Bruce Crowther´s Reviews

The reason for brevity should be obvious - the flood of CDs being issued in ever-increasing numbers makes it hard to keep up and I still have to work at the day job. If you want more information on any album I touch upon, 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).

Most of the CDs reviewed here are, of course, available from many on-line sources.

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 guests Rudresh Mahanthappa, alto saxophone, Marc Mommaas, tenor and soprano saxophones, Gautram Siram, mridnagam, and whistler Naren Budaker. The resulting mixture is dynamic and thought-provoking and fulfils the promise of the album's concept.

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. 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.

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 experience built upon a thorough understanding of what jazz singing is all about. Carol's interpretation of lyrics demonstrates a rare intelligence, and with every note she sings the listener is made 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.

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.

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.

This attractive CD is singer Leonisa Ardizzone's first, yet she has clearly had a lot of experience. Indeed, Leonisa and her quartet have been playing together for about eight years. This brings a seamlessness to their playing and each musician is fully at ease with all the others. Speaking of whom, they are guitarist Chris Jennings, bassist Bob Sabin and drummer Justin Hines. Of the three, 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 To 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.

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 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.

A brisk 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 but hopefully not last date as leader.

Striking and dynamic contemporary jazz from a virtuoso bass player and a group of exceptional instrumentalists. Gregg August 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.

Although pianist Bobby Avey has been making a name, especially thanks to appearances with saxophonist Dave Liebman, this is his first album as leader. It amply displays Bobby's ability not only as a driving contemporary instrumentalist but also as an interesting composer. All the pieces on this debut are his own and they range through many moods. Bobby is accompanied here by bassist Thomson Kneeland and drummer Jordan Perlson while Dave plays soprano or tenor saxophone on half the tracks. The compatibility of Bobby and Dave, two musicians from different generations, is impressive, especially so on Influence, whereon they duet. Throughout the CD there are references to the multiple musical influences of this fine young pianist, among them classical music, eastern European concepts and many aspects of the contemporary jazz and improvised music scenes. Thought provoking and always interesting, this artist is surely one whose future career will be followed with enthusiasm.

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 imbued 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.

During the past decade, playwright Alan Plater toured the UK with a live show in which he recounted anecdotes about some of the lesser-known names in jazz but who were still giants in our collective memory. It was not just talk, though, for Plater also wrote lyrics to several songs about these giants and with music by Alan Barnes they were 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 spoken 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 a visiting giant comes to town. This thoroughly engaging and hugely entertaining CD has something for everyone, be they musician or fan, student or anorak, and it is also nice to have this CD as a memento of Alan Plater's abiding love for jazz.

Christy Baron Take This Journey (Chesky JD 239) * Christy Baron & Roger Davidson Bingo (Soundbrush SR 1006)

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 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.

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.

Ray Barretto died before this, his last recording, was released and 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.

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 April 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 future 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.

Jamie Begian is a fine guitarist and composer and here leads a smooth big band through an engaging selection of his own compositions. Among Jamie's sidemen are trumpeters Marty Bound, Jason Colby, Tom Goehering and Dave Scott, trombonists Jeff Bush, Paul Olenick, Max Siegel and Deborah Weisz, saxophonists Marc McDonald, Dimitri Moderbacher and John O'Gallagher, guitarist Bruce Arnold, bassist Dave Ambrosio and drummer Peter Retzlaff, all of whom are heard on effective solos. The band has been together for a dozen years and this is demonstrated by their crisp ensemble work. Attractive music, very well played and decidedly easy on the ear.

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 gently 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 on which 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.

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

All of the compositions on this CD are 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 and is a fitting reminder of the talent lost to jazz when Louie died.

Sathima Bea Benjamin Cape Town Love (ekapa SA 001) * Sathima Bea Benjamin Musical Echoes (ekapa SA 002)

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 plays piano and Lulu Gontsana plays 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 by Sathima 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.

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 can be found at Lars Rasmussen's own site (as can other books and CDs).

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.

Playing for a very appreciative audience at one of the leading venues in Los Angeles, Chuck Berghofer, Jan Lundgren and Joe La Barbera prove that the huge success of their previous release, 2008’s Thanks For The Memory (Fresh Sound FSR 5048 CD), was no flash in the pan. Once again, the trio concentrate on standards, exploring the delights of Have You Met Miss Jones?, Love For Sale, Tenderly, Yesterdays, Everything Happens to Me and I’ve Never Been In Love Before. There are also jazz standards, Oscar Pettiford’s Blues In The Closet and Thelonious Monk’s Rhythm-a-ning. There is not a weak moment in this wonderfully performed session; all three men play superb solos, filled with invention and vividly demonstrating their skills. As a group, throughout they show how in tune they are with one another as they lift the music to quite remarkable heights.

Just in case you missed Thanks For The Memory, this CD pays tribute to Hollywood composer Ralph Rainger. Among the songs are Easy Living, Please, If I Should Lose You, June In January and 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. There is a ten-minute track that presents two radio clips from the era when the songs were written on one of which Rainger talks about his work and then plays Love In Bloom, while on the other Rainger and Robin sing the same song at an ASCAP show. These two CDs, both of which are produced by Dick Bank, are essential not only for jazz fans, for the performances, but also for all those who love the music of this era.

At the start of 2009, the earlier CD was a winner in the annual Critics Poll in Jazz Journal; it will be no surprise if the new release also finds favour.

Bill Berry & the L A Band Hello Rev (Concord Jazz CJ CCD 4023) * Bill Berry Shortcake (Concord Jazz CJ CCD 4075)

Eiji Kitamura/Bill Berry Jazz Party (Jazz Cook JCCD 1003) * Jack Nimitz/Bill Berry Live at Capozzoli's (Woofy WPCD 54)

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 although many off-air tapes exist. Officially, 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.

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.

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.

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.

Throughout his long career, pianist Ran Blake has always pushed the boundaries, especially as a soloist. Vocalist Dominique Eade's career, although shorter, has many similar characteristics. Among these an engaging ability to prompt listeners to question established approaches to standards and thus to discover, often to the listener's surprise, thoroughly rewarding and hugely enjoyable variations on familiar themes. Here, Ran and Dominique demonstrate their love for good music as they explore previously unexplored byways that are often barely hinted at in songs such as My Foolish Heart, Where Are You, The Thrill Is Gone and Dearly Beloved. Even a song from the end of the nineteenth century, After The Ball Is Over, is beautifully recreated. turned into a contemporary jazz classic. This late-2011 release is very well worth hearing.

This young, gifted vibraphone player displays on this debut recording as leader skill and fluid invention. All the pieces heard here are Tyler Blanton's own compositions and show a wide rage of musical influences all channeled through his post-bop mainstream stylistic preference. Playing with Tyler on most tracks are Joel Frahm, Dan Loomis and Jared Schonig (with Aidan Carroll and Richie Barshay replacing Dan and Jared on two tracks). Although hitherto best known as sideman with an array of contemporary jazz musicians, especially in New York, this album makes clear that Tyler has much to say for himself and has the technical skill needed to say it well.

Talented and in demand as sideman, orchestral player and arranger, Dan Block here turns his attention to the music of Duke Ellington. Playing principally clarinet and tenor saxophone, Dan has chosen interestingly and effectively from Ellington's huge contribution to 20th century music. He has stayed away from the familiar and instead plays his own arrangements of pieces many of which are Ellington's lesser-known works. This CD therefore serves a dual purpose, that of presenting Dan as both soloist and arranger and in making the listener aware of how wide was Ellington's mastery of music. The 14 tracks hereon (3 of which are compositions by Billy Strayhorn) are all melodic and intriguing and Dan subtly and respectfully varies Ellington's writing while never losing the composer's mastery. The playing is superb and Dan is ably aided by a fine group of accompanists: Mike Kanan, James Chirillo, Lee Hudson, Brian Grice, Mark Sherman, Renato Thoms and Pat O'Leary. This album will interest all who admire skilled instrumentalists and in particular those for whom the music of Duke Ellington never dies.

