A good idea of the quality of Concord music can be garnered from a new sampler that includes 29 cuts from some of Concord's best albums. "The Sampler: The Concord Jazz Heritage Series" (Concord Jazz CCD1-4820-2) gets its material from a new series of albums that cull the best from the Concord catalog.

Highlights include Latin genius Puente's excellent arrangement of "Airegin," Scott Hamilton's choice version of "Some of These Days," and Ernie Andrews singing in front of the Frank Capp Juggernaut on "Take the A Train." The Herman Herd sounds great on "The Dolphin," and Louie Bellson's "Our Manne Shelly," makes a sizzling tribute to the jazz great.

The sampler is a major bargain at a list price of $10.98 for the two discs. The Jazz Heritage Series of 29 discs has a list price of $12.98 each.

Pianist/singer Michael Feinstein grew up in the Columbus suburb of Bexley, Ohio, and his talent at the keyboards resulted in working with Columbus's leading community theater, including a memorable production of the Broadway flop musical, "Minnie's Boys." His real career began when he shifted to the Left Coast, where he soon became an archivist for Ira Gershwin, the gifted lyricist and brother to George.

While virtually living in the Gershwin home in Beverly Hills, he became friends with next-door neighbor Rosemary Clooney. Today she considers him "one of my kids." The two performers often appear together in concerts around the country.

Feinstein has built his reputation as a purveyor of Gershwin songs, reviving many tunes not heard in decades. His new album, a tribute to George on the occasion of the centenary of Gershwin's birth, is "Michael & George: Feinstein Sings Gershwin" (Concord CCD-4849-2). Typical of Feinstein's work over the years, it showcases a penchant for romantic tunes, a cloying high voice and an annoying tendency toward the cutesy and overblown.

Feinstein's choice of songs, however, is impeccable. The album includes such gems as "Embraceable You," "Love is Here to Stay," "Funny Face," and "Shall We Dance?" Feinstein deserves major credit for having placed minor Gershwin compositions to the forefront. I only wish that his voice was not quite so wince-making.

Attitude means a lot in the music business. It can help, it can hurt. In the case of St. Petersburg, Florida's superb songbird Shana Smith, attitude means everything. Her new self-titled album , "Shana," showcases a talent that, with a break or three, has the equipment to be a major star.

Shana (she's adopted the one-name route with this album) has the rare ability to make a studio-made album sound like a live show. There's energy galore and a pleasing collection of her own songs, along with three covers. She has the knack of sounding like a myriad cast of superb performers. On the album's first tune, "No Sweat," there are elements of Patti Smith, although Shana can sing much better than the punk rock queen.

In "Lazy Girl," a languid jazz-flavored number, Shana reveals her long-held passion to be a lounge singer "replete with a sequined dress with a slit up to there and a big, shiny, black grand piano." The next cut, "$2.99," allows her to show her blues side.

Clever, comedic, saucy, daring, romantic, the adjectives burst forth as one listens to "Shana."

For information on obtaining the album, go to her Web site, or phone (727) 550-0128.

Graham Parker's "Live Alone! Discovering Japan" (Gadfly 238) was recorded during a concert tour of Japan during the '90s. As solo albums go, it's pretty darned good. Parker, who's been making fine music for 25 years, does energetic versions of 14 tunes, including "Platinum Blonde," "Just Like Herman Hesse," and "Short Memories." Parker's fans will want to add this one to their collection.

I'm not sure what "erotic jazz" is, but the new album, "Blue Moves 2: More Erotic Jazz" (Lipstick LIP 8952-2) is listenable elevator music, appropriate for contemplative moods, reading a book, or just hanging out. The performers are mostly unknown to me and include Vibe Tribe, Tatalex, Metro, and Monsters..

Jazz guitarist Kenny Burrell is one of the best, as this album from 1972 aptly demonstrates. The reissued "'Round Midnight" (Fantasy OJCCD-990-2) contains a smashing lineup of strong songs, including "Make Someone Happy," "Since I Fell for You," and "Blues in the Night." Burrell's soft sound and sure sense of rhythm make this outing an absolute auditory delight.

The current resurgence of swing (modified and corned up as it is) has produced some fun albums, and a few stinkers. The J Street Jumpers deliver one of the latter in their release, "Is You Is or Is You Ain't My Baby?" (Wildchild! 05452). For instance, the Ruth Brown R & B classic, "Momma, He Treats Your Daughter Mean" is massacred by a lead singer whose voice reminds one of hog-calling contests at the county fair. This is one very bad record.

Bill Evans came to notice when he started working with Miles Davis during the jazz great's funk/pop period. Evans plays soprano sax well; his keyboard work is excellent, too. Two albums, one made in the studio and the other a live album, show lay out the good and the average about Evans and his band Push. On the self-titled CD (Lipstick LIP 8922) the band runs through a pleasing set that includes a couple of excellent bop arrangements. With the concert album, "Live in Europe" (Lipstick 8929-2), many of the same songs receive an even more energetic treatment. If you can't add both to your shopping basket, settle for the live set.

Ray Gaskins plays sax, Fender Rhodes, and sings. His new funk jazz album, "Shady Lane" (Lipstick Records Lip-Hot 8953-2) contains a dozen toe-tappers that alternate between getting down and going toward a "smooth jazz" sound. The titles give an idea of what Gaskins offers: "Yo Funky Mama," "Chili Funk," Mo' Chicken" and "We Had to Say Goodbye." This is fun music, fine for parties.

____________________________________________________