performed by an artist with a rare touch of class. (Buy this now ...)

Singer Mary Foster Conklin has chosen for this CD the music of Matt Dennis, thus bringing together a singer and composer both of-whom have made an impact on the world of cabaret. There are hints of affinity with the world of jazz throughout, but this is music for the connoisseur of late-night, world-weary eloquence where singer, composer, customer (and bartender) are united in reflecting on the might-have-been world that lies outside their temporary refuge. Everyone knows the mood, most have experienced, and this is the kind of CD to play when that mood is upon you. With fine accompaniment from pianist John Di Martino, guitarist Tony Romano, bassist Sean Smith and drummer Ron Vincent on most tracks, Mary explores the music and the mood and lyrics by several notable exponents of the art, particularly Tom Adair whose contribution made songs such as 'Violets For Your Furs', 'Will You Still Be Mine' and 'The Night We Called It A Day' part of the common language of four o'clock in the morning people everywhere. (Buy this now ...)

A delightful singer, Carla Cook has an assured vocal style and a thoroughly pleasing sound. She delivers striking interpretations of some well known songs, swings with panther-like grace, and overlays the entire CD with rare good humour. The unusual instrumentation of four-piece rhythm section and three trombones allows for some intriguing ensemble passages. The instrumentalists include pianist Cyrus Chestnut and trombonists Fred Wesley, Craig Harris and Tyrone Jefferson, and three trombones allows for some intriguing ensemble passages. All musicians are in fine form and the result is a CD that will provide constant pleasure. Clearly, Carla is a singer to look out for, and this CD is an excellent place start. (Buy this now ...)

Canadian alto saxophonist Sheila Cooper is also a good singer. Her instrumental and vocal abilities cross-fertilize to make her performances both rounded and deep. Sheila's vocal phrasing reflects her command of jazz saxophone, while her understanding of the lyrics is revealed in the melodic charm of her instrumental solos. Sheila lives in Austria and she is accompanied here by Austrian pianist Fritz Pauer. Together, they form an exceptional duo and on a set of mainly standards they never put a finger wrong. Before this release by Candid, this CD was briefly available on Panorama 004. (Buy this now ...)

Although Roz Corral has been around for some years, this is her debut CD and it is very good indeed. She has a fluid sense of swing, displays fine jazz phrasing, and has a sound that suggests warmth and maturity. This sense of maturity, so often lacking in singers who have publicity machines at their disposal, is apparent in many ways. As indicated, this maturity comes through Roz's vocal sound but it is also apparent in her intelligent interpretation of the lyrics she sings. Her repertoire shows taste; there are some standards it is true, but they are either not overused or are approached with ingenuity. For example, Roz makes interesting choices of tempo, often unexpected but always appropriate. Quite clearly, Roz is a jazz singer, and one of considerable merit. On this set she is surrounded by front-rank instrumentalists: the rhythm team of Bruce Barth, piano, Larry Grenadier, bass, and Jeff Ballard, drums, cushion the vocals with elegance and style. Others on hand are John Hart, guitar, Steve Davis, trombone, and Steve Wilson, alto saxophonist and clarinet, all of whom provide an occasional tasteful obbligato and some crackling solos. Among the tracks on this warmly recommended set are songs by Dave Frishberg, Stephen Sondheim, Irving Berlin, Harold Arlen and Johnny Mercer. (Buy this now ...)

With her debut CD Joan Crowe registers strongly as a distinctive singer with an intelligent and witty approach to her material. Drawing songs from among popular standards and lesser-known works from the pop field, she works engaging variations and fits smoothly into the supporting group, which includes the core trio of Tedd Firth, piano, Jay Leonhart, bass, and Scott Neuman, drums. Joan's voice is rich and fluid and she has a pleasingly controlled touch of vibrato. A thoroughly musical and highly enjoyable set, this CD, released in August 2005, should have a wide appeal and must surely be only the first of many albums yet to come. (Buy this now ...)

This exceptional bass player is widely known and respected within the profession, although his name remains relatively unknown among audiences. This is despite the fact that many will have heard him over the years thanks to spells with numerous leading musicians. Among these are the pianists Chick Corea, Al Haig and Teddy Wilson, saxophonists Al Cohn, Zoot Sims and Phil Woods. Here, he leads a trio featuring pianist David Leonhardt and drummer Paul Wells through a selection of his own compositions. Free-flowing improvisations over a secure pulse make this a very attractive recording and should do much to raise Roy's profile among discerning fans. (Buy this now ...)

This exceptionally attractive mainstream set from Eddie Daniels finds the veteran saxophonist/clarinetist in very good form. His clarinet playing is incisive and inventive, his tenor saxophone fluent and melodic. Backing Eddie is a rhythm section leaders must dream about: Hank Jones on piano, Richard Davis on bass and Kenny Washington on drums. The music Eddie has chosen includes standards such as 'It Had To Be You' and 'How Deep Is The Ocean' alongside compositions from jazz masters such as Charlie Parker, Billy Strayhorn, Duke Ellington and Thad Jones. Eddie plays tenor on four tracks, clarinet on eight and there is not a moment without interest or excitement or pleasure or any combination thereof. This is mainstream jazz at its very best and this CD belongs on the shelves of any discerning collector. (Buy this now ...)

The first of these CDs is a relaxed and very pleasing 2003 set on which Roger Davidson offers some Latin-tinged takes on classic music from the pen of Richard Rodgers. Sometimes solo, sometimes in duo with bassist David Finck, and also in a trio with percussionist Paulo Braga, Roger pays respectful tribute to the composer, while simultaneously displaying his own inventiveness. Among the songs Roger has selected are 'My Romance', 'Lover', 'If I Loved You' and, aptly enough, 'The Sweetest Sounds'. This music has been around long enough to be considered timeless; Roger's treatment will help ensure that it continues to live for many more years.

The second CD is mostly of Roger's own compositions and very good they are too. Once again bassist David Finck is on hand and so too is drummer David Ratajczak, while percussionist Charles Descarfino joins the trio on two tracks. Although recorded back in 1991, this set is released now, late 2005, for the first time. It has been well worth the wait. The third CD is mostly originals by Roger and the dominant theme is the bolero. Backed by the bass of David Finck and Ignacio Berroa's compelling percussion, Roger also benefits from contributions by guitarist Francisco Navarra, flautist Marco Granados, trumpeter Kenny Rampton and additional percussion from Pernell Saturnino. The whole is another fine example of this pianist's wholly admirable embracing of the music of Latin America. (Buy this now ...)

This CD introduces to a wider world the popular San Francisco-based singer Jamie Davis. Backed here by a powerful big band playing Count Basie-inspired charts with fire and precision Jamie romps through songs such as 'Isn't She Lovely', 'Night And Day', 'Every Day I Have The Blues', 'The Very Thought Of You' and 'Alright, Okay, You Win' with flair and enthusiasm. Among the instrumentalists on hand are trumpeters Scotty Bernhardt and Chuck Findlay, drummer Butch Miles, saxophonists Marshall McDonald and Scott Jepperson, and pianist Tony Suggs. Leading the band is Shelly Berg, who also contributes one of the charts; mostly these are by Bob Ojeda, with others by Aaron Lington, Allyn Ferguson, Tom Hart and Marcus Shelby. In addition to the CD, the package comes with a DVD that features excerpts from the recording session and interviews with several of the band's members as well as the singer himself. Release date for this set is 13 June 2006. (Buy this now ...)

Finding a smooth side to the long tradition of organ-guitar-drums trio music, Mel Davis joins forces with guitarists Ronny Jordan and Mark Bowers, and drummers Dave Moore, G. Earl Brice, Charlie Haynes and George Macheda, together with additional percussionists Tom E. and Butch Johnson and guest horns, trumpeter Freddie Hendrix and saxophonist Bruce Williams to deliver some smooth performances. About half of the pieces hereon are originals by Mel, with a nod to past master Jimmy McGriff, 'Heavyweight'. Mel sings on a couple of tracks but his forte is the organ, not voice and elsewhere he establishes a smoothly swinging groove that is ably followed by his musical companions. (Buy this now ...)

For decades, Brian Dee has been a first call accompanist for many of the world's finest jazz musicians. In recent years, Brian has made steadily more appearances, live and on record, as soloist and bandleader. This has allowed audiences to better appreciate the special skills he possesses in abundance. Whether delicately caressing ballads, or playing blistering boppish lines on up-tempo numbers, his improvisational gifts are readily apparent. Here, he is joined by Simon Thorpe and Ralph Salmins, on bass and drums, and saxophonist Alex Garnett on a selection of Dee originals. First class music all the way. (Buy this now ...)

Although born and still based in the Netherlands, tenor saxophonist Dick De Graaf here presents an emphatic selection of music that clearly demonstrates why he is held in such high regard. Accompanied by Jeroen van Vilet, piano, Guus Bakker, bass, and Pascal Vermeer, drums, Dick surges through ten of his own compositions with authority and inventiveness. Dick has been around for many years but if he is new to you then this is an excellent introduction. Strong post-bop stuff but he is by no means a unidirectional player. He can currently be heard with violinist Michael Gustorff and accordionist Hans Sparla in the Trio Nuevo on Jazz Meets Tango, also on Soundroots (SR 01). (Buy these now ...)

New to me, this is Sarah DeLeo's second album and very attractive it is too. Sarah has a smooth and gentle vocal sound. Clear diction and airy phrasing allows her to bring pleasing interpretations to the songs she sings. Her repertoire mixes standards, such as Sometimes I'm Happy and You're Getting To Be A Habit With Me, with contemporary pieces, such as Let It Rain. Sarah's accompanists here are organist Brian Charette, guitarist Chris Bregson, pianist David Cook, percussionist Mark Bordenet and bassist Gary Wang, as well as guest horns saxophonist Jay Collins and trumpeter Fabio Morgera. This singer is well worth looking out for and if she is also new to you then this album serves as a very interesting introduction. (Buy this now ...)

In my liner notes for the first of these three CDs, I drew attention to Dena DeRose's considerable accomplishments as a singer, as a pianist, and as that most taxing of musical tasks - a singer-pianist. The aplomb with which Dena performs this difficult dual role is a lesson that many could use as a paradigm for their own careers. Added to all of this, she writes most of her own arrangements creating spacious settings not only for her own skills but also for those of her accompanists who include trumpeter Ingrid Jensen, saxophonist Steve Wilson and trombonist Steve Davis.

Good as that CD is, the second is even better, displaying as it does the steady growth of a remarkably talented artist. Once again she is surrounded by strikingly gifted fellow musicians, among them trumpeter Jim Rotondi and vibraphonist Joe Locke. Dena is a complete player in the sense that there is never any suggestion that she is a singer who accompanies herself, although she does that, or a pianist who sings, although she does that too. Rather, Dena DeRose is at all times a complete artist and a superb practitioner of that taxing craft.

In assessing the merits of the third and most recent of these CDs, I find myself reaching for the forbidden chest of superlatives. Forbidden, because over the years I have grown weary of the manner in which words such as 'great' have been steadily devalued in the music business. That said, it is very tempting to use the word here. I have already commented upon Dena's growth twixt the first and second of these CDs; that growth has continued and here, in a set consisting mainly of standards, she stretches even further ahead of her contemporaries. As already remarked, Dena writes her own arrangements and it is that element of her multi-faceted talent that is most in evidence here, and which she discusses in an eloquent liner note. Dena takes songs that we have all heard a thousand times before, "Lover", "I Thought About You", "I Didn't Know What Time It Was", "The Nearness Of You", and deftly renews them in subtle and wholly charming ways, never diminishing the worth of the songs and the intentions of the composer and lyricist, yet making them entirely her own. All the while, she stamps her own jazz feeling firmly upon the material. Here, she is again aided by an outstanding instrumental team that includes Peter Washington and Matt Wilson, on bass and drums, trumpeter Tony Kadleck, and French horn player Sara Della Posta, while Rotondi, Locke and Davis all appear again. Pianist Bill Charlap guests on one track as does trumpeter Brian Lynch. This really is a superb CD, and one that is recommended without any qualification whatsoever. (Buy this now ...)

An exceptionally gifted pianist, Gene DiNovi delivers superb performances drawn from the oeuvre of two masters of twentieth century music. Accompanied by bassist Dave Young, Gene's delicately boppish touch enhances songs that are familiar and others that are less so, always searching the depths for overlooked nuances. During a long career, Gene has been accompanist to Peggy Lee and Anita O'Day, sideman with Benny Goodman and Lester Young, among a stellar list, as well as being a studio musician. His appearances in the full glare of the spotlight have not been as many. This 2002 live recording compensates in a very big way, demonstrating as it does that even after 60 years as a professional musician, his enthusiasm and his technique are still at full flood. (Buy this now ...)