Jane Ira Bloom Like Silver, Like Song (ArtistShare 0007) * Jane Ira Bloom Mental Weather (Outline OTL 139)

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.

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 extremely attractive voice and it is clearl that this is a CD worth hearing. Anyone unfamiliar with Suzy's work will find this an excellent place to start.

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.

Joyce Breach Reel Songs (Audiophile ACD 307) * Joyce Breach Remembering Mabel Mercer Volume 1 and Volume 2 and Volume 3 (Audiophile ACD 322 and ACD326 and ACD 335) * Joyce Breach Live In London (Audiophile ACD 331)

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 three 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. On the third volume of Joyce's tribute to the inestimable Mabel Mercer she includes 'I'll Be Easy To Find', 'My Resistance Is Low', 'Time Heals Everything' and ''By Myself'. These fine songs, performed by an outstanding singer, truly offer 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.

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.

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).

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.

A strikingly good debut from trumpeter John Britton and tenor saxophonist Ben Britton. Playing a vibrant mix of post-bop and contemporary jazz-rock, their band swings powerfully, aided in no small measure by a first-rate rhythm section: pianist Jeremy Siskind, bassist Taylor Waugh and drummer Austin Walker. Maybe stretching the term, but there is an element of the mainstream here as these fine young musicians have clearly listened to and learned from everything good that has happened in jazz since the end of the swing era. Fluid front-line solos from the brothers, allied to crisply taken solo moments from their companions make this a very strong album. If all this were not enough, the brothers are joined by tenor saxophonist Chris Potter on two tracks. Adding to the mix, the band's repertoire is mostly composed by the brothers; four tracks by John, three by Ben, and one by Jeremy.

The band can also be heard on Children At Play, a new EP that can be accessed directly by going to the brothers' website at http://riot.benbrittonjazz.com/ This set, too, is very impressive music from a fine band of highly talented young musicians who not only have much to say but know how to say it. The CD and the EP are both very warmly recommended and clearly this is a band to look out for in the future.

Although classically trained, pianist Cole Broderick has made himself known to and admired by jazz fans, especially in upstate New York. With this CD, released 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.

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. Sprinkled amidst these are 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.

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.

Dale Bruning (with Jude Hibler) The Timeless Music of Harold Arlen (Jazz Link Enterprises JLECD 6029) * The Timeless Music of Harry Warren (Jazz Link Enterprises JLECD 7938)

Dale Bruning (with Ali Ryerson) Classical Connections - Vol I & Vol II (Jazz Link Enterprises JLECD 4860 & JLECD 7482)

Intentionally hidden from wide public attention for decades, master guitarist Dale Bruning is joined in the first of these CDs by his well-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 Chiaraluce 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 come other concert collaborations between Dale and Jude. Recorded live at Dazzle Restaurant & Lounge in Denver, this time the narration is omitted from the recording although helpfully Jude's words are transcribed in the enclosed booklet. The choice of music here is, as always, exemplary. On Volume I there is '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, 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. On Volume II are some classical connections with music in the pop field. For example, a Chopin Fantasy, used as the base for 'I'm Always Chasing Rainbows', and Sarasate's 'Gypsy Airs', reinvented as 'You'd Be So Nice To Come Home To'. Jeff's solo feature, 'Danny Boy', is notable, as is Mark's playing on 'Daybreak', while Paul, who swings subtly throughout, is featured on 'On The Trail'. Lovely music, played with skill, flair and imagination.

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. 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.

For several years Jane Bunnett has been strongly and memorably associated with the music of Cuba. Here, she again explores the rich musical heritage of the island, playing flute and soprano saxophone on a delightful selection of pieces by noted composers. Her musical partner on this admirable set is pianist Hilario Duran, whose style ranges from Latin through jazz to classical form. In addition to being outstanding soloists, both Jane and Hilario are bandleaders and clearly have strong ideas and musical personalities, yet know how to blend their respective talents into a seemingly effortless and very effective collaboration. Very attractive music, played with thorough understanding and imagination.

Pianist Greg Burk and percussionist Vicente Lebron played together with The Either/Orchestra in the early 2000s. Over the years, Greg recorded several tracks on which he developed original improvisations based upon Bach's First Invention. Separately, Vicente recorded percussion tracks on which he explored aspects of the rich heritage of Afro-Caribbean music. Later, Greg conceived the idea of blending his tracks with those of Vicente and this CD is the result. Perhaps more interesting to musicians than to fans, these pieces, 23 tracks in all, might well provide inspiration for development into fully-fledged musical works by musicians on the contemporary jazz and improv scenes.

A highly talented singer, mature and unforced, Donna Byrne sings with the liquid grace of a horn player while 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 now receives.

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 but 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.

An exciting date from driving hard bop trumpeter Elliott Caine. This is Elliott's third CD and on it he blends in touches of 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.

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, 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.

Royce Campbell Six By Six (Moon Cycle JJ 1975) * Plays For Lovers (Moon Cycle RE 1995) * Elegy To A Friend (Moon Cycle SG 1993) * Trio By Starlight (Philology W 357-2) * Get Happy (Fox Haven FX 70022) * Roses & Wine (Philology W 364-2) * A Jazz Guitar Christmas, Vol. 2 (Moon Cycle JVN 1985) * Solo Wes (Moon Cycle JVC 1929)

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 solo or in duet, trading fours or backing one another, these fine musicians ably confirm the CD's subtitle: A Jazz Guitar Celebration. 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. 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. Hopefully, time lucky for this tasteful set of love songs; this is the kind of music that goes well with a fine wine and the right company.

In striking contrast is the third CD, on which Royce is in experimental jazz territory alongside 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 attractive new melodies and the resulting set is a 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'. This album is filled with inventive and excellent playing by three outstanding performers: Royce, piano veteran Hod O'Brien and relative newcomer Tom Baldwin on bass.

The fifth CD, from 2007, is solidly in the mainstream of jazz whereon Royce is partnered with only bass player Paul Langosch, a solid timekeeper and imaginative soloist, and violinist veteran Joe Kennedy, whose recording opportunities were scandalously few during a long life in jazz. This was Joe's 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 and Paul shine throughout, making this a very attractive and immensely satisfying set. On the sixth of Royce's CDs, 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.

Drawing upon the rich heritage of the thoughts of poets, both American and European, pianist-composer Frank Carlberg has painted reflective, witty and thoroughly entertaining musical meditations. In this, he is notably joined by vocalist Christine Correa, who delivers the words with understanding and trenchant poise. Frank and Christine are most ably backed by Chris Cheek, John O'Gallagher, John Hebert and Michael Sarin, all of whom bring their own particular talents to bear upon this intriguing mixture of words and music and ideas.

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 on 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 William '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.

George W. Carroll Catch The Spirit (Footnote Productions FNP 102205) * Here's To My Lady (new release)

Based in Sarasota, Florida, George W. 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 flügelhorn and what's more leads his own big band on a couple of tracks. Mention must also be made of George's singing, which is heard on several tracks. 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.

New from George is the second CD on which he plays piano and sings, backed by Alan Chase's alto saxophone, Bob Nieske on bass and Ralph Rosen, drums and harmonica. Rather nice and the CD also has a foretaste of a CD projected for 2012. You are unlikely to find either of these CDs in your local record store and you should therefore contact George direct by email at Moonboy22@verizon.net. You can also visit George's website for CDs and more information.

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.

