Verve 533 232-2 to order to order

Just A Memory (JAM) 9129-2 to order

Verve 537 196-2 to order

Zinnia 105CD to order

In their second release, a compendium of five concerts, recorded in various NYC venues from 1993 to 1995, the Larry Bluth trio restricts itself almost exclusively to a range of standard material; however, there is nothing stale about the musical treatment of familiar tunes in the hands of this threesome. In fact, it makes for an interesting comparison with the previous disc, allowing the listener to more fully appreciate the intricacies of improvisation surrounding the anticipated. Many of the selections begin in a straightforward manner, establishing the recognizable melody, then fragmenting it, or toying around its periphery, seemingly pursuing it before drawing it back for the closing - "My Melancholy Baby"/"Lover, Come Back to Me"/"Darn That Dream". Here, too, the bass and drums are given more prominent roles, most noticeably on the final cut, "I'll Remember April", where the mike balance favours them. It=s a trio I would like to see in performance. How about a trip to one of Toronto=s jazz spots? (J.S.)

Zinnia 109CD to order

Any recorded material by Dodo Marmarosa is an unexpected treat, but especially so if it is previously unissued. Following a rapid rise to piano stardom in the late 40's, there were woefully few recordings after 1950. Aside from the four sessions documented from different sources between 1956 and 1962, all drawn from privately taped club dates, informal gatherings or a home-taped TV show, the lengthy liner notes afford an excellent historical perspective of the man and his music. In a 38 second introduction, Dodo himself (June 1995) prefaces musical portions. Twelve of the eighteen cuts were recorded in 1958 on a Webcor recorder hidden under the piano at Pittsburgh's Midway Lounge. "Dodo was there for only one week, and there was hardly anyone in the place, "states his friend, Danny Conn. What a tragedy, for on numbers such as "Topsy"/"Billie's Bounce"/"Cherokee", we hear again what an amazing extemporizer he was, or how masterfully he dominated a keyboard. It's not digital hi-fi, and there are a few tape speed problems, but the performance is memorable. As is the remaining music, chiefly quintet arrangements, with an illuminating Danny Conn on trumpet B Bud Powell's "Oblivion", "You're my Thrill", or "Dodo's Blues". But the music can only hint at what might have been, revealing a talent too soon withdrawn from the public ear. (J.S.)

Uptown 27.44 to order

This is not a jazz album. However, what it does offer is a great collection of songs and motion picture gems composed by Michel Legrand and sung by Laura Fygi (no information given) who is stunning to look at (photographs are included) with a voice to match. Recorded in Hilversum, The Netherlands, it features a small trio accompaniment set against a large studio orchestra conducted by Legrand as a background for the exotic Laura. Four of the fifteen numbers do swing lightly, including the title tune. The music overall is lush and romantic. I recommend that it be savoured by a crackling fireside, with toasted marshmallows, a warm brandy, and shared with someone who would appreciate the ambience as well as the music. (J.S.)

Mercury 534 598-2 to order

This is the premier disc of the Halifax-based saxophone quartet featuring players drawn from diverse musical experiences - Don Palmer (soprano), Kenny MacKay (alto), Chris Mitchell (baritone), and Paul Cram (tenor). Such groups have come a long way since the Brown Brothers novelty quintette at the turn of the century; this foursome is refreshingly different. Composer/Arranger Cram describes the group dynamics as "tangential" with "equal voices voices interacting". Indeed, it's amazing how much propulsion can be generated without the conventional piano/bass/drums (eg: "Revolutions"/"In a Minor Mood"/"Freedom Jazz Dance"), or how full a sound can be sustained with minimal spatial pauses between numbers. The quartet presents an intriguing mix of selections from Ellington ("Caravan"/"It Don't Mean a Thing"), Coltrane ("Central Park West" in medley with Bud Powell's "Parisian Thoroughfare"), Warne Marsh's playful "Bop Goes the Leesel", to Kid Ory's "Muskrat Ramble" with the trad flavour cleverly brought out by subtle sax interaction. Moreover, each performer is given a brief solo spot to display his own adeptness. Though tenorman Cram emphasizes that the chosen name, Benghazi, was selected for its exotic, evocative implications, its Arabic translation, "sons of the conqueror", serves them well here. Highly recommended! (J.S.)

Justin Time JTR 8461-2 to order