One of those is Jackie Coon, who's in his 60s now and has enjoyed a long career of playing cornet with some of the major names in straight-ahead jazz. Coon played in Jack Teagarden's band during the 1950's, did a long gig with a Disneyland buskers Dixieland band that roamed the California park, acquitting himself with distinction. In most jazz circles, he's considered one of the premier performers on his chosen instrument of fluegelhorn.

In his latest album, "Softly: Jackie Coon and His Pals" (Arbors ARCD 19162), Coon romps through a solid set of a dozen standards. His bandmates are some of the best, including Johnny Varro on piano, the magnificent Bob Haggart on bass, and special guests Dan Barrett and John Allred, two of the best trombonists even to pick up that difficult instrument.

Coon shows an impeccable sense of what's good. His arrangements are simple, but the playing remains exciting, soothing, and always imminently listenable. Album highlights include "You Took Advantage of Me," "Softly, as in a Morning Sunrise," and "Autumn Leaves."

Sloan Wainwright spent ten years in the bakery business, although she stayed busy with her creative side of life by creating music for children's theater and composing for local dance productions. Eight years ago, she won the Open Mike series at a cafe and that persuaded her to return to her first love.

Wainwright's new album, "From Where You Are" (Waterbug WBG0042) demonstrates her folk roots, while adding snippets of rock and jazz. The result is a pleasing collection of 11 originals (one co-written with Stephen Cary), and the Beatles tune, "Across the Universe." Wainwright's distinctive voice is always pleasing, sometimes mesmerizing. Her lyrics are fun, contemplative, introspective, and universal.

Musical support includes the piano of Cary Brown, drummer Greg Burrows, with guests that include Loudon Wainwright. Once you hear Sloan Wainwright sing, you'll likely become an admirer.

An argument can be made that Steve Wilson could become the John Coltrane of the 21st century. A listen to his new album, "Generations," (Stretch SCD-9019-2) makes the preceding statement more than just a young player aiming at the heavens of jazz.

Wilson plays in Chick Corea's new band Origin. He's adept on alto and soprano saxophones and flute. His solos echo Coltrane in many moods, although Wilson is no mere impersonator. He's an original, who has the good sense to pay tribute to his predecessors. And he's had luck in surrounding himself with superb sidemen, including the stunning Mulgrew Miller on piano, the superb Ray Drummond on string bass, and the veteran master Ben Riley behind the drums.

Wilson admits he's listened to those from the jazz heavens, writing in the liner notes, "In the spirit of those before us, may we build on the foundations, while expanding our spheres." Bandmate Miller notes that Wilson "has the uncanny capacity to be adaptable and yet remain remarkably individualistic." Drummond praises Wilson's "timeless music," that he predicts "will remain just as fresh and inspirational in the future as the day it was recorded."

"Generations" represents the bright future of jazz. Get thee to the record store now!

While Dave Frishberg is far from a household name, he's a major player amongst musicians for his talents at the piano and his wonderful skills as a composer and lyricist. Frishberg steps to the center spotlight with his new album, "Dave Frishberg: By Himself" (Arbors ARCD 19185).

Rosemary Clooney fans will know Frishberg's work, as the best singer alive frequently performs Frishberg tunes such as the nostalgic "Do You Miss New York?," the comic "Sweet Kentucky Ham," and she often introduces her concert musicians with Frishberg's comic "I Want to be a Sideman."

As a supporting player, Frishberg accompanied such talents as Carmen McRae and Kai Winding. He's worked clubs with some of the great names in music and he's been a frequent band member on numerous albums. His songwriting, sometimes with collaborators but often alone, includes such gems as "I'm Hip" (with Bob Dorough), "Long Daddy Green" (with Blossom Dearie), and the delightful "Peel Me a Grape," which became a hit for Ms. Dearie.

Frishberg recorded his first solo album three decades ago. In the new album, he presents a few of his own tunes, along with a delightful array of classic songs from the likes of Lorenz & Hart, Dizzy Gillespie, Duke Ellington, and Jay McShann.

With his pixie voice and his huge talent as a pianist, Frishberg has long deserved to be a jazz favorite. Perhaps "By Himself" will help him gain the recognition he deserves.

One of the best concerts I attended in the '80s was an appearance by British pop icon Howard Jones. He spent more than two hours romping around the stage of an old movie theater that had been turned into a combination dance hall/concert venue by stripping the main floor of seats. The venerable Newport Music Hall in Columbus, Ohio, continues to attract some of the best rock, pop, and jazz acts, benefiting from its location across the street from the Ohio State University campus.

"Howard Jones: Live Acoustic America" (Plump 6902-2) captures one night of the tour Jones did in 1992, which included a stop at the Newport venue. The tour found Jones accompanying himself on the grand piano, with Carol Steele on percussion. The result is magic as Jones runs through a catalog of his greatest hits. My favorites include "Everlasting Love," "Things Can Only Get Better," and "No One is to Blame."

Jones is classy and lots of fun. This is an excellent album.

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