Eva Cassidy Songbird (Blix Street G2-10045) * Eva Cassidy Live At Blues Alley (Blix Street G2-10046) * Eva Cassidy & Chuck Brown The Other Side (Cbd Music 02263) * Eva Cassidy Time After Time (Blix Street G2-10073) * Eva Cassidy American Tune (Blix Street G2-10079) * Method Actor Method Actor (BLP 4001)

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, which in 1988 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 the magic that came later.

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.

This is John Chin's debut recording as leader and shows him to be a very welcome addition to the roster of jazz pianists. 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 is 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 CD deserves your attention and quite clearly this is a musician to look out for in the future.

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.

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 Canadian 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.

This tough-edged hard bop session by veterans Steve and Iqua Colson is an unexpected delight. 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.

A rich and tuneful performance by a singer in full control of her considerable talents. 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. That wish might well be closer to fulfillment now as this album has since been succeeded by other fine releases.

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.

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 it, 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.

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.

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.

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 saxophone 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.

Long established in the Bay Area, guitarist George Cotsirilos here leads his regular trio through a very pleasing repertoire that effectively mixes standards with George's own compositions. George's lines are fluent and uncluttered and he builds interesting variations on the material that is notable for its melodic strength. George's sidemen here are bassist Robb Fisher and drummer Ron Marabuto, both of whom provide subtle support throughout this set. All three men are experienced musicians: George has worked often with the San Francisco Nighthawks, of which he and Todd were co-founders; Todd also worked with Cal Tjader; Ron has backed many leading jazz visitors to Northern California. Smooth, persuasive, and well worth a listen.

Although this is a debut release, Shirley Crabbe is a mature singer, performing a well-selected repertoire in displaying considerable talent. Shirley's late arrival as a recording artists resulted from vocal problems eventually solved through surgery and it is a delight to hear her voice, which is full and rich and used with subtle flair and very good taste. Shirley's accompanists here are pianists Donald Vega and Jim West, bassist John Burr and drummer Alvester Garrett, who make up the core trio. They are joined by guest soloists Brandon Lee, Dave Glasser, Matt Haviland and Houston Person, all of whom contribute significantly to the proceedings. That said, this CD is a showcase for an exceptionally gifted artist who must surely appeal to all who love good jazz singing and can now hear her for the first time.

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.

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.

Long a highly respected drummer in free jazz and improvised music, Andrew Cyrille here turns to Haiti for an exploration of the music that is his heritage. He is joined in this journey by baritone saxophonist Hamiet Bluiett, another very significant contemporary figure. These two fine musicians are joined by guitarist Alix Pascal, bassist Lisle Atkinson and percussionist Frisner Augustin on a rhythmic set of compositions, most of this are are originals by Andrew. Fiery and exciting, this should appeal to all fans of Latin jazz, who can here enjoy music from a country that has not been as well represented as neighbouring lands.

This very attractive set from Eddie Daniels finds the veteran saxophonist/clarinetist in fine 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 for this mainstream set 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.

Roger Davidson Rodgers In Rio (Soundbrush SR 1004) * Ten To Twelve (Soundbrush SR 1007) * Pensado En Ti (Soundbrush SR 1008)

On the first of these CDs 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. 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, this is another fine example of this pianist's admirable take on the music of Latin America.

Jamie Davis is a popular San Francisco-based singer who is backed here by a powerful big band playing Count Basie-inspired charts with fire and precision. Jamie romps through songs such as 'Night And Day', 'Every Day I Have The Blues', 'The Very Thought Of You' and 'Alright, Okay, You Win' with flair and enthusiasm. Leading the band is Shelly Berg, and sidemen include trumpeter Scotty Bernhardt, drummer Butch Miles, saxophonist Marshall McDonald, and pianist Tony Suggs. This CD 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.

Finding a smooth side to the music of an organ-guitar-drums trio, Mel Davis teams up 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. About half of the pieces hereon are originals by Mel, who also sings on a couple of tracks. His forte is the organ, not voice, and mostly he establishes a smoothly swinging groove that is ably followed by his musical companions.

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, Brian 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.

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. Although he has been around for many years, he may be new to you and if so this is a very good introduction. Strong post-bop stuff but he is by no means a unidirectional player. He can also be heard with violinist Michael Gustorff and accordionist Hans Sparla in the Trio Nuevo on Jazz Meets Tango, also on Soundroots (SR 01).

This is Sarah DeLeo's second album and it is a very attractive set on which her smooth and gentle vocal sound floats through a mix of standards, such as Sometimes I'm Happy and You're Getting To Be A Habit With Me, and contemporary pieces, such as Let It Rain. Clear diction and airy phrasing allows Sarah to bring pleasing interpretations to the songs she sings. Her accompanists here are organist Brian Charette, guitarist Chris Bregson, pianist David Cook, percussionist Mark Bordenet and bassist Gary Wang, as well as guest horns Jay Collins, saxophones, and Fabio Morgera, trumpet. This singer is well worth hearing and this album should have wide appeal.

In my liner notes for the first of these three CDs, I draw 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, Dena writes most of her own arrangements creating spacious settings not only for her own skills but also for those of her accompanists who include Ingrid Jensen, Steve Wilson and 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 Dena is surrounded by strikingly gifted fellow musicians, among them Jim Rotondi and 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 aforementioned taxing craft.

Dena's growth twixt the first and second of these CDs has continued and on Love's Holiday, 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, Matt Wilson, Tony Kadleck, and Sara Della Posta, while Rotondi, Locke and Davis all appear again. This really is a superb CD, and one that is recommended without any qualification whatsoever.

This remarkable young singer was the recent winner of Down Beat's award as Best Jazz Vocalist, Junior High School Level, and on this, her first CD, it is clear to see why. Some tracks were recorded when Claire Dickson was aged 12, some at 13, and she is without question a singer to look out for, not just now but for the next several decades. Here, she takes her repertoire from the books of Parker, Ellington and Hampton, a few of the classic pop song composers, and performs everything with enormous confidence. Surely no one coming to this singer blindfolded would think she is so young - okay, so here and there are a few tiny touches that suggest her voice is not yet as strong as it will become, but throughout Claire displays startling maturity of purpose and understanding. Claire's accompanying trio, Michael McLaughlin, Greg Loughman and Eric Rosenthal, support her ably as do guest horns Gary Bohan, Dan Fox and Glenn Dickson on three tracks, but this is a showcase for the singer and one that should have wide appeal as will anything she might do in the future. Surely, this is the birth of a major jazz singing talent.

Gene DiNovi is a highly gifted pianist who here 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 and this 2002 live recording compensates in a very big way for that absence. It is vibrantly clear that even after 60 years as a professional musician, Gene's enthusiasm is undimmed and his technique remains masterly.

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, especially notable is 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 fluid ease. This is top class big band music played with panache and style and is very warmly recommended.

Two outstanding small groups drawn from the remarkable musicians gathered together as DIVA under Sherrie Maricle are presented on the second pair of CDs. Five Play is a quintet with Jami Dauber on trumpet, cornet and flügelhorn, Janelle Reichman on tenor saxophone and clarinet, Tomoko Ohno on piano and Noriko Ueda on bass, while just the latter pair join Sherrie on the CD by the trio. The music on both of these CDs is exceptional: sparkling solos, delightful ensemble playing, and throughout there is terrific swing, plain delight in performance and altogether some of the best jazz around today. These are musicians of the highest calibre and any or all of these albums should be high on anyone's shopping list.

Miles Donahue Standards Vol. 1: Stranger In Paradise (Amerigo AMR 33711) * Vol. 2: Polka Dots And Moonbeams (Amerigo AMR 33712) * Vol. 3: Someone To Watch Over Me (Amerigo AMR 33713) * Vol. 4: Embraceable You (Amerigo AMR 33714)

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 Miles has recently directed his manifold skills to the jazz scene and although it might be less lucrative it is clear that this is where his heart is. Among other instrumentalists 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 (now known as Robin McKelle). Any one of these CDs (which are available separately) is worth your attention.