This strikingly good big band has been around now for a dozen years and good as it was to start with, and it was very good indeed, it is even better now. The leader of DIVA is drummer Sherrie Maricle who has been there from the start and although the personnel has undergone some changes over the years it has always been first class. On this outing there are no weak links and very nearly everyone gets a chance to solo. Although it might be invidious to select just a few for special mention, because all are so good, I was very taken by the playing of Barbara Loronga, trumpet, Karolina Strassmeyer, alto saxophone, Lisa Parrott, baritone saxophone, Chihiro Yamanaka, piano, and Anat Cohen on both tenor saxophone and clarinet. Special mention must be made of the arrangements; as the album title suggests these are by Tommy Newsome and they are ideal for this band, which in its ensemble playing shifts from fiery to mellow with commendable flair. This is top class big band music played with panache and style and is very warmly recommended. (Buy this now ...)

Miles Donahue Standards Vol. 1: Stranger In Paradise (Amerigo AMR 33711)

Miles Donahue Standards Vol. 2: Polka Dots And Moonbeams (Amerigo AMR 33712)

Miles Donahue Standards Vol. 3: Someone To Watch Over Me (Amerigo AMR 33713)

Already a veteran of the music scene, here multi-instrumentalist Miles Donahue offers a selection of fine songs, very ably performed. He is that rarity, a skilled reed and brass player, and here he demonstrates his skill on alto and tenor saxophones and trumpet. Along the way, he also shows his talent as an arranger. A veteran of the hotel circuit, on his recent CDs and live outings 50-something Miles has now directed his manifold skills to the jazz scene. Less lucrative it might be, but it is clear that this is where his heart is. Among the other instrumentalists to be heard throughout these CDs are pianists Fred Hersch, Bruce Barth and Kevin Hays. The ambience is that of a relaxed, post-bop meeting of musical minds and there isn't a jarring note to be heard. On each of the CDs there are three songs from Robin McElhatten. She is young but experienced and here stakes a claim for much more attention than has so far been her lot. Any one of these CDs (which are available separately) is worth your attention. (Buy these now ...)

A very welcome newcomer to the ranks of jazz singers, Nancy Donnelly has performed extensively in Boston, New York and surrounding areas but is as yet little known outside the USA. This CD, her first release, should change all that. Accompanied by the fine trio of pianist Peggy Stern, bassist Jay Anderson and drummer Matt Wilson, Nancy swings admirably through a selection of original material (by Nancy and Peggy) and familiar standards, although none of these is overused and hence contribute to the overall feeling of freshness. Melodic and accurate, Nancy's singing voice is always a delight to hear and she interprets ballads with introspective warmth, while on the mid-tempo pieces she swings with seemingly effortless ease. If you didn't know this was a debut, you would certainly not guess. This is a singer with full and justified confidence in her ability and one well worth getting to know. (Buy this now ...)

Perhaps this should not be listed as a jazz CD, but how do you describe an artist like Bob Dorough? Witty, inventive, a multi-talented pianist, singer, composer, educator, he has been around seemingly forever. Indeed, he is now 80-something yet nowadays, most Sundays, he can still be found entertaining audiences at New York's Iridium Club. This is where this engaging set was recorded early in 2004. Mixing standards with his own compositions, some of which have themselves become standards, he remains as sparkling as he ever was in the past. Ably backed by the trio of guitarist Steve Berger, bassist Steve Gilmore and drummer Ed Ornowski, Bob sings and plays his way through songs such as 'You're The Dangerous Type', 'Baby Used To Be, 'Comin' Home Baby', 'We'll Be Together Again' and 'Sunday'. On the latter, as well as on 'Ain't No Spoofin'', Bob is joined by guest trumpeter Joe Wilder, while pianist-singer Daryl Sherman sits in on 'Without Rhyme Or Reason'. Warmly recommended to all fans of Bob's, and if you have yet to encounter this remarkable musician you could not wish for a better place at which to start. (Buy this now ...)

An interesting set from the pupil-teacher team of singer Christiana Drapkin and pianist Charles Sibirsky offers a mixture of standards, jazz songs and originals. Christiana has a lightly ethereal sound, pleasantly reedy in places, and she presents her material in a relaxed and confident manner. Her teacher for many years, Charles is a fine piano player and his accompaniment and solos are fluid and eloquent. Also heard on most tracks is bassist Murray Wall. Charles's originals, 'Formation', 'Open Your Heart', 'Cholesterol Blues', are all good songs that deserve a wider hearing. (Buy this now ...)

A strikingly gifted singer, Madeline Eastman is decidedly contemporary in her approach to jazz. Although drawing upon the great standards, she reworks and revitalizes the songs with flair and imagination. Her vocal sound is mature and her improvisations are fluent. Accompanied here by a first-rate band, including Randy Porter (p), Rufus Reid (b) and Akira Tana (d), Madeline is not only the solo voice and leader, when the moment demands, she is also a thoroughly integrated member of the ensemble. This is a very good example of this fine singer's work and one that might well send you hunting the catalogues for more. Good to know that Madeline is also a skilled singing teacher. (Buy this now ...)

Julie Edwards & Kevin Dearden Rhyme Or Reason (Eden Productions EPUK 004)

Although her reputation initially rested largely upon extensive jazz club and concert work in the North of England, airplay on BBC national radio of her debut CD began much more widespread approval of her work. Julie Edwards has a very pleasing voice, which she uses thoughtfully to create original and interesting interpretations of standards and jazz songs. Especially attractive, is Julie's obvious delight in singing, something that she readily communicates to her audience. The first of these three CDs offers good accompaniment from a rhythm section and the saxophones and flute of Kevin Dearden. One of the best debut CDs I have heard in quite a while, and which indicated the start of something good. These thoughts were confirmed and amplified with the release of Connections, a set that clearly demonstrated growth and maturity in two artists who were already forces to be reckoned with. Delightful interpretations of fine songs abound; singing and playing are of the very highest order.

With the third set, the growth of this singer continues and she brings maturity in sound and sensibilities to a very attractive selection of songs that are mostly familiar but far from overused. There are also a few songs rarely heard while the title song is an original by Julie and Kevin. This is a selection to savour and if you are unfamiliar with this singer's work it is a very good place to start. You won't be disappointed. (Buy these now ...)

Frequently reissued, these three albums (a triple and two doubles) offer intriguingly varied glimpses of one of the finest bands ever to grace jazz. (Many might argue persuasively, with or without fanaticism, that it was the greatest of them all.) The tracks on the first come from a short but productive and creative period in Ellington's life; he was always productive and creative, this period, 1940-42 was astonishing even by his own high standards. Several of the band's mainstays were already clocking up remarkably long periods in the fold: Harry Carney, Johnny Hodges, Sonny Greer; others were relative newcomers, notably Jimmy Blanton and Ben Webster, whose contributions were of such importance that their names were ever afterwards appended as identifiers. Nothing is weak or wasted, even the alternative versions included here add to our knowledge and understanding of and delight in the band. But is it the real Duke Ellington?

The second album marks the turning point in public awareness of the band; that evening designed by an alchemist when everything went right. Its centrepiece is, of course, the roaring Paul Gonsalves solo that bridges the two parts of 'Diminuendo and Crescendo in Blue', even if this had the unfortunate effect of tying the saxophonist to a roof-raising role despite his being one of the most rhapsodic of Ellington's players (Webster and Hodges notwithstanding). Yet, in a way, what this album gives us, while an immensely enjoyable and true view of the band (this reissue gives us everything, including studio remakes), might also be something other than the real Duke Ellington.

It was Hodges who raised the questions hanging over these two marvellous sets of music and cast doubts upon the continued assertion that these two albums are archetypal Ellington. 'If you never heard Ellington play for dancing,' Hodges once observed, 'then you never heard Ellington.' If this casual remark is accurate, then almost no one living today really heard Ellington; because pretty nearly everyone around today has heard Ellington only on record or in the concert hall. And that is what these two albums are. In the case of The Blanton Webster Band we hear Ellington in the recording studio, bound by the three-minute side and, despite the glories that abound, affected as were almost all jazz musicians by the coldness of the setting. While Ellington at Newport was not really a concert hall, it did have that same general ambience, albeit considerably livelier than most.

This is why Fargo is so special; it is a dance date. Recorded with commendable foresight, by Jack Towers and Dick Burris, and with remarkably good sound considering the time and circumstances and technical shortcomings, this set captures that free floating spirit of an organization that was not only a great jazz band but was also a great dance band. The band's personnel is pretty much the same core of musicians as for The Blanton-Webster Band and many of the solos taken are on par with, or sometimes superior to, those on the studio dates. Over everything, though, hangs that indefinable 'something', an atmosphere that makes it possible to detect a glimmer of what it was that prompted Hodges to make his remark.

For the reasons expressed, it is impossible to choose between these three albums. Each one is important, valuable, and in its own way a superb example of the extraordinary alchemy that was the Duke Ellington band. (Buy this now ...)

As the years rumble on. it becomes ever more apparent that Don Ellis, a master of intricate time signatures, was himself timeless. None of this music, recorded in the late 1960s, has aged; all of it is as vibrant as the day it was first played. It is breathtakingly exciting stuff, and always brilliantly performed. The band's music, most of it written and arranged by Don, consistently demonstrates how far out of his time he truly was. He still is; but this is not to suggest that there is anything too far out of reach, although it might well have seemed that way in 1966 and 67. Scorching through startling charts, in time signatures as unexpected as 7/4 ("Pussy Wiggle Stomp"), 17/4 ("New Horizons"), and 19/4 ("33 222 1 222"), and swinging like mad in all of them, the Don Ellis big band astonishingly places no severely limiting intellectual demands on the listener. Of course there is plenty to stimulate the mind, the marvellous 20-minute "Variations for Trumpet", for example, takes its audience through six sections and time signatures of 5/4, 9/4, 7/4 and 32/8. But throughout it all, there is a sense of wonder and joy; section work and solos that cause one to laugh out loud at their audacity.

Although Don is the star of the show on all of the three CDs listed here, with his writing and superb hot trumpet playing, complete with experimental use of a ring modulator and a specially made ¼-tone trumpet, and his occasional helping hand on a third drum kit (two drummers and three bass players were the norm), there are other notable instrumentalists: among the brass are Glenn Stuart, Bob Harmon, Glenn Ferris, the saxophonists include Ira Schulman, Sam Falzone and Frank Strozier, while the drummers who keep the exhilaration high include Ralph Humphrey and Steve Bohannon.

Not too many bands have taken on the challenges set by Don Ellis during his short lifetime, he died in 1978 at the age of 44, but reissues such as these present his fans with wonderful opportunities to hear some of the most extraordinary, and some of the best, big band music that has ever been recorded. (Buy these now ...)

Nowhere nearly as well known as her talent demands, on this hard-to-find CD, Carol displays her artistry and skill on a selection of songs, many from the Great American Song Book. Never afraid to try something new, she weaves new ideas into the timeworn fabric of these songs without ever sacrificing those elements that made them great. Her voice is warm, sure and sophisticated and she ably explores the depths of meaning in the lyrics that she interprets. Accompanied by a group of lithely swinging jazzmen, she stakes a claim for much more recognition than has hitherto been the case. As suggested, this CD will take some finding but the effort made will be endlessly rewarded. (Buy this now ...)

On the first of these three CDs, Connie Evingson turns to the music of Lennon & McCartney with delightful and often unexpected results. Few of the thirteen songs hereon are overly familiar and on these, as on the handful of Beatles' hits that are included, she approaches the material with wit and ingenuity. Connie's voice is expressive and lean, and she swings gracefully. Although she has spent much of her life in her home state, Connie's previous four studio albums have brought her many admirers from further afield. The songbook upon which this 2003 album is based is one usually ignored by jazz singers and Connie shows that this neglect is unjustified. The second set, recorded in 2004, finds Connie in very different musical territory. Inspired by Django Reinhardt, she teams up with three different Django-style bands, the Clearwater Hot Club, the Parisota Hot Club and Pearl Django. The music is vibrant and colourful and Connie and the instrumentalists revel in the free, open swing that admirably reflects the gypsy legend. Mostly the songs are standards, along with a couple of Reinhardt's own compositions, ´Nuages´ and 'Anouman' ('Django's Premonition'), the latter having a new lyric by Connie herself. Either one of these CDs will demonstrate to new listeners what jazz fans in Minnesota have long known - that Connie Evingson is a very accomplished jazz singer.

The third album brings together Connie and pianist-composer-singer Dave Frishberg and the resulting mixture is magical. Although Dave sings only once here, his presence is everywhere. He composed the music for all 14 songs and wrote lyrics for 8 of them. He also plays piano throughout, joining Connie in the Minneapolis studio along with bassist Gordy Johnson, drummer Phil Hey and saxophonists Dave Karr and Mark Henderson. If you have yet to hear this outstanding singer this might well be the one to choose although if you do I expect you will find it hard to stop with only one. (Buy these now ...)

A fine jazz pianist whose music glows with the warmth and rhythms of Brazil, Paula Faour is here joined by bass player Manuel Gusmão and drummer Dom Um Romão. On this attractive set there is a blend of jazz pieces, such as 'Blue In Green' and 'Well, You Needn't', standards like 'Here's That Rainy Day', pop songs, 'Fool On The Hill' and South American music, 'O Grande Amor'. There are also appearances by guest saxophonist José Carlos Ramos on four tracks, while singer Ithamara Koorax and guitarist Gabriel Improta appear on one track each. This is very well played and atmospheric music from an artist to look out for. (Buy this now ...)

