Robillard's latest album, "New Blues for Modern Man" (Shanachie Records), demonstrates once more than when this man picks up the guitar in the recording studio, he's all business. Robillard says an album is "something that should last forever." After listening to this new CD, fans will be satisfied and new listeners will be impressed.

Robillard, after leaving Roomful Of Blues, made solo albums and toured the world. He spent a couple of years with the Fabulous Thunderbirds. He appeared on Bob Dylan's Grammy-winning 1997 album, "Time Out of Mind," and he worked with the delightful Miss Ruth Brown on her 1997 album, which won a Handy award.

In the new set, Robillard sounds fantastic in both voice and on the guitar. The album was recorded live in the studio, which contributes to its presence and excitement. Robillard reports that most of the songs were done in one or two takes. "Then we did some overdubbing for a couple of them," he recalls.

The album carries a feeling of early rock, back to those hallowed days of Chuck Berry and his compatriots. The solo work by Robillard on his fabled Stratocaster should please his many fans. There are seven Robillard originals, along with Dylan's "Love Sick," Charlie Patton's classic, "Pony Blues," along with contributions by Doug James and Al Basile.

Smooth jazz has become a successful format in contemporary radio. There's only one problem with smooth jazz. It's not real jazz and it is liable to put its listeners to sleep.

A prime example of the format and its limitations is found in Ed Calle's fourth CD as a leader. "Sunset Harbor" (Concord Vista) assembles a group of excellent musicians, who proceed to perform lackluster arrangements of unchallenging tunes. It sorta sounds like jazz, but more often it resembles that terrible stuff they play in elevators or hotel lobbies.

Calle, an excellent saxophonist who sometimes sounds like a less adventurous Grover Washington Jr., plays the melody in most of the 11 tracks. There are a couple of surprises, including a dreadfully boring version of Chicago's old hit from their glory days, "Colour My World." There's also a fairly interesting chart based on Earth, Wind and Fire's memorable "Reasons." Everything else is attributed to Calle's authorship. These numbers all sound depressingly the same.

The idea behind smooth jazz seems to be the notion that in order to be smooth, this brand of jazz needs to be b-o-r-i-n-g. If that's the intent, Calle has a winner.

An argument can be made than no instrument ever was more suitable for jazz, blues and funk that the magnificent Hammond B-3 electric organ. Of course, it helps if someone such as Brother Jack McDuff is applying fingers to the keyboard of such a relic.

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McDuff recorded a number of albums for the Prestige label back in the '60s with a crackerjack band that included drummer Grady Tate, saxophone marvel Red Holloway and guitarist George Benson. Producer John Burk has brought together the members of that glorious group for a recording date that produces some of the best sounds of the year.

"Bringin' It Home" (Concord Records) provides a winning mix of jazz, funk, and blues that should win listeners from all corners. This is outstanding music, played with confidence and grace. It's beautiful, soulful, and captivating.

McDuff never sounded better. He's always been a musician who relied on feeling rather than fanciness. He's at his best in the slower tunes, providing a solid basis for soloists and pushing some delightful sounds from that old reliable Hammond B-3.

The album opens with a smashing version of "Cold Duck Time," then moves smoothly into "The Scratch." The old standard "Girl Talk" receives a gracious and sprightly reading. Red Holloway plays the tenor on the old George Benson smash, "This Masquerade."

This is a wonderful album, especially if you groove on the sound of the Hammond B-3.

There are rare CD's which seem to improve with every hearing. That's certainly the case with "The Jimmy Bruno Trio: Live at Birdland II" (Concord Jazz). With a blistering array of techniques, Bruno (who never had a formal music lesson) provides a wide-ranging set of jazz classics that should delight any devotee of the electric guitar.

The new album was recorded in December 1996, when Bruno played the venerable Manhattan jazz club with a variety of guest artists. This album, the second in the series, features the incredible saxophonist Scott Hamilton, whose sound and technique are truly amazing.

The CD opens with five tunes by Bruno, bassist Craig Thomas, and drummer Vince Ector. The opening tune, "Reticulation," is based on "I Got Rhythm." Another original, "Chesapeake Blues," follows. There's a gorgeous version of Clifford Brown's lovely old chestnut, "Joy Spring." Next comes "Poinciana," and the first half winds up with Bruno's delightful arrangement of "(I Can't Give You) Anything But Love."

Hamilton, one of those amazing performers whose impeccable choice of notes includes what should be left out, performs on the remaining five tunes, showing his old-time but beautiful style can fit in anywhere. The songs are "Broadway," "Lover Man," "I Hear a Rhapsody," "Darn That Dream," and "I Want to Be Happy." If you're not happy after listing to this disk, you should get your ears repaired.