This ambitious work is a 10-part suite for solo piano that vividly demonstrates Chris Donnelly's skill as instrumentalist and composer. Inspired by the similarly titled work by graphic artist MC Escher, the music has depth and emotional content far exceeding what is often heard today in contemporary jazz. From his Canadian base, Chris is now extending his reputation worldwide. Quite clearly, Chris is an important addition to the ranks of jazz piano players and one who should be sought out by all who love this particular strand of the jazz tapestry.

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 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.

Perhaps it stretches the definition to call this 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. Bob sings and plays his way through songs such as 'You're The Dangerous Type', '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.

This 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.

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 pianist Randy Porter, bassist Rufus Reid and drummer Akira Tana, 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 will very likely send you hunting for more. Good to know that Madeline is also a skilled singing teacher; through someone as talented and skilled as this the future of jazz singing is in good hands.

Julie Edwards & Kevin Dearden Connections (Eden EPUK 003) * Rhyme Or Reason (Eden EPUK 004)

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. Connections is a set that clearly demonstrates growth and maturity in both Julie and Kevin. Their interpretations of fine songs are delightful and throughout the singing and playing is of the very highest order. On Rhyme Or Reason Julie 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.

Hard to believe that the end of 2010 sees Russ Gershon's Either/Orchestra reach its 25th birthday. This new release, the band's first since 2005, does not help rectify that disbelief because the music and its playing is as fresh, vital and different as ever. The solos are distinctive and fluent, the ensemble playing fluid and at ease with the sometimes complex demands placed upon it. More than half of the music presented here is composed by Russ, the rest by Rick McLaughlin and Joel Yennior (who play bass and trombone respectively). The sources drawn upon are multi-cultural, as is the background of the musicians gathered into the orchestra. These sidemen include veterans and newcomers, all of whom blend seamlessly into a splendid whole and offer music that is melodic, packed with subtleties, and challenging to the listener, demanding attention and giving in return a very rewarding experience.

Duke Ellington The Blanton-Webster Band (Bluebird 5659) * At Newport 1956 (Columbia Legacy C2K 64932) * Fargo 1940 (Jazz Classics JZCL 5009)

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 highly productive and creative period in Ellington's life. He was of course always productive and creative, but this period, 1940-42, was astonishing even by his own high standards. Several of the band's members had already spent long periods as Ellingtonians: 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 for this brief era. 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 the two foregoing 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.

Don Ellis Electric Bath (Columbia COL 472620 2) * Autumn (Columbia COL 472622 2) * 'Live' at Monterey (Pacific Jazz CDP 7243 4 94768 2 0)

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 in delight 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.

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.

Falkner Evans The Point Of The Moon (Consolidated Artists Production CAP 1024)

Established as pianist and leader of a fine trio through previous albums, here Falkner Evans presents a distinctive set of mainly his own compositions crafted for a larger group. With long-time trio companions Belden Bullock and Matt Wilson, Falkner is here joined by Greg Tardy, Ron Horton and Gary Versace and all play with verve and intelligence. The material, predominantly in the post-bop mode, includes touches of the blues and Latin American music that deftly colour the music creating subtly inventive themes that allow free rein to the soloists while bringing intellectual stimulation to the listener. Altogether, an exceptional set of contemporary music by superior jazz musicians.

Connie Evingson Let It Be Jazz (Summit DCD 1021) * Gypsy In My Soul (Minnehaha MM 2006) * Little Did I Dream (Minnehaha MM 2008)

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. 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 and 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.

Astonishingly powerful, this remarkable trio presents an exceptional set that while couched in contemporary terms is replete with elements familiar to all jazz fans. The group takes its name from the initial letters of its members' names: bassist Joe Fonda, drummer Barry Altschul, violinist Billy Bang. Throughout, the skill and virtuosity of these three musicians is outstanding; at times they create a thunderous ensemble sound that suggests far more than just three men. All the music hereon is composed by the trio, much of it improvised freely in session. Their fluid interplay is testimony to their long association and the depth of their mutual understanding. Brilliant solos, matchless ensembles, this 2005 recording is masterly. Released in late 2011, this CD is one of the last recordings by Billy Bang, who died on 11 April 2011. Thanks to music like this, his name continues to resonate in the world of jazz.

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 several guest instrumentalists. 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 by Leo Robin, 'It Was Written In The Stars', Ira Gershwin, 'Here's What I'm Here For', Yip Harburg, 'The Eagle And Me', Johnny Mercer, 'My Shining Hour', and Ted Koehler, '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.

Sleek and driving, this contemporary quartet plays music that is filled with idea and there is throughout evident rapport on all levels. The band was originated by drummer Vito Rezza and although there have been some changes over the years all the present members have worked often with Vito in this and other formats. A collaborator of long standing is Matt Horner, who plays piano, electric piano and organ; Johnny Johnson, woodwinds; and Peter Cardinali, who plays bass and also doubles on organ. Vito and Matt are the principal writers and the music they have written eloquently captures a visit by Vito to Rome during which he enjoyed a lightning tour of the city conducted by Peter. Some of the mystery and majesty of Rome shines through.

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 admirably by the title.

Fred Fried When Winter Comes (Ballet Tree 9248CD) * The Wisdom Of Notes (Ballet Tree 0627)

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 performs 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.

This teaming of two alto saxophonists from different generations is an exceptionally attractive CD. Jake Fryer is a rising talent from the UK while Bud Shank had plied his craft to considerable acclaim through many decades. Here, the two leaders are backed by a first class rhythm section, Mike Wofford, piano, Bob Magnusson, bass, Joe La Barbera, drums. This trio plays with terrific swing and individual solos are taken with flair. As for Jake and Bud, they play with invention and skill, ranging from ballads through to uptempo romps. Of the nine tracks, six are Jake's compositions and all are open, melodic pieces with ample space for the soloists. The recording date for this San Diego session was 1 April 2009; the following day, Bud was driven back to his home in Tucson where, just a few hours later, he died. It is pleasing to think that he was doing what he loved, and doing it so well, until so close to the end. A very nice CD with which to remember a fine musician and a very nice man.

Curtis Fuller I Will Tell Her (Capri 74100-2) * The Story Of Cathy & Me (Challenge CR 73309)

The first of these is an exceptionally good double album featuring the playing and writing of Curtis Fuller, a major jazz trombonist whose past accomplishments took him through spells with Art Blakey, John Coltrane, Dizzy Gillespie and Count Basie. On the Capri release, Curtis is captured on two sessions recorded in Denver in May 2009, one live, at Dazzle, the other a studio date. With Curtis are trumpeter Al Hood, tenor saxophonist Keith Oxman, pianist Chip Stephens, bassist Ken Walker and drummer Todd Reid. Some of the pieces played appear on both sessions but this is certainly no detriment. The solos are different and on the live date the band stretches out more. The work used as the album title was composed several decades ago for Curtis's wife and this, its first recording, is a moving tribute to their long and happy marriage. Another fine ballad here is 'I Want To Talk About You', which features an expressive solo from Keith.

The second album is dedicated to Curtis's wife, Catherine, who died in January 2010. Although the mood is generally melancholy it is by no means gloomy, indeed it is an uplifting, moving tribute to the leader's lifelong love. The music, some standards, some less well-known pieces and some originals, trace the stages of the relationship over the years of Curtis and Cathy. Throughout, there are many opportunities for glowing solos from Curtis, trumpeter Lester Walker, tenor saxophonists Daniel Bauerkemper and Akeem Marable and pianists Nick Rosen and Kenny Banks Jnr. Both of these fine albums should have wide appeal to all lovers of jazz in the post-bop mainstream.

Jane Fuller You're Coming Back Again (independent, unnumbered) * The Spirit Of Giving (independent, unnumbered)

The first of these CDs is an attractive set by a young and then 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 her (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 of even better things to come.