In this delightful selection of songs by Harold Arlen, Barbara Fasano is joined by pianist-arranger John Di Martino, bassist Sean Smith and drummer Tim Horner, as well as guest instrumentalists John Hart, guitar, Joel Frahm, soprano and tenor saxophones, Tim Ouimette, trumpet and flügelhorn, and Kahlil Kwame Bell, percussion. Barbara's love for Arlen's music began in early childhood and as she has matured as a singer she has proved herself able to bring something special to the work of this fine composer. Her interpretation of the lyrics of the many with whom the composer collaborated is also of a very high standard. Thus, refreshed and happily revisited are lyrics such as Leo Robin's, for 'It Was Written In The Stars', Ira Gershwin's 'Here's What I'm Here For', Yip Harburg's 'The Eagle And Me', Johnny Mercer's 'My Shining Hour' and Ted Koehler's 'When The Sun Comes Out' and 'As Long As I Live'. On the latter, Barbara is joined by vocalist Eric Comstock for a very pleasing duet. This is a singer to watch out for. (Buy this now ...)

A very engaging duo, the Pisanos are singer Jeanne, and guitarist John. Together, they play a relaxed selection of standards, informing every song with obvious care and affection. Jeanne, who has a rich, full vocal sound, interprets the lyrics with skill and understanding; John's playing is assured and deft, and whether as accompanist or soloist he is exemplary. On five of the CD's twelve tracks, the Pisanos are joined by guitarist Jim Fox and their collective rapport is evident in every note. The delightful atmosphere created here on this elegantly performed CD is summed up by the title; this is music for a lazy afternoon. (Buy this now ...)

A master craftsman, guitarist Fred Fried is a vastly experienced artist. Like his former tutor, George Van Eps, Fred plays a 7-string instrument and throughout displays his complete command. Accompanied on the first of these CDs by bassist Steve LaSpina and drummer Billy Drummond, and on most of the tracks also by a string section, Fred floats eloquently through a set of his own music that entertains and engages. The string arrangements, by Richard De Rosa, are complementary and the result is an attractive set that blends musical skill with impressionistic improvisation.

For the second CD, Fred again plays some of his own songs but also offers striking interpretations of several standards, such as 'With A Song In My Heart' and 'Spring Will Be A Little Late This Year'. This time, his accompanists are bassist Michael Moore and drummer Tony Tedesco and together the trio perform with flair and enviable fluidity. Thoroughly melodic, Fred's interpretations are exceptional and his improvisation on the many and varied themes display not only his seemingly endless inventiveness but also his very obvious love for his work. (Buy these now ...)

The first of these CDs is an attractive set by a young and upcoming singer-guitarist. Although most of the songs on this CD are standards, among them 'Black Coffee', 'Route 66' and 'All Of Me', Jane Fuller is also a good songwriter. Three originals by Jane (one of them in collaboration with Laura Hart) appear here and they are by no means shaded by the better-known material. Jane has a light, airy and tuneful voice and she is an able interpreter of lyrics. Accompanied here by a selection of top-flight west coast studio musicians, her debut is not only pleasing but also a portent, I am sure, of even better things to come.

At the risk of sounding Scrooge-like, I have to say that I am not wild about Christmas albums. It is therefore both refreshing and surprising to me to say how much I enjoyed the second of these CDs, released in time for Christmas 2006. Once again, Jane has written most of the songs, but has also included some traditional seasonal songs: 'God Rest You Merry Gentlemen', 'I Saw Three Ships', 'Let There Be Peace On Earth' and 'Silent Night'. Accompanied by highly compatible musicians, she explores the emotional and spiritual aspects of the season with effortless charm. A few years elapsed between these two CDs and Jane's vocal sound shows growth and maturity. High time, surely, for a label to pick this singer up and promote her for all she is worth, which is, I would think, quite a lot. (Buy these now ...)

This very appealing album is a special pleasure for me because it is the first time I have heard John Funkhouser, who is an exceptionally talented pianist. Those of you who are ahead of me will need no telling and indeed no urging to seek out this set that mixes a few familiar pieces ('Green Dolphin Street', 'Alone Together', 'Come Rain Or Come Shine') with John's own compositions. The familiar themes are dealt with in an attractively different manner and thus come up as fresh as if they were hot from their composers minds. John's own theme's clearly are fresh from his mind and yet they have solidity and depth that makes clear they are not fleeting thoughts but are thoroughly evolved compositions that command not only intellectual attention but also also emotional empathy. As the album title suggests, John is aware of the endless possibilities in using time to find new ways to develop ideas in jazz and he does so with flair and imagination. John's collaborators on this CD are bassist Greg Loughman and drummer Mike Connors and their contributions, in ensemble and solo, are ideal in all respects. Often, I find myself in mild disagreement with those who write press releases. Not this time; the statement accompanying this CD - that John and his trio 'create an elusive blend of the approachable and the adventurous' - nails this music. (Buy this now ...)

Active in New York studios for some years, Bob Gallo is a very good guitarist whose name deserves to be much better known. If this CD comes your way you will understand why he is held in such high regard by his peers. An light and accurate touch, flowing ideas and subtle swing combine to make this appealing to those who seek to learn and to those who want to simply sit back and enjoy. The compositions are all Bob's and he is joined in playing them by pianist Misha Tsiganov, bassist Boris Kozlov, drummer Gene Jackson and guest trumpeter Alex Sipiagin. Well worth hearing. (Buy this now ...)

Living his life in the shadow of his famous brother was a cross Linton Garner bore with charm and dignity. That he could have done so much more with his career is evident from this attractive CD and while he is not Erroll (after all, who could be), he is nonetheless a talented musician. Here, Linton takes an elegant and eloquent look at some classic songs, such as 'All The Things You Are', 'It Could Happen To You', 'Just Friends', 'Days Of Wine And Roses' and, of course, the album title song. Linton is backed on this set by bassist Russ Botten and tenor saxophonist Ross Taggart, both of whom are able in support and bring their own personal touches to a very attractive set. It appears that all proceeds from the sale of this CD go to The Linton Garner Jazz Award, which is offered by Capilano College, Vancouver, British Columbia, Canada. Good cause, good music, good reason to avail yourself of this CD. (Buy this now ...)

Italian-based pianist, keyboard player and guitarist Francesco Gazzara here offers a selection of music that while leaning towards contemporary pop has a lively and highly rhythmic appeal. Throughout there is an air of fluid grace that subtly renders some attractive pieces, most of which are composed (or sometimes co-composed by Gazzara). There are four instrumental tracks, the rest having vocals, most of which are taken by Yasemin Sannino and are mainly sung in English. Instrumentalists appearing on this CD include flautist Eduardo Piloto Barreto, guitarist Marco Lamioni, bassists Luca Fogagnolo, Massimo Sanna, percussionist Mauro Mirti, while other singers are Jo Oakley, Desiree Mohammad, Wendy Lewis and Ithamara Koorax. Gazzara's regular live band includes guitarist David Giacomini and drummer Giuiliano Ferrari as well as Fogagnolo and Mirti. One of the songs from this CD, 'O Passarinho', composed by Gazzara, Koorax and Arnaldo DeSouteiro, has also been separately released in four versions on an EP. This song has attracted a lot of attention in Europe, especially in Italy. An attractive contemporary pop album by a band that deserves widespread attention. (Buy this now ...)

An exhilarating studio recorded set from George Gee's big band, directed here by Frank Foster who also wrote the swinging charts for all but one of the pieces on offer. Among the regular members of George's band are trumpeters Walt Szymanski, Steve Wiseman and Mark McGowan, trombonists Eddie Bert and Robert Trowers, guitarist Joe Cohn, saxophonists Michael Hashim and Lance Bryant. Fine, tight ensemble playing by the band and well taken solo spots by many of these fine musicians make this a must for all those who care particularly for the late-Basie-style of big band jazz updated to 2004. To add a little icing to a very palatable cake, Carla Cook sings on three tracks. (Buy this now ...)

This is a very attractive set of duets by singer Louise Gibbs and pianist Kirk Lightsey. Seven of the eleven songs are composed by jazz musicians, including Duke Ellington, Charles Mingus, Thelonious Monk and Kenny Wheeler. The other songs are mainly standards and all are given delightful interpretations by Louise who is in very good voice and she delivers the material with maturity. Kirk's accompaniment, like his solo playing, is elegant and inventive and he shows real flair. Altogether, this is a very accomplished set and one that most should enjoy again and again. Among the songs are Wayne Shorter's 'Footprints' (with Louise's own lyrics), 'A Timeless Place' (Jimmy Rowles's 'The Peacocks', lyrics by Norma Winstone), 'Never Let Me Go' and 'Spring Is Here'. Wholly admirable and something that is well worth your attention. (Buy this now ...)

Terry Gibbs Dream Band Volume 6: One More Time (Contemporary CCD 7658 2)

The recent appearance of Volume Six of the classic Dream Band series has prompted this review. The new release comes from tapes, which were discovered by Terry following a house move which was itself prompted by an earthquake. At the risk of stretching the likeness, earthquakes are what come to mind when hearing this band. Hard driving, irresistibly swinging big band jazz with fiery solos is what the Dream Band offers. Across the series, the band's personnel remained fairly consistent and most members contributed to the proceedings with exciting solos and startling ensemble playing. Among the featured players are Conte Candoli, Bob Enevoldsen, Med Flory, Bill Holman, Pete Jolly, Richie Kamuca, Charlie Kennedy, Mel Lewis, Bill Perkins, Al Porcino, Frank Rosolino, and of course Terry himself. Recorded live at Hollywood clubs during the period 1959-1961, the series is consistently excellent. Any one serves as an exhilarating examples of this fine band; all would be better. If you already have the other volumes, you must add this one. If not, start here and work backwards; and you will. As a bonus, Irene Kral sings on three tracks on this latest release.

Those other volumes are, in sequence, Dream Band (Contemporary CCD 7647 2), The Sundown Sessions (Contemporary CCD 7652 2), Flying Home (Contemporary CCD 7654 2), Main Stem (Contemporary CCD 7656 2), and The Big Cat (Contemporary CCD 7657 2). (Buy these now ...)

In the course of her last few CDs, Lee has moved steadily away from her theatrical background of some years ago and has become one of the most popular jazz singers in the UK. With the first of these two fine selections, she places herself very firmly in the mainstream and more than ever merits the international accolades that are becoming hers. Swinging lithely on the mid- and up-tempo songs, and warmly introspective on ballads, Lee is backed by some very good instrumentalists including pianist John Pearce and trombonist Mark Nightingale. On the second CD, Lee's move into jazz is complete and she exceeds even her own previous best performances. Again Pearce and Nightingale are on hand as are trumpeter Steve Waterman and saxophonists Martin Williams and Andy Panayi. For her songs on both CDs, Lee draws mainly from the standard song book, but she chooses to avoid the hackneyed in favour of quality songs that benefit from her thoughtful and tasteful treatment. Either one of these is worth your attention, or both. (Buy this now ...)

This is a truly amazing find. This CD comes from previously unknown acetates of a concert performance by Dizzy Gillespie and Charlie Parker, with Al Haig, piano, Curley Russell, bass, and Max Roach, drums. Add in guest tenor saxophonist Don Byas on one track and Big Sid Catlett sitting in on drums for two tracks and what we have here is a piece of jazz history. Thanks to Bob Sunenblick (whose work in rescuing this material is referred to in Ira Gitler's notes in archaeological terms), this remarkably well recorded music takes us back to magical times when the world of jazz was being changed. Most notable and important among the architects of change were these two men, Dizzy and Bird, and the chance to hear them anew is a real treat for all jazz fans. The themes played on this occasion are familiar (although they were not of course at the time of recording) but sound vital and fresh: 'Night In Tunisia', 'Groovin' High', 'Salt Peanuts'. Big Sid is featured on 'Hot House' and the show closes with Thelonious Monk's '52nd Street Theme'. Quite clearly, this is a very important musical document. It is also fine music, superbly played. Buy it, hear it, and marvel not only at the sounds but also at the combination of chance and good luck (and excellent remastering) that allows us to hear for the first time, 60 years on, jazz history in the making. Let me repeat myself: truly amazing. (Buy this now ...)

A rising vocal talent in New York City, Marcus Goldhaber's new CD offers a pleasing selection of standards such as 'Wrap Your Trouble In Dreams', 'Like Someone In Love' and 'Lulu's Back In Town'. Also here are two songs by Fats Waller and Andy Razaf, 'Honeysuckle Rose' and 'Keepin' Out Of Mischief Now', and one indelibly associated with Fats, 'I'm Gonna Sit Right Down And Write Myself A Letter'. Accompanied here by pianist Jon Davis and bassist Paul Gabrielson, while drumming duties are shared by Kyle Struve and Will Terrill. This CD provides an opportunity for those of us who are too far away to hear Marcus live to discover what New Yorkers are fats learning; that this is a singer of considerable talent who well deserves much wider exposure. (Buy this now ...)

