Kenny Blue

The second of four recordings by Out of the Blue, a band that helped spotlight the talents of its up-and-coming members (trumpeter Michael Mossman, altoist Kenny Garrett, teanor saxophonist Ralph Bowen, pianist Harry Pickens, bassist Robert Hurst and drummer Ralph Peterson), features the sextet playing two originals apiece by Mossman, Bowen and Peterson, plus "Hot House." The music is essentially hard bop, and it is particularly interesting to hear Garrett stretching out shortly before he joined Miles Davis' band. Excellent music, although nothing too innovative occurs.The second of four recordings by Out of the Blue, a band that helped spotlight the talents of its up-and-coming members (trumpeter Michael Mossman, altoist Kenny Garrett, teanor saxophonist Ralph Bowen, pianist Harry Pickens, bassist Robert Hurst and drummer Ralph Peterson.

Always one of the most tasteful of musicians, guitarist Kenny Burrell is in fine form on this set from 1996. He is joined by a rhythm section led by pianist Sir Roland Hanna, trumpeter Jimmy Owens (who is in excellent form), either Steve Turre or Benny Powell on trombone and the underrated tenor-saxophonist and flutist Jerome Richardson. Burrell sings a heartfelt "Dear Ella" (his voice is just average) and there is a vocal apiece by Jeannie Bryson (a sensuous "I've Got A Crush On You") and Vanessa Rubin ("All Blues"). Other highlights of this relaxed bop set include Scott Joplin's "The Entertainer," Richardson's "Groove Merchant" and a medley of "Embraceable You" and Charlie Parker's "Quasimodo."

Blue Camel is the pinnacle to date of Lebanese oud player Rabih Abou-Khalil's achievement as a jazzman. In both mood and scope, it can almost be characterized as a new Kind of Blue. Both tense and reflective, it is perfect for listening after midnight. Abou-Khalil brings back Charlie Mariano on alto sax and Kenny Wheeler on flugelhorn and trumpet, and they generally alternate solos with Abou-Khalil himself. Rounding out the roster is Steve Swallow on bass, Milton Cardona on congos, Nabil Khaiat on frame drums, and Ramesh Shotham on South Indian drums and percussion. They form a tight ensemble and play comfortably with each other.

In their early days (1988-1990), Ricky Ross and his Deacon Blue bandmates (who all hail from Scotland) were one of the most prolific U.K. bands scaling the top of the European music charts. Early copies of their 1988 debut album Raintown contained Riches and More, a bonus CD featuring an album's worth of B-sides and other tracks that didn't make it on to the mother album. Although their 1989 follow-up, When the World Knows Your Name, did not feature a bonus disc, this 1990 two-disc release more than makes up for it. Containing almost two dozen non-album B-sides, soundtrack recordings and unreleased tracks (and no songs from Riches and More), this may be too much Deacon Blue for the average person, but is an absolute treasure trove for those smitten with the band since the debut album.

Kenny Dorham was always underrated throughout his career, not only as a trumpeter but as a composer. The CD reissue of Whistle Stop features seven of his compositions, none of which have been picked up by any of the "Young Lions" of the '90s despite their high quality and many fresh melodies. Dorham teams up with tenor-saxophonist Hank Mobley (who he had recorded with previously along with Art Blakey and Max Roach), pianist Kenny Drew, bassist Paul Chambers, and drummer Philly Joe Jones for a set of lively, fresh, and consistently swinging music. This is a generally overlooked near-classic set.