The second of these CDs was 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. (

This appealing album by pianist John Funkhouser 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. The press release accompanying this CD rightly claims that John and his trio 'create an elusive blend of the approachable and the adventurous'.

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. A light and accurate touch, flowing ideas and subtle swing combine to make this musician appeal 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.

Drawing on many of the varied musical aspects that have gone to form jazz through the decades, pianist and composer Laszlo Gardony has created an album filled with many riches. Supported by his long-term trio associates, John Lockwood and Yoron Israel, and guest Stan Strickland, Laszlo explores new takes on old concepts. Among these are a masterly variation on the 12-bar blues form, a dramatic re-thinking of Beatles' hits, alongside intelligently developed revising of jazz classics that originated with George Shearing and Billy Strayhorn. What makes Laszlo's music stand out is that despite his sometimes radical variations on familiar themes, he never loses sight of the jazz roots from which his music has sprung. Exceptional, interesting and always engaging music from a seriously good musician.

Living his life in the shadow of his famous brother was a cross Linton Garner bore with charm and dignity. It is evident from this attractive CD that 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' and, of course, the album's 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. 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 have this CD.

Italian-based pianist, keyboard player and guitarist Francesco Gazzara here offers a selection of lively and rhythmic music that leans towards contemporary pop. Gazzara subtly renders some attractive pieces, most of which he has composed or co-composed. There are four instrumental tracks, the rest having vocals, most of which are taken by Yasemin Sannino and are mainly sung in English. Among others hereon are flautist Eduardo Piloto Barreto, guitarist Marco Lamioni, bassists Luca Fogagnolo and Massimo Sanna, percussionist Mauro Mirti, and singers Jo Oakley, Desiree Mohammad, Wendy Lewis and Ithamara Koorax. One of the songs from this CD, 'O Passarinho', composed by Gazzara, Koorax and Arnaldo DeSouteiro, has attracted a lot of attention in Europe, especially in Italy. An attractive contemporary pop album by a band that deserves widespread attention.

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 played. Among 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.

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, delivering the material with mature poise. 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 many will 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.

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 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).

Lee Gibson Songs Of Time And Place (Spotlite SPJ CD 568) * Linger Awhile (Spotlite SPJ CD 576)

Although Lee Gibson has a theatrical background she 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 much more apparent 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; better still, buy both.

This exceptional 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 changing dramatically. 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.

Intriguingly inspired by several American painters, pianist Joe Gilman present a selection of music that provides an audio complement to specific paintings by Norman Rockwell, Mark Rothko, Alexander Calder and Edward Hopper (among ten American artists). Seven of the compositions are by Joe, two are by Chad Lefkovitz-Brown and one by Malcolm Javier Santiago. The paintings that form the basis for this album are rich and varied and the music enhances the many moods with skill and the listener's perceptions are vividly illuminated. Joe is accompanied here by Chad and Ben Flocks on saxophones, while Zach Brown and Adam Arruda complete the rhythm section. Those who might be unfamiliar with the specific paintings can doubtless find them in a library or on-line but the music is itself strong enough to stand alone.

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'. Marcus is 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 to hear Marcus and discover what New Yorkers are fast learning; that this is a singer of considerable talent who well deserves much wider exposure.

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.

An attractive duo set with veteran bassist Eddie Gómez and pianist Mark Kramer developing skilful and inventive lines on songs from the worlds of pop and the musical theatre that are not often brought into jazz and which Eddie and Mark ably make us hear 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. This CD is a real and enduring treat that might be hard to find, but it well worth any effort you might have to make.

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. Although Sandy is clearly a major talent, she has made far too few albums and no one should fail to take the opportunity presented by these two CDs, neither of which 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.

Drawing his inspiration from the dark and moody world of film noir, guitarist Andrew Green presents some of his own compositions that take us into Hollywood's imaginary back streets where sudden death and betrayal are a much-respected tradition. Andrew is joined in his venture along these shadowy 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.

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.

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.

This CD is at the cutting edge of contemporary improvised music. Brian Groder has been around for some time - this is his fourth CD as leader - and is 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, he 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, while the others are co-compositions with JoAnne Brackeen, Rivers, Matthews and Cole. Music not only for today but also for tomorrow.

Respected jazz trumpeter, Tim Hagans has long been a subtle subversive who has stated that he is "not comfortable playing comfortable music". Always seeking new regions to explore, on this set of his own compositions he is joined by guitarist Vic Juris, bassist Rufus Reid and drummer Jukkia Uotila, all of whom are like-minded musical adventurers. Three of the pieces hereon are commissioned works for the Michele Brangwen Dance Ensemble, with whom Tim has a close ongoing and mutually rewarding association. Often edgy, always demanding of his audience, this is Tim Hagans at his latest and best and the CD will be a constant delight to lovers of contemporary frontier of jazz.

Rich Halley Live At The Penofin Jazz Festival (Pine Eagle 001) * Children Of The Blue Supermarket (Pine Eagle 002) * Requiem For A Pit Viper (Pine Eagle 003)

The first of these CDs is a thoroughly engaging blending of post-bop mainstream and elements that recall the exhilaration of early Ornette Coleman. Tenor saxophonist Rich Halley teams up here with acclaimed cornetist Bobby Bradford for a foray through some of Rich's own compositions. Imaginative ideas abound and all are executed with considerable flair and polish. The front line horns are backed with spirit by bassist Clyde Reed and drummer Carson Halley. This is music that retains hints of the jazz style of earlier years while never losing the feel of contemporary improvised music. For the second CD, Rich intriguingly teams up with drummer Carson Halley to collaborate with post-Beat/sci-fi poet Dan Raphael for some witty and searching explorations of contemporary urban life. Dan chooses many of the things we too readily take for granted and deftly demolishes them to the roaring background of Rich's vivid improvisations. This might well be words and music for an un-large audience but thankfully neither Dan nor Rich play down to their listeners. Listen, learn and agree. And then do something!

The latest of these CDs has Rich teamed with trombonist Michael Vlatkovich for a set of imaginative and powerfully played music that allies sensitivity with drama. Once again, Rich is backed by Clyde and Carson on bass and drums and they provide astute, thinking support. Rich's solos and those by Michael draw upon many aspects of contemporary jazz, using the leader's compositions as a framework onto which they weave fluid, driving solos filled with ideas that are fully realized. Exceptional music, extremely well played by all four of these fine musicians.

Tenor saxophonist Jimmy Halperin has a warm and rounded sound and 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. Others 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 to those whose tastes run to the contemporary sounds of jazz. 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.

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.

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.

Although well known as a sideman, Butch Harrison does not usually take centre stage as fully as he does here as both trumpeter and singer. Instrumentally, there are many pleasing moments on this CD from Butch who also plays flügelhorn, trombone and keyboards. He is ably joined by alto saxophonist Lonnie Williams, keyboard player Paul Richardson, and guitarist Michael Eads. Most tracks, though, feature Butch's singing of his own ballad compositions and he displays talent as both writer and performer. A pleasing, relaxed album that should win wide appeal among fans of smooth jazz.

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', 'A Nightingale Sang In Berkeley Square' and 'Blame It On My Youth', 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.

Richie Hart Blues In The Alley (ZoHo ZM 200413) * Greasy Street (ZoHo ZM 200511)

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, the 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. 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.

This fine swinging album blends the Hammond B3 of Atsuko Hashimoto with Graham Dechter's guitar and the drums of Jeff Hamilton. The set displays three minds in a seemingly effortless display of intuitive interplay. Playing mostly standards, they offer lithe interpretations, Atsuko and Graham delivering solos that draw from one another and yet are couched in distinctive terms. Throughout, Jeff provides a subtle lift and his occasional solos are refreshingly in keeping with the musical mood. A few decades ago, the B3-guitar-drums trio format was extremely popular and in recent years it has enjoyed a comeback. This particular trio compares very well to the leading trios of the past while fitting in to the musical mix of today.