Strikingly gifted, Vitaly Golovnev is a Russian-born trumpeter who presently works in New York City. There, he has played in very distinguished company, in big bands and small groups, and is fulfilling all the promise shown when he was a semi-finalist at the 2007 Thelonious Monk International Jazz Trumpet Competition. Here, Vitaly leads his own powerful small band, which includes tenor saxophonist Jake Saslow, pianist Miki Hayama, bassist Boris Kozlov and drummer Jason Brown. All the music hereon is composed by Vitaly and he is clearly as gifted in this role as he is as a performer. Fine solos abound on this CD and it is evident that all these musicians, and Vitaly in particular, are artists to watch out for in coming years. This admirable CD will be released on 20 January 2009 and can be pre-ordered. (Order this now ...)

An exceptionally attractive duo set with veteran bassist Eddie Gómez and pianist Mark Kramer developing skilful and inventive lines on songs not often brought into jazz. These songs come from the worlds of pop and the musical theatre and although they have been recorded often before, Eddie and Mark ably make us hear them anew. Among the songs are 'Hello Young Lovers', 'They Say It's Wonderful', 'If I Loved You' and 'Call Me Irresponsible'. The treatment these songs are given is always melodic and seemingly simple; but in that latter expression lies the secret. It might appear simple, but that is because of the joint and collective skills of Eddie and Mark, honed over many years working in a business that has grown steadily more complex and less true, is far beyond the comprehension of many. This is first-class musicianship, the result is a real and enduring treat. This one might be hard to find, but it well worth any effort you might have to make. (Buy this now ...)

Two exceptionally attractive recordings by a remarkably fine singer. Sandy Graham interprets lyrics with taste and sensitivity and swings from start to finish. Her fluid style and softly burnished tone add depths to a selection of standards and lesser known songs. Collectively, her accompanists are Herman Riley, Bob West, Harold Mason, Kenny Burrell, Ron Anthony, Gerry Wiggins and Alan Broadbent. Sandy Graham is a major talent who has made far too few albums. Neither of these should be missed by any discerning listener in search of top class jazz singing. Those of you who live in southern California should note that you are one of Sandy's neighbours, so keep your eyes open for live engagements. (Buy these now ...)

Drawing his inspiration from the dark and moody world of film noir, guitarist Andrew Green here presents a selection of his own compositions that take the listener into the shadowy back streets of the city where sudden death and betrayal form part of the Hollywood tradition depicted. Andrew is joined in his venture along these bleak streets by tenor saxophonist Bill McHenry, trumpeter Russ Johnson and trombonist JC Sanford, all solidly underpinned by bassist John Herbert and drummer Mark Ferber (with Benny Cha Cha on Wurlitzer piano on one track). Deeply atmospheric, the set is replete with spiky solos and mind-expanding ensemble passages. While the inspiration might be 1940s film noir, overall the mood is thoroughly in the world of today's jazz and should have widespread appeal. (Buy this now ...)

This attractive album ably blends jazz with Danny Green's strong Brazilian influences. While still studying music in San Diego, pianist Danny won the Jimmy Cheatham Jazz Award and made his mark playing locally. His interests spread not only through jazz and Latin music but also into the classical field and his talent is such that he makes the resulting musical mix seem effortless and subtly effective. All but one of the pieces on this set are Danny's compositions and his writing is as effective as his playing. His accompanists here are bassist Justin Grinnell and drummer Dylan Savage, with guests Tripp Sprague on soprano saxophone and Allan Phillips on percussion. Danny is still under 30 and is clearly a musician to look out for in the coming years. (Buy this now ...)

This CD marks a special occasion in the career of this fine pianist who has been around for many years, building along the way a striking reputation. Mostly, though, Mike has become known as an accompanist; in particular, he has appeared on 15 CDs by Wesla Whitfield. Here, though, accompanied by bassist John Wiitala and drummer Donald Bailey, Mike makes vividly clear that he is an accomplished jazz pianist in his own right. He is also an intriguing singer, delivering wryly observed versions of songs such as Bob Dorough's 'I've Got Just About Everything' and 'Small Day Tomorrow' but it is his work as soloist that opens the ears to his many gifts. Always melodic, with a hard-driving swing, Mike romps through an excellent live set. A CD that should not be missed by anyone who loves straightahead jazz played by a musician who clearly knows a thing or two about the history of jazz piano. (Buy this now ...)

This CD is right at the cutting edge of contemporary improvised music. Brian Groder has been around for some time - this is his fourth CD as leader - but is new to me. Strikingly uncompromising in his approach, Brian demands and deserves the attention of audiences who like to hear music that is not only new but thought-provoking. Here, Brian is joined by the Sam Rivers Trio, which features Sam on flute and saxophones, Doug Matthews on bass and Anthony Cole on drums. About half of the themes that form the base of the thirteen explorations on this CD were composed by Brian, with one piece with JoAnne Brackeen, three with Rivers, and two with Rivers, Matthews and Cole. Music not only for today but also for tomorrow. (Buy this now ...)

A fine tenor saxophonist, Jimmy Halperin has a warm and rounded sound. He plays with that deceptive ease that marks only the best musicians. Although he is clearly a remarkable technician, he never resorts to displays of technique but applies his skill with excellent taste. The other members of Jimmy's trio on the first of these dates are bassist Don Messina and drummer Bill Chattin. The freedom afforded soloists Jimmy and Don by the chordless format is anchored firmly by Bill's drumming. The result is a tenor saxophone album that will appeal not only to those whose tastes run to the contemporary sounds of jazz but also to those who sometimes bemoan the absence of the great traditions of this particular instrument. On the second set, Jimmy also plays soprano saxophone on some selections, finding a distinctive sound that is in intriguing contrast to the warmer tone of his tenor. This time, the bassist is Dominic Duval, the drummer Jay Rosen. As before, the chordless format offers a pleasing variation on that allowed by more orthodox tenor-led groups. Striking solos abound, and not only from the leader. Dominic and Jay, both of whom offer powerful support throughout, are also distinctive soloists and effectively complement Jimmy's work. (Buy this now ...)

A very good live set by Barry Harris, a gifted veteran of the jazz piano world. Inventive, assured, and always thoroughly entertaining, here Barry whisks through music that is by turn fiery and reflective. Ably abetted by guitarist Roni Ben-Hur, bassist Paul West, drummer Leroy Williams, and tenor saxophonist Charles Davis, Barry refreshes two jazz standards, Tadd Dameron's 'Casbah' and Thelonious Monk's ''Round Midnight', and also performs two originals, 'Monking Around', a tribute of course to Monk, and '7-4-3', an impromptu piece created on the spot from numbers called out by the audience and which he uses as scale degrees. This is jazz piano playing at its best by a master of the craft. (Buy this now ...)

This debut CD by Lafayette Harris, a gifted pianist, keyboard player and organist, offers a selection of music mainly composed by Lafayette himself with interspersed pieces by James McBride, Kenny Gamble and Leon Huff, Gordon Chambers and Nat Adderley. Although expectedly a showcase for Lafayette, there are also well-taken moments by alto saxophonist Donald Harrison, trumpeters Terell Stafford and Kevin Louis, and guitarist Ben Butler. Mainly though, as indicated (and rightly so) this is Lafayette's album and he performs admirably throughout with fluid rhythmic backing from drummer Buddy Williams and other percussionists. Certainly someone to keep an eye and an ear open for in the future. (Buy this now ...)

An inventive contemporary jazz guitarist, John Hart brings depth and perception to a set mainly of his own compositions. John's playing and that of his two associates, bassist Bill Moring and drummer Tim Horner, is exploratory and fluid. The few non-originals are well-chosen items: 'A Single Petal Of A Rose' by Duke Ellington, 'A Nightingale Sang In Berkeley Square' by Eric Maschwitz, Manning Sherwin and Jack Strachey, and 'Blame It On My Youth' by Oscar Levant and Edward Heyman, offer touchstones for those who like to hear something that is familiar but not, in these cases, overdone. That said, John's compositions are eloquent statements of a distinctive musical mind and his use of unusual time signatures is fluent and always apt. It is to these tracks that most listeners will be drawn again and again. This CD is well worth the attention of fans of contemporary jazz guitar. (Buy this now ...)

Two nicely cooking sets from Richie Hart, a gifted guitarist who plays with flair and swing. At times introspective, other times digging into a burning latterday take on the guitar-organ combos of yore, he is backed by bassist Rick Petrone and drummer Joe Corsello, and with guests on the first of these CDs keyboardist Pete Levin and saxophonist Gerry Niewood. Richie offers some interesting versions of a repertoire filled with material that is far from being overused. Music here by Thelonious Monk and John Coltrane, as well as some attractive originals, and a few standards too. On the second CD, Richie, Rick and Joe's guests are Pete again as well as saxophonist Jerry Weldon, trombonist Clifton Anderson and Hammond organist Dr Lonnie Smith. The musical mix is again standards and originals and classics from jazz composers such as Coltrane, Ron Carter and organists Jimmy Smith and Larry Young. Throughout these CDs Richie's technical virtuosity is never used for its own sake alone. His solos are sometimes single-note lines, other times bristling with complex variations that are always executed with clarity and swing. His regular trio partners and all the gifted guests solo with flair and the music is driving and earthy. If you are unfamiliar with Richie's work, then these admirable CDs are a good way in which to get to know him. (Buy this now ...)

Although active on the jazz vocal scene for several years, as both performer and educator, Carol Heffler has so far remained an elusive figure. Residents of Southern California have long known of her talent; now, everyone can hear why she is so highly regarded in that region. Elegantly poised, Carol sings in a very pleasing, unpretentious manner, bringing to the songs she sings qualities of grace and understanding too often missing from performances by today's young singers. This is quality music performed by a singer who should appeal to all those who like to hear good songs sung well. And if that means you, now's your chance. (Buy this now ...)

Drawing his repertoire from the years of classic jazz and swing music, trumpeter Duke Heitger has built a dedicated following but has only recently begun to make a major breakthrough into the international bigtime. Just why this should be is a matter for conjecture but one thing is certain, it is not through absence of talent. A young and vigorous trumpeter, Duke states his preferences with the title track from the first of these two CDs; originally recorded by Roy Eldridge with a Gene Krupa small group, this composition and the manner in which it is played immediately demonstrates that full-blooded jazz playing is not dead and gone but is very much alive and well. Duke's cohorts on the first CD, which was recorded in the winter of 1998-9, are trombonist Dan Barrett, reed players Brian Ogilvie and Tom Fischer; with Dave Boeddinghaus, Hank Mackie, Kerry Lewis and Chris Tyle on piano, guitar, bass and drums respectively. Rebecca Kilgore sits in on guitar and vocals on a few tracks. For the second CD, recorded in 2003, Duke again has Ogilvie on board, along with clarinetist Evan Christopher, pianist Steve Pistorious, guitarist John Parker, bassist James Singleton and drummer/banjoist John Gill and guest steel guitarist John Frohl. The title track here is a Benny Carter composition and there are pieces by Kid Ory, Jelly Roll Morton as well as many of the popular standards of the 1920s and 30s. Roll back the carpet (and the years); this is good-time music in the very best sense of that much-maligned and misused term.

The third album finds Duke in a delightful mainstream set where he is joined by German pianist Bernd Lhotzky. Trumpet-piano duets are not uncommon in jazz and include some major names. Here, Duke and Bernd prove that they have nothing to fear even in this exalted company. Striking moments abound throughout this set as the two musicians refresh music from the great American songbooks of the Gershwins, 'Emraceable You' and 'How Long Has This Been Going On?', Rodgers and Hart, 'Manhattan', and Duke Ellington, 'Warm Valley', 'Doin' The Voom Voom' and 'Saturday Night Function'. The duo also find some overlooked gems, such as Willard Robison's 'Poor Loulie Jean'. Altogether an exceptional album by two outstanding musicians. (Buy these now ...)

Noted contemporary bassist, Mark Helias has worked often in his trio, Open Loose, with tenor saxophonist Tony Malaby and drummer Tom Rainey. As the group's name implies, the music played by these three fine instrumentalists is freely improvised over a skeletal structure, mostly composed by Mark. This structure, while holding things together, allows the members of the group full flow to their individual abilities as freeform improvisers. The result is imaginative music, fluidly played and always drawing in the open-minded listener. On one track, 'Modern Scag', guest tenor saxophonist Ellery Eskelin also appears. (Buy this now ...)

Based nowadays in South Florida, Nicole Henry brings a vibrant personality to bear upon some well-chosen standards. Backed by pianist Mike Orta, bassist Paul Shewchuck and drummer Danny Burger, Nicole finds all the romantic possibilities inherent in songs such as 'You'd Be So Nice To Come Home To', 'Cheek To Cheek' and the title song. With this, her debut CD, Nicole should soon expand upon her present-day audience. (Buy this now ...)

One of those names that most of us have read about but all too rarely heard play. Resident for many years in Washington DC, Buck Hill presents a fine set of pieces by Miles Davis, 'Flamenco Sketches', 'Prancing' and 'Milestones', some originals by Buck himself, 'RH Blues', 'Relax', 'Little Bossa' and 'Sad Ones', and one standard, 'Old Folks'. Accompanied ably by John Ozment on organ, Paul Pieper on bass and Jerry Jones on drums, Buck plays driving tenor on the up-tempo tunes and with subtle depths on the ballads. It is far too many years since Buck led his own record date and this set vividly demonstrates just how much we have missed. Citizens of the city where he works have had him for their own for too long; hopefully, this CD will bring him to the attention of many around the world who can admire the soulful playing of this fine tenor saxophonist. (Buy this now ...)

