Uh, huh. Can't do it, can you?

Normally, I would never quote from a publicity release issued by a record company. Such material tends to go overboard. But in the case of describing the talent possessed by Braff, it's impossible to say too much. Says Arbors Records of their esteemed artist:

"The foremost dramatist of American song, Ruby has been declared a 'natural treasure' for his extraordinary range of ideas, emotion, and the sustained beauty of his playing. Ruby is unique. His tone and style are instantly recognizable. He plays with each and elegance, yet performs with great control, certainty and spontaneity, respecting the melody, but adding his own embellishments."

True, true, true. If you have any doubt that Braff is best, head to your local music dealer for a copy of his new CD, "Born to Play" (Arbors Records). This excellent album shows Braff at his best on a raft of excellent standards, with two Braff tunes added for a bit of extra spice to the mix.

Braff always has a stable to superb musicians backing him up, and this CD is no exception. He has created an unusual band, employing three guitarists and two bassists (all working at the same time). The sound produced is surprisingly attractive.

Kenny Davern does some exciting things on clarinet. Guitar support is supplied by Bucky Pizzarelli, Howard Alden, and Jon Wheatley. Michael Moore and Marshall Wood perform expertly on bass. Jim Gwin is solid and unobtrusive on drums.

If you enjoy classic jazz, "Born to Play" will be a must addition to your collection. Once again, Ruby Braff demonstrates that he's a national treasure.

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Ann Arbor, Mich., is best known as home of those Wolverines of the University of Michigan . With any luck, Ann Arbor might become better known as the birthplace of Big Dave and the Ultrasonics, a terrifically entertaining quintet of musicians.

Formed in 1990, the band recently produced its third album, a solid set of blues, boogie, and roots rock. "Big Dave and the Ultrasonics" (Burnside Records) shows the cohesiveness that comes from regular duty in small clubs throughout the Midwest. This band performs together like wily veterans of constant traveling, but has a spark and energy that makes the group stand out from its contemporaries.

Leader "Big Dave" Steele plays guitar and handles of the vocals with dispatch. Dave Morris plays the harmonica with a command that's captivating. He pulls a mournful sound from the harp when the occasion calls for it, yet can exhibit a joyful noise, too.

The album contains a dozen original tunes, all performed with precision while played with a roaring enthusiasm. "Black Coffee" contains a powerful guitar solo by Steele. Keyboards player Ben Wilson had a hand in writing four of the tunes. Dale Jennings is a steady hand on the bass, while Pieter Struyk contributes to the band's solid beat on drums.

This is one damned good album.

Charlie Byrd plays the guitar in a distinctive style that's instantly recognizable to his huge number of fans world wide. A new Charlie Byrd album is an occasion for excitement, because Byrd's work always can be counted upon to satisfy and enchant.

"My Inspiration" (Concord Records) certainly meets the test of quality. Byrd fans should find it enchanting, and those who are not yet Byrd converts may finally get on the bandwagon with this collection.

An added bonus comes from the presence on seven of the dozen tracks of the brilliant tenor saxophone of Scott Hamilton, a welcome addition to anyone's recording session. The album consists of Brazilian compositions, both familiar ("Desafinado") and obscure. As always, Byrd plays with feeling and emotion.

It's unnecessary to be a rabid fan of Louisiana zydeco music to appreciate its charms. The rhythms are capable of rousing the most unrequited basher of all things musical. Listen for ten minutes and you'll be hooked.

In a package of new CD releases that hit my front porch recently was "Creole People" (AIM Records), the first release by Lynn August. Apparently this is the Louisiana musician's first album, despite a career that dates to the ‘60s. Based on the evidence of a baker's dozen of captivating tunes, August deserves a wider audience that clubs around the South.

August, blind since birth, plays the accordion (quite well, thank you) and sings with supreme confidence. The album contains a wide range of songs, all performed well by August and his group, The Hot August Knights, who unfortunately go unidentified in the liner notes.

British folk singer John Wesley Harding does something unusual in his new album, "Trad Arr Jones" (Zero Hour Records). Known best for his original songs, Harding has made a tribute album dedicated to the traditional music arranged by folk legend Nic Jones.

Seriously injured in a 1982 auto accident, Jones has not performed in public since. Most of his recordings have gone out of print. Harding has publicly credited Jones as a major influence on his career. The album is quite unadorned, with minimal instrumental accompaniment offered by Robert Lloyd.

The result is folk music in pure glory. "Trad Arr Jones" should be in the collections of all serious folk enthusiasts. Harding is a major talent and he's in rare form with this collection.