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 gifted jazz singer who should appeal to all those who like to hear good songs sung well.

Duke Heitger Rhythm Is Our Business (Fantasy FCD 9684 2) * Krazy Kapers (Jazzology JCD 339)

Trumpeter Duke Heitger has built a dedicated following but has only recently begun to make a major breakthrough into the international bigtime. 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. The first CD was recorded in the winter of 1998-9, while the second was recorded in 2003. 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, 'Embraceable 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.

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.

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 internationally upon her present-day homeland audience.

One of those musicians that most of us have read about but all too rarely heard play, tenor saxophonist Buck Hill has been resident for many years in Washington DC. Here, Buck presents a fine set of pieces by Miles Davis, 'Flamenco Sketches', 'Prancing' and 'Milestones', some of his own originals, '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 has been 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.

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 was some time before she was at ease on this instrument, the result is effortless. Throughout, these are charming interpretations and all are played with skill and understanding.

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 and tympani. 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.

This 14-piece band is highly contemporary in approach but skilfully 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. 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.

Belying her years, Linda Hopkins scorches through a set recorded at the Catalina Bar & Grill Jazz Club in Hollywood 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.

After playing organ as a small child in her homeland, Japan, Chie Imaizumi then switched to piano but it was while studying at Berklee that her potential talent as a composer was recognized. Chie began concentrating on writing music and won awards in various countries. For this CD, Chie has composed music for a large ensemble and for her performers has selected an all-star line-up: Greg Gisbert and Terell Stafford, trumpets and flügelhorns, Steve Davis, trombone, Steve Wilson, alto and soprano saxophone and flute, Scott Robinson, tenor, soprano and sopranino saxophones, clarinet and flute, Gary Smulyan, baritone saxophone and bass clarinet, Tamir Hendelman, piano, John Clayton, bass, Jeff Hamilton and Paul Romaine, drums. Additionally, trumpeter Randy Brecker guests on one track. The music that Chie has composed and arranged is fluid and melodic and the band has a light, airy sound more in keeping with small groups than a big band the line-up suggests. The solos are very good indeed and the ensemble playing is tight. This fine, swinging album will appeal to many lovers of contemporary jazz.

Mikko Innanen is a gifted saxophonist, playing alto, baritone and soprano, and leading his band, Innkvisitio, in a succession of hard-edged contemporary jazz that reaches into the far-flung corners of the vigorous Scandinavian improvised music scene. He is joined here by fellow multi-saxophonists Fredrik Ljungkvist and Daniel Erdmann, synthesizer player Seppo Kantonen and percussionist Joonas Riippa. Separately and together, these musicians present daring and thought-provoking music that will appeal to those for who appreciate up-to-the-minute improv.

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 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. His voice, a pleasing light baritone, is mature and 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.

This very good singer has recently begun to make a name for herself and this fine CD demonstrates that she deserves the plaudits she is getting. 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 vocal 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.

Although very young (she is in her early twenties), Whitney James displays remarkable maturity in her vocal sound, her approach to jazz singing and her choice of songs. Whitney's voice is rich and fluid and her diction, too, is very good indeed. She is working here with some very good musicians and all are a part of the package, nor merely there to back the singer. The core trio is pianist Joshua Wolff, bassist Matt Clohesy and drummer Jon Wilken, while Ingrid Jensen, an exceptional player of both trumpet and flügelhorn, plays on five of the nine tracks. The work of these fine instrumentalists is never less than excellent and apart from the support they give to Whitney they also take their solo opportunities with skill and invention. Most of the songs hereon are familiar (there are three jazz compositions and six standards) but Whitney and her companions find new ways to deliver the timeless messages the songs contain. You might have to search hard for this very pleasing CD but it is worth the effort.

Joni Janak The Wind (Jazz Link Enterprises JLECD 4123) * Joni Janak & Centerpiece Jazz Get Outta Here! (Jazz Link Enterprises JLECD 8469) * Joni Janak-Ron Moewes-Ralph Sharon Always (JMJ Productions JMJ 101)

A fine singer who richly deserves 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 a very good rhythm section 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. 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.

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.

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.

A strikingly gifted singer and teacher, Ellen Johnson makes far too few records. 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; so too can live audiences and the record buying public.

The third 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, These Days is really exceptional and should not be missed by anyone who admires good music sung and played with skill, integrity and emotional intensity.

Kelley Johnson Live At Birdland (Jazzconnect JCC 002) * Music Is The Magic (Sapphire 7612)

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 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. On Live At Birdland, Kelley 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 Thoms on some tracks. These CDs show that Kelley is an especially gifted jazz singer and one whose work you should seek out without delay.

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. An interesting and accomplished release that should spread this artist's name.

Music of Thad Jones One More (IPO Records IPOC 1007) * The Summary (IPO Records IPOC 1011)

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.

This very able singer blends elements of jazz, superior pop with other subtly entwined forms to present here a very attractive tribute to Bob Dylan. Barb Jungr is touring the UK with a similarly devised show (late May - November 2011) and fans of this singer should look out for her. In the meantime, and for those not fortunate enough to be in the right place, this very good CD will keep them entertained. The repertoire includes some of Dylan's hits and some of the music in which he pays tribute to blues singers of the far-off past. This blending of today, the near and the distant-past works very well indeed. Barb is accompanied here by various instrumentalists, notably pianist Jenny Carr, and the tracks date from five sessions between 2004 and 2011. Well worth hearing.

Composer Darrell Katz presents several examples if his work, performed here by the Jazz Composers Alliance Orchestra. Drawing inspiration from many areas of jazz, as well as kindred music from the worlds of pop, the blues and films, Darrell's compositions, several of which he composed in collaboration with Paula Tatarunis, provide a jumping-off point for outstanding playing by a fine group of musicians. The band, some twenty pieces in all, plays with drive and vitality. the soloists responding with imaginative fire to the charts and the ensemble. In addition to Darrell's original work, there are also his arrangements of pieces by Duke Ellington, Willie Dixon and Big Maceo Merriweather. This is contemporary big band music of a very high order, written and played with considerable skill and integrity.

Roger Kellaway I Was There (IPO IPOC 1006) * Remembering Bobby Darin (IPO IPOC 1008) * Heroes (IPO IPOC 1010)

The first two of these three albums are tributes to Bobby Darin and come from an unimpeachable source as for several years Roger Kellaway was Darin's musical director. 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´. 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 but first-class musicianship and eloquent improvisations remain. Either one of these CDs deserves a place in your collection - both if possible.

The third CD presents the same trio, Roger, guitarist Bruce Forman and bassist Dan Lutz, 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. This is a must for those of you who admire jazz piano at its best.

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 but without question she has the talent to succeed. 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.

Nancy Kelly Born To Swing (Amherst AMH 4422-2) * Well, Alright! (Saying it With Jazz SIWJ 0309)

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. 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 delivers warm and well-crafted songs, many of them standards, including '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 towards the end of 2008 at Bake's Place, an intimate club in Issaquah (in Washington state), Nancy turns her attention to some show and pop songs from the 1960s and a generous sprinkling of blues. Among the songs are 'But Not For Me', 'I Love Being Here With You', 'Let's Fall in Love' and 'Alright, Okay, You Win'. The resulting electric performance underlines the promise of her first CD. This time, Nancy has a different backing trio: Randy Halberstadt, piano, Jeff Johnson, bass and Gary Hobbs, 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.

Cormac Kenevey This Is Living (Candid CCD 79846) * The Art f Dreaming (Candid 79853)

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 independent 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.