This CD presents the remarkable flautist Holly Hoffman in the stark setting of a flute-piano duo. Given that the other half of the team is Mike Wofford, the potential for sparseness makes no appearance whatsoever. What we are offered is an exceptional set of pieces that allow both artists to explore their own and each other's innermost reaches of inspiration and inventiveness. The result is some very interesting music as they build on originals, such as Holly's 'Free Day (For Samuel Barber)' and 'Presentimiento' and Mike's 'Floof'. Most of the remaining tracks are drawn from the standards and include 'Out Of This World', If I Should Lose You', 'More Than You Know' and 'Exactly Like You', as well as some jazz songs including Thelonious Monk's 'Introspection'. On the last three named songs, Holly makes her first recordings on alto flute and despite her observation that it is an instrument that took some time to find her ease, the result is effortless. Throughout, these are charming interpretations and all are played with skill and understanding. (Buy this now ...)

An all-percussion ensemble, while not unique is certainly rare enough to appeal to those for whom the wide range of instruments that fall under that heading promise excitement. Sarah Hommel certainly delivers and that's not at all surprising because she has brought into her band for this live set the exceptional talents of Mino Cinèlu, Victor Jones, Victor Lewis, Bill Ware and Richard Zukor. Between them, Sarah and her companions play various percussion instruments from the African and Caribbean arsenal along with the expected drum set, vibraphone, chimes, marimba, tympani and many more besides. The individual members of the group play these instruments with great skill and bring to the music keen ears and swift responses. Very enjoyable music, all but one of the items composed by Sarah, played by some highly talented drummers. (Buy this now ...)

This 14-piece band is highly contemporary in approach but skillfully retains conceptual links that range back through bebop to the swing era. Individually, the band's members are highly gifted and all have exceptional technique allied to an ability to blend with the group concept. The band includes trumpeters Lewis 'Flip' Barnes and Chuck 'Numbers' MacKinnon, saxophonists Patience Higgins and Cleave Guyton, vibraphonist Warren Smith and the leader on piano. Here, the band is joined on several tracks by the striking singer Queen Esther. Exciting and eloquent, this is an urgently rhythmic band that confidently executes new ideas with flair. The music for the CD, which has a loose framework provided by a storyline of young lovers living in Brooklyn, is written mostly by the leader with some assistance on lyrics from Madeleine Peyroux. Throughout, the charts offer scope for many instrumental solos and the opportunity is grasped eagerly by these fine musicians. (Buy this now ...)

Belying her years, Linda Hopkins scorches through a set recorded at the Catalina Bar & Grill Jazz Club in Hollywood. Recorded in April and May 2006, this remarkable artist displays the vitality and enthusiasm that brought her Broadway plaudits and has ensured her retention of star status at an age when many would have called it a day, always assuming that they had survived. Linda has not only survived, she has retained all of her command and stage presence and if a little of the richness her singing voice had when in its prime has been lost, she more than compensates with her enthusiasm. First rate backing is provided by Michael Konik and his Tasty Band, which includes Kim Richmond on alto saxophone and flute, Andy Howe, piano, Joel Hamilton, bass, and Ken Park, drums. Linda's repertoire is earthy, including as it does, 'Let The Good Times Roll', 'Every Day I Have The Blues', 'Drown In My Own Tears', 'Stormy Monday' and 'Georgia On My Mind'. Lively and entertaining, this is one to savour. (Buy this now ...)

A San Francisco-based singer, Frank Jackson is relatively little known in the rest of the USA and almost not at all overseas. For some six decades, Frank has delighted west coast audiences and although this is not his first recording, perhaps this rather nice CD will spread his reputation farther afield. On this session, Frank is backed by a front-rank rhythm section: James Williams, piano, Ron Carter, bass, Kenny Washington, drums, and is also joined by Boston saxophonist Billy Pierce. (Williams was also producer of the session and this was sadly one of his last appearances on record before his untimely death.) Listening to this CD, it is easy to understand Frank's popularity in San Francisco and a little sad to reflect that the rest of us have not had too many opportunities to share in their pleasure. Not at all surprisingly, his voice, a pleasing light baritone, is mature but bears few of the sings of ageing that might normally be associated with a man of 78, his age at the time of this 2003 recording. (Buy this now ...)

This very good singer has yet to make a name but on the basis of this fine CD, this must surely happen soon. Laird Jackson has a strong, rich voice and a flowing ease to her delivery, and these qualities blend wonderfully in a set that includes lesser known songs by the likes of Joni Mitchell, Bill Withers and Stevie Wonder, alongside attractive originals by the singer herself. The quality of Laird's performance is backed by first class instrumental contributions from pianist Bruce Barth, guitarist Marvin Sewell, and others. Quite definitely, Laird is a singer to look out for and encourage. (Buy this now ...)

Another fine singer deserving of far more attention than has so far been extended, Joni Janak is based in Colorado where she has attracted a faithful and discerning following. Audiences on the west coast, and through her previous CDs, have also become aware that hers is a talent of international quality. Here, very well chosen selections of songs are given thoughtful and lyrical interpretations. Astute phrasing and unforced swing make the first of these three CDs a very attractive jazz album. Joni is accompanied by the very good rhythm section of Ellyn Rucker (p), Ken Walker (b) and Todd Reid (d), who are joined on all but four tracks by the outstanding trombonist, Carl Fontana, whose death late in 2003 robbed the jazz world of a master craftsman. The second CD finds Joni wearing a somewhat different musical cap, as lead singer of the elegant four-part harmony group, Centerpiece Jazz. The other members of the group, all singing instrumentalists, are guitarist Ed Stephen, bassist Dean Ross, and drummer Ron Moewes. Together, they offer a smoothly swinging and always thoroughly musical take on a fine selection of songs. The third CD finds Joni again with Ron and now also with pianist Ralph Sharon, who has retired to Colorado after many years on the road with Tony Bennett. As this CD's subtitle makes clear, this is the music of Irving Berlin and the familiar songs are given new arrangements by Ralph that offer Joni matchless settings for some very fine interpretations. Also on hand are Dean and Ed, together with guests Rich Chiarluce, on tenor saxophone and flute, and Joe Hall, on trombone. Ron lends a vocal touch to the proceedings as does the Centerpiece Jazz quartet. Altogether, a very attractive CD that will satisfy jazz fans as well as those who, like these artists, love these wonderful songs. (Buy these now ...)

Remarkably, this CD celebrates Barbara Jay's fifty years as a professional singer. You would never know it from the delightfully fluid vocal sound, nor from her eager enthusiasm. If anywhere, these five decades are revealed in the thoroughly professional approach and the appearance of effortlessness that comes only with the confidence born of experience. Allied with all of this is a pleasing selection of songs and a band of front-rank performers: clarinetist Julian Stringle, pianist Keith Ingham, who has two tracks to himself, bassist Alec Dankworth, and drummer Ralph Salmins. Leading the band is tenor saxophonist Tommy Whittle, husband to Barbara, and himself a 50-year veteran of the international jazz scene. The whole thing is a joy. (Buy this now ...)

Since its 1985 inception, The Jazz Composers Alliance Orchestra has maintained very high standards of composition and performance. The group's original concept requires the combination of the discipline of composition with the discipline of improvisation. The JCAO was established by Darrell Katz and Ken Schaphorst, both of whom are present on this 2003 recording as composers and conductors, as are Warren Senders and Laura Andel, while one of trombonist David Harris's compositions is also heard. Well-crafted compositions and arrangements, allied as they are to crisp section work and exciting solos, combine on a CD that offers contemporary big band jazz at its best. (Buy this now ...)

A strikingly gifted singer and teacher, Ellen Johnson makes far too few records and it is therefore a delight to report that she has a new one out in September 2006. That said, all of her CDs are very well worth seeking out. On the first two listed above, she chooses several songs from the pens of jazz masters Duke Ellington, Bill Evans, Thad Jones, Charles Mingus, and Michal Urbaniak, bringing to them her highly individual interpretative skills. Ellen has written the lyrics to some of the songs she sings here, thus ably demonstrating another facet or her multi-talented persona. Her accompanists acquit themselves very well indeed and the music flows with subtly understated swing. It is deeply encouraging for the future of jazz in general and jazz singing in particular to note that a singer as skilled as Ellen is helping ensure the music's future through her teaching at vocal classes and by private tuition. But it is not only the next generation of singers who can benefit through Ellen's work; live audiences and the record buying public too can - and should - also take steps to benefit by hearing her whenever they can.

The new CD, These Days, finds Ellen is especially fine voice, offering a selection of songs on which she is mainly accompanied only by bass player Darek Oles. These duets, while covering a wide range of musical moods are uniform in their musical excellence. Among the songs selected for duo treatment are 'No Moon At All' and 'I Feel The Same'. Elsewhere, Ellen and Darek are joined by guitarist Larry Koonse, drummer Roy McCurdy and percussionist Ana Gazzola. Ellen's admiration for Sheila Jordan is demonstrated by the fact that the album is dedicated to the veteran singer, who has throughout her career taken voice-bass duets into high art form. That there is reciprocal feeling is shown by Sheila's presence as backing singer on 'Little Messenger', a composition by Ellen for Sheila. The two singers join in a duet on 'The Crossing', where they are backed by Darek. Good as Ellen's first two CDs are, and they are very good indeed, this new set is really exceptional and should not be missed by anyone who admires good music sung and played with skill, integrity and emotional intensity. (Buy these now ...)

At the end of 2002 Kelley Johnson was winner of the International Jazzconnect Jazz Vocal Competition; the song she performed on that occasion, 'Tea For Two', being included on the second of these two very good CDs. Based for several years in the Pacific Northwest where she also teaches, Kelley has recently made an impact on a wider audience, in particular in New York City and through a ground-breaking 2004 tour of Central Asia. Original and inventive, Kelley's take on classic songs and jazz standards is distinctively different yet never disrespectful of the intentions of composers and lyricists. For example, on Live At Birdland, Kelley presents a dynamic version of 'What A Little Moonlight Can Do', songs by Richard Rodgers (one with Lorenz Hart and one with Oscar Hammerstein), George and Ira Gershwin and Hoagy Carmichael, as well as versions of pieces by Ornette Coleman (with lyrics by Kelley), Wayne Shorter, Duke Ellington and Thelonious Monk. On this CD, she is ably accompanied by husband pianist John Hansen, trumpeter Ingrid Jensen, bassist Ugonna Okegwo and drummer Jon Wikan. The well-balanced musical mixture continues on Music Is The Magic whereon Hansen is spelled on about half the tracks by pianist Geoffrey Keezer; others in this band are bassist Essiet Essiet and Wikan, trumpeter Brian Lynch, alto saxophonist Steve Wilson, with bassist Darryl Hall and percussionist Renato Thomas on some tracks. These CDs show that Kelley is an especially gifted jazz singer and one whose work you should seek out without delay. (Buy these now ...)

Playing bass, Mimi Jones has made a considerable name for herself over the past few years - although not this name. She is usually heard under the name Miriam Sullivan and in addition to her work as a highly respected sideman, she is also a noted composer and arranger. Now, on her debut own-name release, she also displays a talent for singing, which she does on most tracks, all but one of which are her own compositions. Her voice is pleasingly unassertively, her phrasing always right, and (as might be expected) her interpretation of her own lyrics is ideal. Mimi is joined here by lively and suitably thoughtful accompanists Miki Hayama, piano and keyboards, Marvin Sewell, guitar, and Marcus Gilmore, drums, with guest spots by trumpeter Ambrose Akinmusire and drummer Lucianna Padmore. An interesting and accomplished release (in September '09) and one that should spread this artist's name. (Advance order this now ...)

These splendid mainstream CDs, which pay tribute to Thad Jones, are performed by an all-star band of Thad's peers and contemporaries. All too often, star-studded bands do not measure up to the expected sum of their parts. If that is a rule, then happily this group does not follow it. Thad's music is performed eloquently on the first CD by Jimmy Owens (trumpet, flügelhorn), Bob Brookmeyer (trombone), Benny Golson, James Moody, Frank Wess (saxophones), Hank Jones (piano), Richard Davis (bass) and Mickey Roker (drums). Playing charts adapted from Thad's music by Michael Patterson, this admirable octet swing gracefully through eleven of the dedicatee's compositions, along with a Monk tune played by Hank in personal tribute to his younger brother as the closer. It would be invidious to pick out an individual as all solo with flair and the ensemble passages are effectively tight. One track, 'A Child Is Born', opens with a solo by Sir Roland Hanna taken from his Tributaries CD (IPO IPOC 1004) and recalls his days with the Thad Jones-Mel Lewis Jazz Orchestra. In his tray notes, Ira Gitler observes that he considers this CD to be : 'one of the outstanding sessions of this year or any other year.' I cannot do anything other than agree with that.

