In this column, I'll profile some of these new releases from the forementioned established talent.

Back in 1998, Russ Freeman took a break from the Rippingtons to team up with fellow guitarist Craig Chaquico to produce musical journey From the Redwoods to the Rockies. While both guitarists play electric and acoustic axes, the overall feeling tends towards acoustic. The composition credits are split pretty evenly among the pair, with half of the ten tunes being joint compositions, but the results end up more similar to Chaquico's previous output than Freeman's. Russ Freeman adds keyboards and most of the bass, drums, and percussion programming, but the program still retains a natural, live feel rather than that of monotonous loops. Pianist David Benoit and saxophonist Paul Taylor make guest appearances on two tunes each to provide sonic variety. Overall, an enjoyable and well-done program. It's something different for those who are accustomed to hearing Freeman in his Rippingtons context, or even previous solo efforts.

The Rippingtons' latest CD, Topaz, was inspired by Taos, New Mexico - both its history and its present. This influence is primarily expressed with the addition of the carved wood flute of Robert Tree Cody on several selections. On some songs, the acoustic guitars and/or percussion paint an aural picture of serene, wide-open spaces with flowing melody lines and gently galloping rhythms. On a few other songs, though, the effect is derailed by the more mechanical chunking of programmed drum tracks. Overall, an interesting album, and somewhat of a departure from the traditional Rippingtons sound - which I'm sure is the intent, plus the fact that this seems to be primarily Russ Freeman's voice rather than a more collective band sound that some previous Rippingtons CDs had.

On their 22nd album, it's clear that Spyro Gyra has still Got the Magic. The compositions, performances, and production values are as dependable as ever, but this time around leader/producer Jay Beckenstein brought in some fresh production and composition help in the persons of Chuck Loeb (six of the eleven selections), Jeff Beal and Jason Miles (one each). Loeb's tracks do steer Spyro Gyra a little bit in the direction of smooth jazz, but this is still definitely identifiable as Spyro Gyra. The core band of Beckenstein (sax), Tom Schuman (keyboards), Julio Fernandez (guitar), Scott Ambush (bass), and Joel Rosenblatt (drums) remains intact as it has for six years, but the guests play a slightly more prominent role this time around. The three-piece "No Sweat Horns" are back again, as is band alumnus Dave Samuels on vibes. Basia adds lead vocals to Jeff and Joan Beal's "Springtime Laughter," and four other tunes sport background vocals. In this case, change is progress, and Got The Magic is another successful chapter in the remarkably excellent and consistent discography of Spyro Gyra.

Michael Franks' Barefoot on the Beach breaks little new ground - it's another batch of slinky, laidback yet hooky pop-jazz confections with Franks' trademark clever, playful lyrics. (I swear Franks must hold the world record for number of metaphors and euphemisms for lovemaking.) But this is a particularly enjoyable batch - the sunny tunes are particularly bright, the love songs are especially romantic, and the heartbreak songs have a bit more angst. Of course, Franks always helps his own cause by hiring the best of help, this time including producers Chuck Loeb and Jimmy Haslip, and musicians Michael and Randy Brecker, Steve Gadd, Bob James, Steve Khan, Will Lee, Bob Mintzer, John Patitucci, Dave Samuels, and more. They aren't particularly identifiable in their own right, but they contribute just what is needed to each song. Valerie Simpson duets with Franks on "Now Love Has No End," and Franks takes a swat at Broadcast Architecture's programming stranglehold on the smooth jazz airwaves with "Mr. Smooth."

I am puzzled by the marketing of the new Tom Scott album Smokin' Section as "Tom Scott & the L. A. Express," since there seems to be no identifiable group "feel" to this program, and the tunes were recorded with three different contingents of studio musicians. But this quibble aside, this is one of Scott's best albums in years. His traditional funky groove is present on several songs such as the opening title track with Scott's trademark multi-sax-layered sound) and "Just Takin' a Walk" with horn section. Scott's past work on the lyricon is recalled on "Lost Again," only now he blows a wind synthesizer. "Lonely One" and "If I Could Cry" showcase Scott in sensitive ballad settings better than anything I can recall throughout his entire recording career. The compositions (six of the eleven are by Scott) are particularly inspired and well-realized, in contrast to the funky head charts we're used to hearing. The use of singer Patti Smyth on "Ode to Billie Joe" seem like curious choices on both counts, but it's surprisingly effective; Scott's tenor sax adorns the emotive delivery by Smyth. The closest thing to a "group sound" happens on the closing cut, which was recorded live at the Blue Note club in Tokyo; band alumnus Max Bennett's (who contributed some of the best tunes in the original L.A. Express' repertoire) "TCB in E" is the real smokin' section of this disc. It kicks butt!!!