Stacey Kent Let Yourself Go (Candid CCD 79764) * In Love Again (Candid CCD 79786) * The Boy Next Door (Candid CCD 79797) * Breakfast On The Morning Tram (Blue Note 5099950181128) * Raconte-Moi (Blue Note 5099962682305)

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 fine 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, David Newton, piano, and Steve Brown, drums, 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. 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 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 Parricelli, bassist Dave Chamberlain and drummer Matt Skelton. This CD is fully up to Stacey's previous high standards as is her latest, Raconte-Moi, on which she wholly embraces her interest in French songs. Familiar and unfamiliar songs are presented with elegant ease and show how comfortable this singer is with forms other than those that have preoccupied her in the past.

The first of these CDs is a very well conceived and beautifully executed tribute to Chet Baker, which 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. The second CD presents Trudy with an old friend from her Australian homeland, singer Ingrid James, in a fine selection of standards from the pop and jazz scenes. The two singers blend with subtle ease and once again Geoff is a key factor in supplying the framework for their graceful work.

In the long gap since her last recording, Carol Kidd's vocal sound has taken on a subtle maturity that sits very well indeed with her ability to reach the heart and soul of any song she sings. Her recent return to the scene has also brought another change; now, she works in duo with the fine guitarist, Nigel Clark. As Carol's many fans will recall, she always offered a few moments during her concerts when she sang with only guitar accompaniment and the delight this brought to audiences has now been built upon with enormous success. Carol's repertoire here, as always, presents a comfortable mix of mainly standards with a few items of the best of contemporary pop. There is also an original, composed by Nigel to Carol's lyric, 'Tell Me Once Again', and very good it is too. Carol's lovely vocal sound has never been better and is superbly showcased by Nigel's fluent guitar.

Thoroughly entertaining, this klezmer-dominated set is led by violinist Joe Kessler and offers music from centuries-old traditions of eastern Europe and the Middle-East all underscored by subtle hints of modern American jazz. Among the instrumentalists on show here are Alex Speigelman, clarinet and saxophone, Sam Dechenne, trumpet, Michael McLaughlin, accordion, and Greg Loughman, bass. Anyone interested in hearing how well age-old traditions stand up to the harsh light of the contemporary music scene will find much here that will be of value. More than that, the music and the performances are skilful and entertaining.

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 an 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.

Hugely popular in Brazil, over the past few years Ithamara Koorax has made a considerable impression elsewhere, especially in the USA. On Autumn In New York, she is very much in a jazz mood, swinging 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.

Ithamara Koorax Sings The Luiz Bonfá Songbook (King KICP 503) * Serenade In Blue (Milestone MBL 6002 9301) * Love Dance: The Ballad Collection (Som Livre 3126 2)

On these three earlier CDs, Ithamara is much closer to her Brazilian roots, yet throughout there is evidence of the jazz singer then 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. Of these three CDs, the Luiz Bonfá set is an eloquent exploration of one of the best known South American songwriters and Ithamara's love for his music is evident throughout. 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. In whatever mood, Ithamara is a singer to savour.

Ithamara Koorax Brazilian Butterfly (Irma IRM 830 CD) * Obrigado: Dom Um Romao (TCB 27702)

For Brazilian Butterfly, Ithamara has surrounded herself with some outstanding instrumentalists, including pianist Gonzalo Rubalcaba. Warm and exciting, this is a superb example of Brazilian music at its very best. 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 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 Dom Um Romao's 'Amor Em Jacuma' demands repeated playing.

With Obrigado Ithamara memorably sets out a tale of what might have been. Ithamara had planned a European tour on which she was to have worked 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 his remarkable talent. It was during this 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, and his colleagues here are guitarist Markus Stalder and bassist Thomas Dürst. 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.

For the duo set, Ithamara is joined by guitarist Juarez Moreira for a delightful exploration of the musical world of João Gilberto. A key figure in the development of Brazilian music into a world force, Gilberto was also significantly important in the making of the bossa nova movement that has so captivated the world during the past half century. On this album. Ithamara and Juarez present all of Gilberto's songs, the first time it is believed that all this music has been presented in one place. Among these songs are some that have been recorded often, such as 'Hô-Bá-Lá-Lá' and 'An Embrace To Bonfá (Um Abraço No Bonfá)', and those that are rarely heard, including 'Glass Beads (No Coreto)' and 'Valsa (Bebel)'. These songs and others are lovingly interpreted by Ithamara and Juarez and their respect and dedication is plain to hear. A very attractive album and one that should have a very wide appeal to those who love good music beautifully performed.

Peter Schärli's trio reunites with Ithamara for a delightful selection of songs on O Grande Amor. This 2010 session is mainly of Brazilian songs, including Ivan Lins' 'Setembro' and Antonio Carlos Jobim's 'Fotografia' and 'O Grande Amor'. These songs are intriguingly coloured with subtle jazz improvisations from the trio that underline and uplift the singer's effortless styling. For this date, Peter is again heard with bassist Thomas Dürst while the pianist is Hans-Peter Pfammatter. Throughout, the interplay of these four artists is impeccable and the fiery core of Peter's trumpet playing contrasts vividly with Ithamara's glowing vocal sound. First-rate music from first-class musicians.

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.

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, 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 and always hazy dividing line.

Rob Koral & Sue Hawker Tell Me (33 Jazz 084) * Rob Koral Somebody Said ... (Headgames 003)

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.

Strikingly individualistic, tenor saxophonist Ernie Krivda is an exciting improviser, endlessly inventive and rhythmically forceful. In the admirable two-album set (available separately) of his own compositions, he is joined by trumpeter Dominick Farinacci, guitarist Bob Fraser, bassist Kurt 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.

Ernie's 2011 release, in which he pays tribute to writer Harvey Pekar, continues his the tenor saxophonist's potent improvisational development. Listening to his fluent invention, it is sometimes hard to accept that Ernie must now be categorized as an elder statesman of jazz. Certainly, his drive and enthusiasm resembles that of a musician from a younger generation. Speaking of which, some of his admirable companions here belong to an earlier generation. The core quartet here features Detroit stars veteran pianist Claude Black, bassist Marion Hayden and drummer Renell Gonsalves (son of Paul). Added to this on some tracks are trumpeters Sean Jones and Dominick Farinacci. All of these CDs are fine examples of Ernie's work and all that is good in contemporary music. The new release is especially attractive and likely to have a wide appeal to fans of all that is good in today's jazz.

Almost forty years after his death, Gene Krupa remains remarkably popular and is still, perhaps, the most widely-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.

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 LaCentra 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.

Sofia Laiti You Don't Know Me (Midnight Sun POH 2709-3) * Like A Road Leading Home (Midnight Sun unnumbered)

Sofia Laiti's fourth CD, You Don't Know Me, 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 Dorsey, 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 2004 release is a very good place to start.

On Like A Road Leading Home, Sofia has broadened her repertoire, turning to latterday pop and in particular the music of Bob Dylan. Only recently has Dylan's work been taken up by singers in and on the edges of jazz and many listeners will not be surprised that his songs lend themselves to interpretation by contemporary singers. The songs have interesting melodies and meaningful lyrics that explore many topics not often touched upon by the writers of classic pop. Sofia's interpretations reach to the heart of these songs and she delivers always fascinating variations on the originals, leaning in some instances towards country while the blues that Dylan so admires can also be heard. On this 2011 release, Sofia is joined by pianist James Weidman, bassist Marcus McLauren, guitarist Adam Lomeo, and drummer Vince Ector, while accordionist Mariel Berger and violinist Scott Tixier bring added colour to the basic ensemble sound. This is a very pleasing set that should have wide appeal and should certainly extend this admirable singer's audience.

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.