The second CD continues this splendid musical journey. The personnel becomes a nonet with the addition of Eddie Daniels (clarinet, saxophone), while John Mosca (trombone) and Kenny Washington (drums) step in for Brookmeyer and Roker. It is impossible to separate the two CDs in terms of quality; both are marvelous evocations of the music of Thad Jones, one of the finest musicians to grace the story of jazz. If you had the misfortune to miss One More, then don't make the same mistake twice. This is timeless music, and the writing, arranging and playing is all of an extraordinarily high standard. (Buy these now ...)

The resurgence of interest in Bobby Darin prompted by Kevin Spacey's biopic of the singer has resulted in several new recordings. The first two of these three albums are tributes to Darin and come from an unimpeachable source. For several years, Roger Kellaway was Darin's musical director and in the winter of 2004/5 led the orchestra for Spacey's concert tour promoting the film. On the first CD, a solo piano set, Roger presents fluid improvisations on several titles, some of which are associated in one way or another with the singer, for example, 'When I Look In Your Eyes' and ´Beyond The Sea´ (the latter being also the title of the film). Roger also performs his own composition, 'I Was There', and on 'Something In Your Smile' sings in a disarmingly effective manner. By turns swinging with verve and introspectively romantic, Roger offers a jazzman's take on the material and conclusively demonstrates his consummate mastery. The second CD explores similar ground, but with different songs, and by using a piano-guitar-bass trio, Roger creates a different atmosphere. Still first-class musicianship, still eloquent improvisations. Roger's companions here are guitarist Bruce Forman and bassist Dan Lutz. Either one of these CDs deserves a place in your collection - both if possible.

The third CD presents the same trio, Roger, Bruce and Dan, in a selection of works by noted composers, mostly from the jazz world. The album title tells us how Roger feels about them and his interpretations demonstrate his admiration, which sits comfortably beside his skill. These Heroes include Benny Golson, whose 'Killer Joe' is played here, Django Reinhardt, 'Nuages', Thelonious Monk, '52nd Street Theme', Oscar Peterson, 'Hymn To Freedom' and Duke Ellington, 'Cotton Tail'. To which are added pieces by the Moten and the Gershwin brothers, Lionel Hampton and Johnny Burke, plus an original of Roger's. Prime jazz piano and another must for those of you who admire jazz piano. (Buy these now ...)

Born and based in London, Juliet Kelly's debut CD is very attractive and likely to rapidly expand her already substantial fan base. Close to the shifting boundary between jazz and superior pop, Juliet's chosen ground is well populated by many good singers. Without question, she has the talent to succeed and her strong, sweet voice, which at times can be appealingly astringent marks her out from the opposition as someone to watch out for and listen to. (Buy this now ...)

A very accomplished singer and instrumentalist, Nancy Kelly has studied at the Eastman School of Music and has also learned her trade at the best of all schools - on the road. She has sung with bands inside and outside the jazz genre but has gradually moved wholly into the fold. And a very welcome addition she is too. These days, the term 'jazz singer' has become a marketing tool and is often applied to singers who barely qualify, singing as they do on the hazy boundaries between jazz and pop. No such doubts with Nancy; she is the real thing. On the first of these CDs she is backed by the fine rhythm section of pianist Dino Losito, bassist Neil Miner and drummer Mark Taylor she delivers warm and well-crafted songs, many of them standards. Among the songs are 'More Than You Know', 'I'll Be Seeing You', 'Come Rain Or Come Shine' and 'New York State Of Mind'. Adding to the proceedings is the very welcome presence on some tracks of tenor saxophonist Houston Person. A very attractive set by this fine singer whose tough-edged voice adds persuasive nuances to her interpretations.

On the second CD, recorded in towards the end of 2008 at Bake's Place, an intimate club in Issaquah (in the state of Washington), Nancy turns her attention to some show and pop songs from the 1960s and a generous sprinkling of blues. Among the songs she sings are 'But Not For Me', 'I Love Being Here With You', 'Let's Fall in Love' and 'Alright, Okay, You Win'. The result is an electric performance, on that underlines the praise prompted from me by her first CD. This time, Nancy has a different backing trio: Randy Halberstadt on piano, Jeff Johnson on bass and Gary Hobbs on drums. She is, however, again joined by tenor saxophonist Houston Person, whose biting take on the blues is a special joy. Just as joyful is Nancy's singing voice. She has a similarly biting approach to some of the lyrics, curtailing some words in the interest of the dynamic swing she imparts. There are also many occasions throughout this wholly admirable set when she sets the spine a-tingling in a way that so few of today's singers can manage. Run, don't walk for this one. (Buy these now ...)

An engaging young Irish singer, Cormac Kenevey has a light, fluid vocal sound and he swings here through songs familiar and original. Cormac is expertly backed by a core trio of piano, bass and drums, Phil Ware, Dave Redmond and Kevin Brady respectively. Guest horns on the first CD are trumpeter Danny Healy, trombonist Karl Ronan and multi-reed player Robert Geraghty. The second set has Danny again, Ronan Dooley, flügelhorn, Brendan Doyle and Michael Buckley, tenor saxophone, and guitarist Hugh Buckley. There is also a discreet string section on hand here and there. Based in Dublin, Cormac's debut CD was reissued on Candid, who then produced the second album. Cormac is a new and interesting male singer on the contemporary jazz scene and one well worth seeking out. (Buy these now ...)

On the first two of these albums, Stacey Kent celebrates, respectively, Fred Astaire and songs by Richard Rodgers and Lorenz Hart. Throughout Let Yourself Go, Stacey swings elegantly on a selection of songs associated with Astaire finding exactly the right blend of understated charm and subtle swing that effortlessly evokes the dancer's lighter-than-air movement. On the second CD, the felicitous teaming of a great melodist and one of the wittiest lyricists of all time finds Stacey in a similar mood to that of another of her Candid CDs, Dreamsville. Joined by a wholly supportive small group, which includes Jim Tomlinson, on tenor saxophone, Colin Oxley, guitar, the inestimable David Newton on piano, and the supple drumming of Steve Brown, she interprets with care and affection some of the best entries on the Great American Song Book. If the Astaire tribute is the jazzier of the pair, the result of the second is a thoroughly pleasant summer's afternoon stroll through some timeless ballads. Diff'rent moods for diff'rent folks, but both show class to spare. And class is the word that comes to mind when hearing Stacey's The Boy Next Door. Once again, choice selections have been made from the classics of the past, classics that, thanks to this kind of treatment, retain all those qualities that made them masterpieces of their time and place in popular culture. On Breakfast On The Morning Tram Stacey again offers standards but this time mixes in some very attractive original songs composed for her by Jim with lyrics by Kazuo Ishiguro. This time Jim is leading a new band that includes pianist Graham Harvey, guitarist John Parricelly, bassist Dave Chamberlain and drummer Matt Skelton. This latest CD is fully up to Stacey's previous high standards. (Buy these now ...)

A very well conceived and beautifully executed tribute to Chet Baker, this CD draws upon the arrangements of the Gerry Mulligan Quartet. Trudy and bass player Geoff Gascoyne have crafted intelligent, melodic and subtly swinging charts that recapture the grace of the originals while simultaneously making their own statements. Trudy's singing voice, ringing and eloquent, is ideally suited to the atmosphere and she further displays her skills with the vocalese lyrics she has written for 'Bernie's Tune' and 'Look For The Silver Lining'. Exemplary accompaniment comes from baritone saxophonist Derek Nash, pianists Phil Pesket and Steve Melling, and drummer Sebastiaan De Krom. Also on hand for two duets with Trudy is veteran Georgie Fame. (Buy this now ...)

Komeda Project's raison d'être is to keep alive the music of Krzysztof Komeda (1931-1969), the distinguished Polish-born film composer-jazz pianist. The group is the brain-child of pianist-arranger Andrzej Winnicki and saxophonist Krzysztof Medyna, who are here joined by trumpeter Russ Johnson, bassist Scott Colley and drummer Nasheet Waits. Following the success of the earlier CD, Crazy Girl, Winnicki, Medyna and their collaborators present a fascinating glimpse into the complex workings of the mind of Komeda, all illuminated by quite exceptional playing. Despite the fact that it is 40 years since Komeda's death, this group is not only at the forefront of today's cutting edge of jazz, it is also richly apparent that the composer's work is as valid today as it was when it was composed. The CD's eight pieces are spread over ten tracks to allow the three parts of 'Night-time, Daytime Requiem' to be played separately. Six of these eight pieces are Komeda's compositions, the other two are by Winnicki and he has fully absorbed the mood and manner of the original. Requiem should appeal to all who admire today's jazz style. (Buy this now ...)

Hugely popular in Brazil, Ithamara has recently began making an impression elsewhere, especially in the USA. Recently, Ithamara has placed well in polls, including fourth in the Down Beat Readers Poll as Best Female Jazz Singer and in 2003 her CD, Love Dance was fifth in the same pollsters' Best Beyond Album category. Other CDs by Ithamara range through contemporary pop and predominantly popular Brazilian music (for some of which, see below) but with Autumn In New York, she is very much in a jazz mood. Here, Ithamara swings elegantly through a long and always interesting set of mainly standards, backed by the tight-knit trio of Jurgen Friedrich, piano, Sergio Barroso, bass, and Cesar Machado, drums. Eloquent interpretation of the lyrics and inventive improvisations all add to this being a CD that is deserving of the praise it has received in other quarters. (Buy this now ...)

On these three earlier CDs, Ithamara is much closer to her Brazilian roots, yet throughout there is evidence of the jazz singer in-waiting. Her wide-ranging voice allows her to achieve with seeming effortlessness sinuous readings of songs that in less distinguished hands would become mere exercises in technique. Ithamara is far too good and experienced to fall into that trap and all of her interpretations are rewarding. Her interpretations of lyrics are admirable and she sings well not only in her native Portuguese but also occasionally in French and often in English. Of these three CDs, the Luiz Bonfá set is an eloquent exploration of one of the best known worldwide of South America's songwriters. Ithamara's love for his music is evident throughout and she is joined by many other South American musicians together with some from other lands. The guests include Eumir Deodato, Larry Coryell, Ron Carter and Sadao Watanabe. With Serenade In Blue, Ithamara moves confidently towards the jazz genre, which she fully and so successfully embraces with Autumn In New York; this is not to downplay the many attractions to be found on Love Dance whereon she is equally as elegant and eloquent in her interpretations of a largely non-jazz repertoire. She can also be heard with Gazzara, listed above, and on one of Thiago De Mello's CDs, listed below in the Braziliana section. In whatever mood, Ithamara is a singer to savour. (Buy these now ...)

For Brazilian Butterfly, Ithamara has surrounded herself with some outstanding instrumentalists, including pianist Gonzalo Rubalcaba, organist Francesco Gazzara, trombonist Raul de Souza, and a remarkable team of percussionists: Dom Um Romao, Eloir de Moraes, Thiago de Mello, Laudir de Oliveira, Marcelo Slazar, Sidinho Moreira and Jadir de Castro. Warm and exciting, this is a superb example of Brazilian music at its very best. Vocally and instrumentally, this is flawless; the song selection is excellent, including as it does Milton Nascimento's 'Escravos de Jo', Herbie Hancock's 'Butterfly' and Geraldo Vandre's 'Fica Mal Com Deus'. This packed CD (79 minutes) is filled with exceptional musical moments and although it is virtually impossible to choose one track over all the others, the scorching improvised vocal line on Romao's 'Amor Em Jacuma' demands repeated playing.

Ithamara Koorax had set up a European tour with Dom Um Romao and the Peter Schärli Trio when news came of Romao's death. It was decided that the tour should go ahead but that no attempt would be made to replace Romao's remarkable talent. It was during the tour that these pieces were recorded by Radio Station, Zürich, and the result is some exceptionally fine playing and singing. Peter is an inventive trumpet player with a softly burning tone. His instrumental accompanists here are guitarist Markus Stalder and bassist Thomas Dürst and all acquit themselves very well indeed. Ithamara's singing here, while leaning slightly towards the mainstream that she tackled so well on Autumn In New York, always maintains that subtle feel for the music of South America. Altogether, this is an admirable set. To add icing to the cake, one track, Manha de Carnaval, is a berimbao solo Romao recorded in the late 1990s over which Peter has dubbed a moving trumpet solo. A fine remembrance for a gifted and much-missed musician. (Buy these now ...)

A dazzling performance of cutting edge jazz, performed in concert in Newcastle, England, in 2002, by two virtuoso instrumentalists. Alto and tenor saxophonist Jan, of Pinski Zoo fame, and pianist and keyboardist Wojtek, of the Tribute to Miles Orchestra, artfully blend contemporary funk with driving post-post-Coltrane fusion. Ably propelled by former Zoo drummer Steve Harris, the pair create a densely packed and vibrantly charged musical whirlwind that takes their audience on an emotional journey into as yet inadequately charted waters. The concepts of Jan and Wojtek might well be the course of jazz to come. (Buy this now ...)