Earl Klugh's Windham Hill Jazz debut, titled Peculiar Situation, isn't really peculiar at all, it's mostly a familiar situation. Klugh's music has always been presented in semi-glossy productions, from his earliest outings under Dave Grusin and Larry Rosen's touch to the majority of his releases which have been self-produced. His music is always easy on the ears, featuring his easily-recognizable acoustic guitar voice sailing through catchy melodies over tasteful arrangements. As usual, the compositions are all Klugh's. All of the tunes feature programmed rhythm tracks, with Klugh adding the keyboards and Al Turner supplying the bass and drum tracks. Lenny Price adds sax to most of the tunes, and Roberta Flack sings one selection. The first four tunes of this set give a definite nod to the more urban, contemporary beat-driven settings of today's playlists, but after that the proceedings slip into that easy-going groove that we've come to know and enjoy from Klugh.

The Braxton Brothers demonstrate their versatility and their handle on today's lite R&B/contempo genre on Now and Forever. The pair handle the production duties, split the compositional credits, and play most of the instruments on the disc. Wayne's primary axe is the sax, while Nelson uses his bass for lead lines as well as the more traditional foundational support. Both add keyboards and drum programming to the mix. There are other Bay-area notables present on the date as well, such as Ray Obiedo (guitar) and Michael Spiro (percussion). While the brothers perform competently and obviously have a good handle on the formula, some of the charts sound a bit thinly arranged, perhaps to allow Nelson's bass to remain more prominent in the mix without having to crank too high. All told, a pleasant but not overly remarkable set.

Keyboardist Doc Powell produced and played keyboards and composed most of the tunes on the CD titled Double Scale, yet his name appears nowhere on the cover. Perhaps he's still under contract with another label. Whatever the case, this clearly Powell's project, although he takes a background roll throughout much of the disc. Each tune features a notable guest artist, such as pianist Bobby Lyle (on two tunes), Chuck Mangione, Joe Sample, Tom Scott, and Everette Harp. Most of the program should fit comfortably on the smooth jazz playlists, which means that it's highly listenable, has memorable melodies, and while not terribly far-reaching or challenging, is nevertheless very competently done.

The Japanese-American band Hiroshima's Windham Hill Jazz debut, Between Black and White, offers its most memorable moments when the band leans closer to its Japanese roots, such as on the ethereal "Dreams" the mysterious, percussive "Picasso's Dance," and the brief percussion-only interlude "Omo Tai." But on many other cuts, only June Kuramoto's koto saves the band from sounding like any generic, faceless contemporary ensemble. At one time, the band had a highly recognizable, energetic and personable sound, but on their last several releases they've absorbed so much formula that they've lost most of their uniqueness. The potent rhythm team of founding members Danny Yamamoto (drums) and Johnny Mori (taiko) have been supplanted by drum loops, and they make only occasional appearances (Yamamoto often provides only cymbals). Likewise, guitarist Fred Schreuders and bassist Dean Cortez see only limited action; the musical focus is primarily on the keyboards and programming of Kimo Cornwell and Dan Kuramoto. It's a sufficiently enjoyable program, I just think that the band could exploit their special musical personality more fully and consistently throughout the date.

Windham Hill also acquired the Private Music label a few years back. While Yanni is still a holdover from Private Music's earlier days of some of the more progressive new age music, WH has repositioned the label as the home for some of music's brightest vocal R&B/pop talent. Watch the Reviews section next month for reviews of these CDs:

• James Ingram: Forever More
• Etta James: Heart of a Woman
• Peabo Bryson: Unconditional Love
• Barry White: Staying Power
• Yanni: Winter Light

Phil Perry's excellent One Heart One Love has already been reviewed here. Also, don't miss the amazing guitar-vocal duo Tuck and Patti's return to Windham Hill, Paradise Found.

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