Brian Landrus names his band The Landrus Kaleidoscope and with it he develops his own compositions, among which are many delightfully melodic pieces. Bran's instrumental choice is distinctive; here he plays baritone saxophone, bass clarinet and bass flute. With these, he and his musical companions explore the emotional depths of the music through the possibilities opened up by the lower frequency of the frontline instruments. These collaborators are Michael Cain, who plays piano and electric piano and also doubles on bass, Nir Felder, guitar, Matthew Parish, bass, and Rudy Royston, drums. Here and there, the music draws upon Latin concepts and there are also occasional touches that hint at contemporary R&B and even gospel; this said, everything on Capsule is very much of the melodic and highly accessible end of today's contemporary jazz scene.

Karen Lane Once In A Lifetime (KL unnumbered) * Taste (33 Jazz 109) * Beautiful Love (Smash SMD 002)

Karen Lane is a mature and experienced singer who has become very well known on the UK jazz scene. A lithe swing and elegant phrasing marks her out as does her repertoire, which mixes standards with well known jazz songs and some attractive self-composed originals. Karen also writes her own arrangements, sometimes 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, 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 subtle assurance.

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 standards 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; and she composed words and music for her one-woman show. 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.

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. This is superior cabaret singing that transfers very well indeed to CD.

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: 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.

Bradley Leighton Groove Yard (Pacific Coast 2 60001-2) * Just Doin' Our Thang (Pacific Coast 2 60001-4)

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 the the second CD, display considerable talent. Attractive music, played with skill and care.

A seamless blend of three exceptional talents. Nicki Leighton-Thomas honed her vocal skills for several years in the UK and became a highly accomplished artist. Pianist Simon Wallace 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, which has not been heard in recent years as family responsibilities have taken precedence over her career.

Tom Lellis is a 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 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.

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.

On the first of these CDs, Dave Liebman and Phil Markowitz perform with great verve, this duo set being recorded 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 recent 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.

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 Avey), 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.

The third CD finds Dave leading a powerful and crisp big band in performances of his own compositions. At the core of the band are members of Dave's regular smaller working group, and the line-up includes Vic Juris, Charles Pillow, Chris Karlic, Jim Ridl and Marko Marcinko. Important contributors to the success of this recording date are the arrangers of Dave's themes: Andrew Rathburn, Pete McGuinness, Gunnar Mossblad, Guri Agmon and Scott Reeves, the latter also being a featured soloist in the band. Although the set is testimony to the skills of several fine musicians, it is essentially Dave's date. His solos, principally on soprano saxophone and also on wooden flute, clarinet and alto saxophone, are vibrant displays of his huge talent as a masterly improviser. Containing as it does hints of world music and the classical form, this exceptional big band is a superb example of contemporary jazz and improvised music.

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.

Dave Lindholm's gritty, lived-in voice is little known outside Finland and will be almost completely unknown to listeners in other countries. Admittedly, this release is on the edges of jazz, but it has the kind of off-beat whimsicality that should appeal to the jazz fraternity. Dave is backed here by several fine musicians, mainly Finnish, playing good jazz under the direction of Otto Donner. Do try to hear this; you could be in for a very pleasant surprise.

Diane Linscott I Love Being Here With You (Goblin Bee GB 1776) * Singin' Around (DjazzL Music no number) * Alone/Together (DjazzL Music no number) * You Must Believe In Spring (DjazzL Music no number)

Over recent years, singer Diane Linscott has divided her time between Maine and Florida steadily receiving 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. 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.

Born in Austria, Elisabeth Lohninger began singing folk music while still a child and soon gained a national reputation. Some years later, now resident in New York, Elisabeth was heard in a variety of settings, including Austrian folk music and jazz, pop-soul and electronica. With her last three releases, Beneath Your Surface, The Only Way Out Is Up and this CD (all released by Lofsh Music), Elisabeth moved centrally into jazz and classic pop, becoming an attractively nuanced singer with a very pleasing vocal sound. Elisabeth interprets the lyrics of her eclectic repertoire with taste and subtle understanding. Among the songs are standards, latterday pop and some of Elisabeth's own compositions. Accompanied here by a core trio of Bruce Barth, Evan Gregor and Jordan Perlson, Elisabeth's guest instrumentalists are Ingrid Jensen, Donny McCaslin and Christian Howes. Very well worth your attention.

This exciting young singer is impossible to categorize. Her repertoire, some of which is her own original music, leans towards pop and country and 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 after hearing Holiday on record she thought that was the way 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.

A driving set by guitarist Jon Lundbom and his band, Big Five Chord, which was originally formed in 2003. Playing tough, forceful contemporary music, the group blends concepts that range through the current improv scene as well as state-of-the-art classical music. Jon's musical companions on these often daring concepts are Jon Irabagon, Bryan Murray, Matt Kanelos, Moppa Elliott and Danny Fischer. With each member of the band improvising fiercely on challenging themes this is never music for the faint-hearted and offers much that is intellectually stimulating while simultaneously visceral.

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 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, from soulful ballads by way of fervent swingers to 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.

As already mentioned, the place to go for these albums is mainly on-line stores but 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.

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.

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.

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.

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.

A gifted and extensively educated guitarist and arranger, Mario Conde has built a formidable reputation in his Brazilian homeland and also in Europe, playing there with Sotak members and in his own trio, Impact Odd. Here, he presents a selection of music closely associated with Brazil and performed by many fine instrumentalists and singers. This CD will appeal to all who love the music of Brazil and especially when it is spiced with touches of Latin jazz at its best.

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.

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.

Thiago De Mello Amazon (JSR GTM 208) * Sweet Brasil (GAU 1001) * The Right Move (GAU 1002) * The Night The Moon Cried (GAU 1003) * Amor Sem Fin (GAU 1004) * Thiago De Mello & Dexter Payne Another Feeling (JSR 6052)

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, this last named CD is available on a leading label and should lead quickly to an appreciation of Thiago's subtle percussive art.

Anna Estrada Soñando Vuelos (Feral Flight FFP 001) * Obsesión (Feral Flight FFP 002)

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 guest soloist trombonist Wayne Wallace, whose own CDs appear on the M-Z pages.

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 the 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.

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.

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.

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.

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.

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. This is very good music by a group that demands to be heard and (if you are lucky enough) seen.

This highly skilled group of Bay Area musicians has looked back into Brazil's distant musical history, finding in choro music that is exhilarating and filled with stylish touches. The musicians involved are Zack Pitt-Smith (saxophones, flute), Jesse Appelman (mandolin), Brian Moran (guitar) and Ami Molinelli (percussion), with featured guests Jovino Santos Neto (piano, accordion and Brian Rice (percussion). Some of the music played here is by Jovino Santos Neto, while other pieces draw upon the work of classic choro composers from earlier years. Whatever the source, the music is buoyant and filled with lively turns that present the musicians with ample scope for solos while the group as a whole is always together, the members individually and collectively supportive of one another.

Relaxed and unpretentious singing from Fernando Holz, a Brazilian musician now resident in Northeastern USA. Melodic and displaying fine musicianship, 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.

Backed by the spirited playing of Blue Brazil, Maria Jameau delivers an attractive set that blends the Latin music of the New World with echoes of the Old. Although Brazilian music plays a leading role in this mixture, there are also touches of jazz and R&B as well as hints of Spain and India. The members of Blue Brazil are Bob Afifi, Nate Lopez, Jacob Harris and Pablo Rodriguez; all are enthusiastic and skilful players. Maria is a very experienced singer and pianist, who performs with flair and distinction. She is also a teacher, thus ensuring that her skills and talent are passed on to a new generation of musicians who admire and seek to continue this style, which is soulful and uplifting and always thoroughly entertaining.

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, 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; additionally, there are guests pianist Octavo Brunetti and singer Marga Mitchell. Vivid and vibrant music from a master of the instrument and the form.

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 as well as guest soloists. Soft sounds for warm summer nights.

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