A pleasing voice and approach to her material makes this CD by newcomer Simone Kopmajer a welcome addition to the currently crowded field of jazz-pop crossover singing. Supported by a fine rhythm section, of pianist John di Martino, bassist George Mraz, and drummer Tim Horner, Simone presents a selection of songs drawn mainly from the great standards. The presence of guest tenor saxophonist Eric Alexander helps keep the set on the jazz side of the ever-changing dividing line. (Buy this now ...)

Very active on the UK jazz club circuit, guitarist Rob Koral and singer Sue Hawker have built a following in part through their able performing and in part through their use of original material. Sue sings with throaty charm, investing her own lyrics with appropriate feeling. Rob's playing, either in support or as soloist is fluid and swinging. The duo are backed on the first of these CDs by a piano-bass-drums trio. A similar instrumental trio, but with different personnel, backs Rob on the second CD where he is principal soloist. (Buy this now ...)

Strikingly individualistic, tenor saxophonist Ernie Krivda is an exciting improviser, endlessly inventive and rhythmically forceful. In these admirable CDs of his own compositions, he is joined by trumpeter Dominick Farinacci, guitarist Bob Fraser, bassist Kotheimer and drummer Carmen Intorre. All are in appropriately exhilarating form, whether backing the leader or contributing their own strong solos. Although known for his take-charge style, Ernie is also a very melodic ballad player when the mood is appropriate. His awareness of the long and honorable history of the tenor saxophone infuses his playing and while firmly in the post-bop milieu there is much here that is in the classic jazz tradition. Available separately, these CDs are fine examples of Ernie's work and all that is good in contemporary music. (Buy this now ...)

Thirty years after his death, Gene Krupa remains remarkably popular and is still, perhaps, the best known drummer of all time. Privately recorded late in Gene's career, this CD, which comes from Bruce H. Klauber's catalogue of rare CDs and videos, finds the master drummer having a rollicking good time at a 1971 session in Detroit. Gene is in excellent form and he lifts and carries along with his enthusiasm the other band members. A local group, with perhaps the best known internationally being trumpeter Marcus Belgrave, they mix traditional with mainstream, and they too have fun. Not surprisingly, when the musicians involved are enjoying themselves so much, their pleasure is immediately passed on to the listener. (Buy this now ...)

By producing this reissue, Ted Takashi Ono has done a great service to collectors, and to the memory of the singer. A band singer almost by accident, Peg was an accomplished actress who had the opportunity to join the band led by Artie Shaw. All but 11 of the 45 tracks on this double CD find the singer with Shaw and she consistently displays her musicality. Her voice is fresh and vibrant and it is apparent why she retains a solid core of fans decades after her retirement from singing at the end of the 1930s. According to Ono's comprehensive notes, the record producers of the day required her to change her natural singing style to suit the perceived needs of the market. Put bluntly, they wanted her to sound like other anonymous singers. Even so, there is enough of her natural talent left to make this encounter a very pleasurable affair and one not be missed by all fans of those never to be forgotten days. (Buy this now ...)

This is Sofia Laiti's fourth CD and with it she ably demonstrates why she has gained an admiring following since first coming to New York from her native Finland in 1989. Sofia has a mature contralto and has comfortably mastered her second language. Backed by an effective quartet: pianist Larry Ham, bassist Leon Lee Dorsy, drummer Vince Ector and veteran tenor saxophonist Houston Person, Sofia performs a selection of mostly familiar songs. For some of these, she finds a relaxed intimate mood. Others, such as 'La Vie En Rose' and 'If You Go Away' lend themselves to a dramatic interpretation and this is what they receive. If you are unfamiliar with this singer then this is a very good place to start. (Buy this now ...)

Playing guitar and singing, Mark Lambert here offers a delightful set, mainly of standards with relaxed support from Vana Gierig, piano, Matthew Parrish, bass, and Alvester Garnett, drums. There is also a guest appearance from percussionist Vinicius Barros. Mark's playing of both acoustic and electric guitar is smoothly elegant, while his singing is disarmingly casual. Although many of the songs are very familiar, Mark and his colleagues present them in a manner that makes it seem almost as if we are hearing them for the first time. Overall, there is an air of effortless ease about this album that should attract many. Good songs, very well played and sung with understated charm (Buy this now ...)

Although a relatively new arrival on the jazz singing scene in the UK, Karen Lane is a mature and experienced singer. A lithe swing and elegant phrasing marks her out as does her repertoire, which mixes standards with well known jazz songs and some attractive originals by Karen who also writes her own arrangements. In this latter task, she is aided by guitarist Dave Colton who brings an elegant supporting presence to the first of these very pleasing sets. Dave is also on hand for the second set, along with pianist Tom Cawley, bassist Andy Hamill, drummer Nic France, violinist Julian Ferraretto, as well as guest horns and a string quartet. This second CD, which is more ambitious, has Karen seeking and achieving a "sparse interaction of strings, percussion and voice where each instrument's beauty has space to breathe and resonate." Wholly admirable in concept and execution, the second CD demonstrates that this is a singer of quality and also that most intangible of elements, and one so often absent in popular music today, Taste. The third CD comes after a brief absence from the recording scene but quite clearly Karen has grown musically during this period. Understated elegance and an underlying love for the music she sings is evident in every track, which here include several great standards. The accompanying musicians are almost identical, adding saxophonist Robin Fincker, and all play their roles with subtly assurance. Very well worth your attention. (Buy these now ...)

Billed as a jazz singer, Deborah Latz really belongs in that large group of singers who have brought jazz touches and thinking to the art of popular song. She does it very well and comfortably finds empathy with the standard items from the American song book, while also finding rapport with songs better known to European audiences. Prior to concentrating on singing, Deborah built a career in acting and has performed several one-woman shows including one that brought her Best Actress Award at a theatre festival in Poland. She also appeared in a one-woman performance, The Prisoner, about a Holocaust survivor. Deborah also composed words and music for her one-woman show, Travels With Ma Own Self. Here, Deborah is accompanied by her regular trio of pianist Daniela Schächter, bassist Bob Bowen and drummer Elisabeth Keledjian, as well as guest tenor saxophonist Joel Frahm. Attractive and thoughtful interpretations by first class musicians make this a thoroughly entertaining CD. (Buy this now ...)

Well known on the New York cabaret scene, Audrey Lavine's late 2002 show was a tribute to the music of Harold Arlen. For those who were unable to see and hear her live, this CD is the next best thing. Audrey delivers delightful interpretations of some classic songs as well as some lesser-known works that bear the unmistakable touch of Arlen class. (Buy this now ...)

A very pleasing album of good songs, elegantly played and sung showing flair and understanding. No flash and thunder, just first rate musicianship. Jennifer Lee sings with a clear yet subtly mature voice, interpreting the lyrics with charm. Her vocal sound is ably aided and abetted by solid performances from a small gathering of California-based instrumentalists who never put a foot or finger wrong. Peter Sprague plays guitar on ten of the thirteen tracks and bassists Bob Magnusson and Buca Necak share duties while drummer Duncan Moore maintains a subtle pulse on eight tracks. There are other instrumentalists on hand throughout and Jennifer too shows that she is not just a pretty voice, playing guitar on eight tracks and piano on three. The material includes a few standards, some attractive Latin songs, and Jennifer herself has written some rather nice original songs. Altogether, this is a very attractive CD and one that should bring much pleasure to many. (Buy this now ...)

Established sideman and teacher, Bradley Leighton's CDs as leader demonstrate his unusual skill on flute, an instrument not heavily favored in jazz circles. On the first of these CDs, Bradley is ably backed by pianist Mike Wofford, bassist Bob Magnusson, drummer Duncan Moore as well as percussionist Allan Phillips and guitarist Jaime Valle. On two tracks the leader plays alto flute and it is on this instrument that he concentrates on the second CD in company with Hammond B3 player Rob Whitlock, bassist Bob Boss and, once again, drummer Moore and percussionist Phillips. Although rooted in bop, Bradley pays heed to the languid charm of Latin music and offers an individualistic take on several lesser-known jazz songs and some popular standards. His own compositions, of which there are three on on the the second CD, display considerable talent. Attractive music, played with skill and care. (Buy this now ...)

A seamless blend of three exceptional talents. Nicki Leighton-Thomas has honed her vocal skills for several years in the UK and has become a highly accomplished artist. Pianist Simon Wallace has composed the music for all the songs hereon, writing that enhances the bittersweet lyrics of the remarkable Fran Landesman. The resulting songs, thoughtful, mature, witty, sometimes mordant, are superbly illuminated by Nicki's pure vocal sound. (Buy this now ...)

It is quite a while since I have heard Tom Lellis, which is my fault entirely. He has not moved from the scene, it's just that my attention has been elsewhere. It is with considerable pleasure therefore that I came again to this fine singer who works skillfully in an artful blend of jazz and Braziliana. His repertoire takes in classic pop, Lennon and McCartney, and songs for which he has written lyrics. Some of the latter draw music from jazz tunes composed by the likes of Keith Jarrett, 'Lucky Southern', and Pat Metheny, 'For Better Days Ahead'. Among the instrumentalists on hand to support Tom on this set are guitarist Toninho Horta, bassist Richard Bona, pianist Kenny Werner and flautist Jeremy Steig. I count at least four continents represented in the personnel and this gives a hint at the global appeal of Tom's writing and singing (and he plays keyboards and percussion too at times). If, like me, you have neglected this fine singer for a while - or even have yet to hear him - this is a golden opportunity to fill that gap in your collection. (Buy this now ...)

Welcome additions to the long list of fine Australian musicians are tenor saxophonist Laurie Lewis and singer Heather Stewart. Here, they present a selection of original songs, music by Laurie, lyrics by Alwyn Lewis. These songs are performed with care, grace and an unpretentious honesty that is especially refreshing in times when more often becomes less. Laurie and Heather are joined by pianist Mark Fitzgibbon, guitarist Doug de Vries, both of whom have nicely-taken solo opportunities, and bassist Geoff Kluke, while Rajiv Jayaweera and Ben VanderWal share the drum chair. Also on board for some tracks are guests who include alto saxophonist Roger Clark. Relaxed and engaging, this is an attractive session from musicians who must surely become better known around the world. (Buy this now ...)

On the first of these two CDs, Dave Liebman and Phil Markowitz performing with great verve. They recorded this duo set live at the Manhattan School of Music in late 2004. Their inventive improvisations vividly demonstrate their individual and collective skills. Dave and Phil have played together often over the years, and have collaborated on many CDs. Every moment of this latest encounter displays not only their intuitive understanding of one another but also shows how their long association has bred an ability to go one step beyond and find new discrete and mutual areas for the expression of their musical emotions. The result is powerful, intense, and always accessible music. (Buy this now ...)

For the second CD, Liebman's duo partner is the young pianist Bobby Avey. They have taken the unusual step of drawing their material from the music of classical masters such as Chopin, Handel, Mahler, Brahms and Debussy. While first thought might be that this is not suitable ground for jazz improvisers, any such preconception is swept away upon hearing the result. This is a fluid mixing of musical minds that although separated by more than a century in real time demonstrate that music of quality truly knows no boundaries, least of all those imposed by the calendar. Richly melodic in origin, deftly arranged (mainly by Avery), and superbly performed, this is music that while rooted in the past is very much of today and will most certainly still be valid tomorrow. (Buy this now ...)

Composer and drummer Art Lillard has led his Heavenly Big Band for 18 years, performing mainly his own music. The band's instrumentation, which includes four flute players, provides for a rather different sound. Although the ensemble passages are played with attack, the presence of the flutes brings a pleasing lightness. Clearly, Art and his sidemen are post-bop players and display considerable instrumental talent, playing with precision and taste. Among soloists heard are trumpeters Justin Mullens and Erik Jekabson, trombonist Michael Boschen, saxophonists Kyle Whelan, Bob Mover and David Peterson, guitarist Mark McCarron, and pianist Mike Longo. Also appearing hereon are singers Mary Foster Conklin, Cleve Douglass and Miles Griffith. An interesting variation on the big band sound that should appeal to many. (Buy this now ...)

For some years now, singer Diane Linscott has entertained the people of Maine with her delightful singing. Over recent years, she has divided her time between Maine and Florida steadily receiving more well-deserved exposure and audience appreciation. The first of these four CDs was recorded in 1997 with the Mike Petrone Trio and is a remarkable performance by a singer who, by her own admission, did not begin singing professionally until she had passed the age of 50. Diane performs an attractive selection of standards with charm and subtle swing. The second CD is a 2000 recording and ably maintains the standards of repertoire and performance. The other CDs, recorded in 2002 and 2004 respectively, continue her development and maintain similarly high standards of performance and interpretation. On these two CDs, Diane is joined by pianist Charlie Prawdzik and bassist Billy Pillucere, as well as other fine instrumentalists. Drawing her repertoire almost entirely from among the great standards, Diane's voice is warmly mature and she shares her obvious pleasure in the music she sings with her listeners. Included on these latest sets are songs by Irving Berlin, the Gershwins, Duncan Lamont, Rodgers and Hart, Jerome Kern, and Cole Porter. These CDs by Diane (who is also an accomplished sculptor and maker of jewelry) might be hard to find, but all are worth the effort you might have to make in seeking them out. (As always, if you cannot obtain these through your usual sources, let me know and I will try to help.) (Buy this now ...)

