Telarc

While it's true that Oscar Peterson compilations appeared with regularity form the early '60s on, only a few of them – as with most recording artists – have any real merit. This two-disc collection from the Concord Music Group's Telarc label, is one of them. Appearing less than a year before his death, this compilation concentrates on recordings issued from the '50s through the middle of the '80s on Dizzy Gillespie's Pablo label, and those made for Telarc between 1990 and 2000. Many live dates are included here from both labels, including "Tenderly" with Herb Ellis and Ray Brown at the J.A.T.P. concerts in Japan; the trio dates at Zardi's in 1955 ("How High the Moon"), in Copenhagen with Joe Pass, Stéphane Grappelli, and Niels-Henning Ørsted Pedersen in 1979, and Mickey Roker in 1979 ("Nuages")….

There is no denying that Dave Brubeck's hit sides for Columbia permanently established him in the popular jazz consciousness, but that's also a limiting factor: he cut great music before and after his tenure there. The Definitive Dave Brubeck, a double-disc, 26-track collection issued just in time to celebrate the pianist's 90th birthday and to coincide with the documentary film Dave Brubeck: In His Own Sweet Time (whose executive producer is Clint Eastwood), fills in key points in the rest of the story. This compilation was assembled by Russell Gloyd, Brubeck's manager, producer, and conductor since 1976…

This was André Previn's second album after his long, symphonically enforced absence from jazz, and it sounds noticeably more fluid and relaxed than his first. No longer apprehensive about dusting off his old skills, Previn is delightfully confident and breezy (dig his sly turns on "Come Rain or Come Shine" and "C Jam Blues"), taking some chances as he re-phrases and paraphrases a collection of revivified standards, mostly Harold Arlen and assorted Duke Ellington. Even if Previn, that noted wit, sometimes sounds as if he is kidding the pants off these old tunes, it's great to hear him having such a good time playing jazz again. Mundell Lowe is Previn's new guitar partner, and Ray Brown returns on bass; both are right at home in this refined brand of chamber jazz grooving.

Al di Meola's first so-called Christmas album is a relaxed, flowing, intensely musical affair that jazzers, world music buffs, and new agers will feel equally comfortable with. Mostly, he steers away from the often-cracked chestnuts, composing several nice tunes of his own ("Zima," the leadoff cut, is especially inviting), playing acoustic guitar and a battery of percussion instruments and keyboards in a graceful one-man band, thanks to multi-track tape. Other tracks feature duets between di Meola (with overdubbed additional instruments) and Roman Hrynkiv, who plays a Ukrainian zither-like instrument called the bandura.

Occasionally an artist appears with talent that transcends the scope of normality and now we have this phenomenal new pianist named Hiromi Uehara from Shizuoka, Japan that explodes on the music seen with unheralded momentum fusing the gap of jazz, classical and rock. At 24 “Hiromi” makes her debut on Telarc Jazz titled “Another Mind” produced by legendary pianist Ahmad Jamal & Richard Evans.

On Beyond Standard, her fifth album and the second one under the group name Hiromi's Sonicbloom, the always adventuresome pianist doesn't so much pay tribute to standards such as Duke Ellington's "Caravan" and Rodgers and Hammerstein's "My Favorite Things" as break them apart, put them back together in a way that best pleases her and generally deconstruct the whole idea of paying homage to old songs.