Bob Powers

MARIETTA, OH, USA - Let's talk about world music, new age music, and so forth. Under most circumstances, if you said that to me, you'd receive an abrupt, "Go to heck!" and I'd change the subject. But as in all things of life, there are exceptions to any rule. I have made a point of despising new age clutter, perhaps endurable only when in the throes of insomnia at 3 a.m. New age could put me out as my brain fell asleep, followed by the rest of my body.

But dammit, there are those exceptions. And Selah, a blonde with a gorgeous set of pipes, demonstrates that she's no flavor of the month, no young inexperienced lass riding to fame and fortune on the good luck of excellent taste and a mesmerizing collection of backing musicians. Take my advice, long-time readers, and tarry not on your trip to the nearest record emporium. Purchase of this charming CD called "Late Harvest" should be at the top of your shopping list. This is a big one, folks, a guaranteed collection of nine originals by Selah and four classic tunes that will jog memories of better days for you, no matter how many memories that are stuffed into your brain bank.

"Late Harvest" puts the spotlight directly on Selah, a beautiful warbler with an impressive experience in areas across the world, including Kenya, Canada, France and both coasts of the United States. The lady gets around and that experience seems to have made an impression on her music, especially in how she uses her captivating voice. The backing musicians on this album have impressive resumes, including David Sancious, who has played keyboards with Bruce Springsteen, Santana and Eric Clapton. Andy Snitzer, a veteran of the Rolling Stones and Paul Simon. Guitarist Michael Landau has worked with Joni Mitchell, James Taylor, and Celine Dion. Drummer Vinnie Claiuta has worked with such as Sting, Joni Mitchell and the late Frank Zappa. The remaining musicians have resumes just as comprehensive.

The music here is just as entrancing as the voice of the incredible Selah. She writes with an impressive authority, writing music and lyrics that fit comfortably into her choice of a blend of world music, jazz, and folk elements. Her choice of four covers shows that her tastes can be impeccable. Christopher Cross wrote the excellent "Sailing," and it fits perfectly into Selah's special blend. There are few of us around when Ben E. King's "Stand By Me" is heard who wouldn't welcome a new version of a longtime favorite. Who could resist another version of Carole King's great old ballad, "Will You Still Love Me Tomorrow?" One of my rock gods is the exacting but delightful Van Morrison, whose "Crazy Love" receives a nice twist by Selah.

Legendary Guitarist

The incredible (and that word isn't used arbitrarily; he deserves it) Kenny Burrell has been the idol of most thinking guitarists for decades. The jazz giant has walked with dignity into his 70s with no signs of a slippage in taste or ability to play some of the best-damned guitarist in the history of the medium. This sucker can take your breath away, even if you don't know how he attains his prowess and command of the instrument.

Burrell turns 72 this year and he seems as much in command of his music as he did when he first exploded on the jazz scene. His new album, "Blue Muse" (Concord Records) contains elements of both nostalgia and inspiration. Burrell has said he wanted this CD to "have variety. I thought it would be a good idea to balance the program, like we do when we play a concert. We actually inserted some things we like to play live."

Burrell received a warm welcome for his vocals on the 2001 release, "Lucky So and So." He sings on four tracks here, including Ellington's "Solitude," Monk's "Round Midnight," and a vocal version "Blue Bossa" entitled "It's Time to Be Blue" and "Then I Met You," which Burrell dedicates to his wife, Katherine.

Kenny Burrell has wowed both musicians and the general jazz crowd with his startling abilities, which demonstrate no particular decline due to his advancing years. May we all be as "with it" as we stroll through the 70s?

Eric the Great

Although he's only 34, Eric Alexander may surprise some listeners as they realize how many albums have carried his name, either as the tenor soloist or contributing to the bands of other jazz experts. You might think that Alexander was cruising toward the Golden Years. No worry, Alexander remains one of the young lions and in his latest album, he shows why he's bound to continue causing ears to go atwitter.

"Nightlife in Tokyo" (Milestone Records) has a tune by that title, and a night shot of the downtown Japanese city as the cover for the CD. But otherwise, it's a regular album, not something containing tons of Japanese music. This is 2003 jazz, done with skill aplenty and a heart that would carry the most ambitious race-horse. Eric Alexander roars and there's no question that he's a thoroughbred with the moxey to tackle the toughest tunes and come out wearing a massive collar of red roses.

I find the tenor saxophone one of my favorite jazz instruments. I don't think there's another player in today's lineups who can best the work of Alexander. Equally at home with up-tempo jammers and sweet and sentimental ballads, Alexander plays with no fear, tackling solos that would send many horn players directly to the hospital, seeking the ability to breathe again.

Most of the eight tracks are jammers, but Alexander acquits himself beautifully with two ballads, "I Can Dream Can't I?" and "I'll Be Around." Backing him are Harold Mabern on piano, Ron Carter on bass, and Joe Farnsworth on drums. The results are exquisite.

+++ The PREVIOUS POWERSSOUND +++ THE NEXT POWERSSOUND +++