This exciting young singer is impossible to categorize. Her repertoire, some of which is her own original music, leans towards pop, or country, or jazz, but all is touched by her distinctive sound and style. True, there are hints of Billie Holiday in her voice, but as Ingrid has pointed out, it was never her intention to copy. Taught to sing when a tiny child by her father, she developed her sound because that was the way she thought she was supposed to sing. The result is that Ingrid always gives a fascinating rendition of her songs and when she does sing familiar material there is a refreshingly new slant. Until recently, Ingrid has been best known for her work with the Flying Neutrinos. With this admirable CD, she steps out on her own into what must surely be a successful and musically rich future. (Buy this now ...)

Carmen Lundy Jazz And The New Songbook: Live At The Madrid ( Afrasia unnumbered)

A major figure on the world stage of jazz singing for many years, this latest release by Carmen Lundy vividly demonstrates why she is held in such high regard by fans and fellow artists alike. Recorded live at the Madrid Theatre in Los Angeles in February 2005, this double album sets out Carmen's talent not only as a singer but also as a songwriter. Every track here is composed or co-composed by Carmen and the songs range through sparkling displays of her vocal skills, to soulful ballads, fervent swingers and evocative mood pieces. She is accompanied here by many stellar instrumentalists who are grouped in various formations and include pianists Robert Glasper, Billy Childs and David Roitstein, bassists Curtis Lundy, Nathan East and Kenny Davis, guitarist Phil Upchurch, drummers Victor Lewis and Marvin 'Smitty' Smith, percussionist Mayra Casales, trombonist Steve Turre, saxophonists Bobby Watson and Mark Shim, as well as the LA String Quartet and backing vocalist Krystal Davis Williams. Not too many of us have the chance to hear this exceptional singer live; this album is the next best thing. (Buy this now ...)

In some cases the CDs are available direct from the artist or the record company. Try using the links, where given.

Braziliana ----ooOoo---- Latin Jazz

Jazz-influenced music from Latin America & Latin-tinged jazz, mainly Brazilian

A specialist in the tango, Pablo Aslan is a gifted bass player who has here gathered around him some like-minded and equally skilled instrumentalists: Abel Rogantini, piano, Daniel Piazzolla, drums, and trumpeter Gustavo Bergalli and tenor and baritone saxophonist Jorge Retamoza. Together these fine musicians bring a subtle contemporary jazz flavour to the tango without ever losing sight of the old-world sensuality of the music. This blending of present and past is aided by Pablo's choice of music. All the compositions offered here come from the pens of pastmasters of the tango, including Eduardo Arolas, 'La Cachila', Francisco De Caro, 'Loca Bohemia', Carlos Di Sarli, 'Bahia Blanca', and Pedro Lawrenz, 'De Puro Guapo'. Throughout there is a light and airy feel, creating a suitable atmosphere for these delicate yet durable pieces of music. (Buy this now ...)

Playing acoustic guitar as well as various percussion instruments and also singing, Nanny Assis here takes a relaxed journey through some attractive melodies, several of which are familiar to all who love the music of Latin America. For example, there are Jorge Ben's 'Mas Que Nada', Ivan Lins' 'Bihete', Calinhos Brown's 'Magalenha' and Antonio Carlos Jobim's 'Double Rainbow' and 'Passarim'. Additionally, Charles Chaplin's 'Smile' is given a Latin touch and there are also some of Nanny's original songs. Among the musicians joining Nanny on this set are pianist Eumir Deodato, guitarist Guilherme Monteiro, cellist Erik Friedlander, and percussionist Paulo Braga. Nanny is already an in demand session player on numerous record dates and this very attractive set should help raise his profile with the worldwide audience for this delightful music. (Buy this now ...)

Melodic and gently rhythmic, Carlos Barbosa-Lima's guitar playing is thoroughly delightful. Technically, he is very highly skilled yet plays with deceptive simplicity, developing his lines fluently and gracefully. On this very enjoyable CD, Carlos is joined by bass player Nilson Matta on three tracks, percussionist Duduka Da Fonseca on six, while Marcílio Lopes plays mandolin on two racks and singer Danny Rivera sings on 'Renunciar', 'Entre Guitarra Y Voz' and 'La Voz Del Güiro'. Elsewhere, Carlos's arrangements of songs familiar and lesser known include Luiz Bonfá's 'Samba De Orfeu' and 'Passeio No Rio', Antonio Carlos Jobim's 'Desafinado' and Alvaro Dalmar's 'Soy'. This is a CD to savour, especially on warm summer nights. (Buy this now ...)

A very attractive vocal sound marks out Ana Caram from the many young singers who have appeared on the scene over the past few years. Silkily distinctive, here Ana sings mainly songs made popular through films, all given a very pleasing Brazilian touch. Relaxed and gently swaying with appropriate dance rhythms, this is all very enjoyable. Just a thought: Ana has the kind of voice that should allow her, if she so desires, to make inroads into today's smooth jazz scene. Who knows, maybe the real jazz scene. Do try to hear her. (Buy this now ...)

As many will have noted, Duduka Da Fonseca is the percussionist on several of the CDs listed in the Brazilian and Latin sections of these reviews. There, he plays as a sideman; this time, he leads his own band in an exploration of the blending of jazz with samba. His own sidemen are well chosen, including as they do, pianist Helio Alves, saxophonist and clarinetist Anat Cohen (who appears on the DIVA big band CD reviewed elsewhere on this page), guitarist Guilherme Monteiro and bassist Leonardo Cioglia. Additionally, there are several guests: singers Maucha Adnet and Alana Da Fonseca, tenor saxophonist Paulo Levi, guitarist Vic Juris and trumpeter Claudio Roditi. Exhilarating and thoroughly enjoyable music that should have considerable appeal to fans of jazz and Latin Music alike. (Buy this now ...)

An intriguing blend of Latin and Brazilian rhythms, overlaid with a touch of smooth latterday jazz styling from a singer with a richly textured vocal sound. On this set, her second CD, Daria is joined by instrumentalists such as guitarist José Neto, percussionist Alex Acuña, saxophonist Marc Russo and trombonist Wayne Wallace for a selection of stndards, originals and contemporary pop. (Buy this now ...)

The first of these is a 1999 reissue of Thiago De Mello's 1973 album; a lively and satisfying set, it clearly demonstrates that Thiago is a very good guitarist, and an able singer and percussionist. He is joined here by several well-known musicians, including percussionist Airto Moreira, trumpeter Claudio Roditi, saxophonist Paulo Moura and pianists Dom Salvador and Richard Kimball. Next comes a reissue of recordings from 1981 and 1985, again with Claudio a featured soloist throughout, and this is followed by CDs recorded in 1999.

The last of the CDs listed above is more recent and was released in 2007. On this set, Thiago is joined by clarinetist/alto saxophonist Dexter Payne, who shares the billing on the reissue, singer Ithamara Koorax on four tracks, and Richard Kimball shares piano duties with Haroldo Mauro Jnr., Cliff Korman and Helio Alves. Throughout these very tasteful albums Thiago and his musical companions play with flair and skill. All the tracks are Thiago's own compositions and are warmly evocative and very well performed. While entirely satisfying, these albums still leave the listener wanting to hear yet more.

For newcomers to this musician, the last named CD (now newly available on a leading label) is very worthy of your attention and should lead quickly to an appreciation of Thiago's subtle percussive art. (Buy these now ...)

New to the professional singing scene, Anna Estrada has studied with Madeline Eastman and here ably demonstrates the love for Latin American music, especially the Brazilian form, that eventually led her to turn to singing as a career after working as an actress. Clearly, this was a career change that was well worth making. On the first of these CDs, Anna is ably accompanied by several Bay Area stalwarts, including pianists Frank Martin and Murray Low, guitarist Ray Scott, bassist David Belove and percussionists Paul Van Wageningen, John Santos and Michael Spiro, while among the guest soloists are trombonist Wayne Wallace, whose own CDs appear elsewhere, saxophonists Robert Kyle and Mary Fettig, and trumpeter John Worley.

On the more recent CD, Anna is accompanied by a core quartet of pianist Jonathan Alford, guitarist Scott again, bassist Alex Baum and drummer Phil Thompson. There are additional percussionists and the guests include saxophonist Charlie McCarthy and trombonists Chuck Bennett and Wallace who also returns from he earlier set. The appealing song selection includes 'Nature Boy', 'Always Something There To Remind Me', 'Soledad', 'Adeus America' and the title track. Anna's vocal sound is very pleasing and she gets beneath the surface of the words to deliver impassioned interpretations that should help attract the wider audience she richly deserves. (Buy these now ...)

Warm and relaxed, Marco Figueira's singing here is ideally suited for the smooth jazz mood. As the album title indicates, the music deftly brings in and blends the gently rhythmic sounds of Brazil. Some of the songs are Marco's own while others are drawn from the song books of Antonio Carlos Jobim, Milton Nascimento and other South American composers. Among Marco's accompanists are guitarist Paulo André Tavares, pianist Helio Alves, bassist Sergio Brandão, with guest trumpeter Claudio Roditi. (Buy this now ...)

A strikingly gifted organist, Fabio Fonseca here shows his skill not only on the Hammond B3, his principal instrument, but also on other keyboards. He is also a gifted composer, most of the tracks being his work. The core trio is rounded out by bassist Pedro Leao and drummer Mac William. Additional percussion is also provided on some tracks, by Ithamara Koorax (who also sings on one song) and her husband, producer Arnaldo DeSouteiro. This is exceptionally good playing by a musician whose playing of the Hammond B3 is lithe and fluid. He also plays Hohner Clavinet 6 and Rhodes Suitacse MKII 73, among various other keyboards. Always interesting, this 2006 recording is worth seeking out. (Buy this now ...)

Fiery and exhilarating music that is more jazz than Latin on this set by pianist Edsel Gomez. With bassist Drew Gress and drummer Bruce Cox, Edsel sets up an often urgent pulse that provides the basis for fine solos by Edsel himself and guests Don Byron on clarinet, David Sanchez and Greg Tardy on tenor saxophones, and Miguel Zenón and Steve Wilson on alto saxophones. All but the closing track, 'Molly', a piano solo composed by Don, are Edsel's own compositions. As indicated this is exciting music but there are moments of relaxed introspection, as for example on 'Empty House' and 'Wolfville'. All good and interesting material, though, and a CD well worth your attention. (Buy this now ...)

More jazz than Latin, perhaps, the music of this exceptional quartet is rich and colourful. Fiery ensembles and dramatic and inventive solos abound throughout a set of music that echoes the dance traditions of Cuba, with occasional tinges of Spain and Brazil. That said, the pieces are all originals: five by the group's drummer, William 'Beaver' Bausch, one by Bausch with guitarist Pete Smith, and four by tenor saxophonist Paul Carlon. These three are key soloists in Grupo los Santos while the group's fourth member, bassist David Ambrosio maintains a vibrant pulse through music that is not only good for the ears but is also eminently danceable. Echoing that last thought, on two tracks, 'Rumba In The Bronx' and 'Toreja Kulo', tap dancer Max Pollack steps in to add a rhythmic impression of tropical dancehalls, as he does on many of the group's live shows. This is very good music by a group that demands to be heard and (if you are lucky enough) seen. (Buy this now ...)

Relaxed and unpretentious singing from Fernando Holz, a Brazilian musician now resident in northeastern USA. Melodic and musicianly, Fernando presents a programme of songs almost all of which are his own compositions. Ably backed by a fine rhythm section including pianist Gilson Schachnik, guitarist Romero Lubambo, bassist José Piensola and drummer Paulo Braga, and on some tracks a string section, Fernando performs all of his material with charm and good taste. (Buy this now ...)

Famous internationally, and primarily renowned throughout North and South America, Raúl Juarena is a virtuoso player of the bandoneon. Here, he demonstrates his remarkable skill of his favourite musical form; as the CD tile clearly states, this is the tango. Most of the pieces played are Raúl's own compositions yet through them flows the long tradition of the form and thus there are always echoes from the past mingling with modern conceptions. Raúl is accompanied here by the Sinopus String Quintet, of violinists Alajandra Moreira and Lya Perez, violist Stella Maris Gonzalez, cellist Lucrecia Basaldua and bassist Sergio Mouro. Additionally, there are guests pianist Octavo Brunetti and singer Marga Mitchell. Vivid and vibrant music from a master of the instrument and the form. (Buy this now ...)

In a relaxed and gentle manner, Brazilian singer Kerry Linder effortlessly mixes contemporary smooth jazz sounds with the undercurrent of her homeland's warm and swaying rhythms. The songs are similarly varied, mingling jazz standards like Horace Silver's 'Song For My Father' with Luiz Bonfá's 'Manhã De Carnaval', Billie Holiday's 'God Bless The Child' with Baden Powell's 'Deixa'. Kerry is accompanied by a fine supporting group of instrumentalists, notably guitarist Paulo André Tavares, bassist David Finck, cellist Erik Friedlander, drummer Helio Schiavo, and percussionist Mauro Refosco, while the guest soloists include saxophonist Paulo Levi and trumpeter Michael Philip Mossman. Soft sounds for warm summer nights. (Buy this now ...)

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