The latest releases reviewed

PHIL ROBSON
Six Strings & the Beat
Babel
****
Robson, a brilliant straight-ahead guitarist who doesn't let that define him, caused a major critical stir with the live premiere of this music last year. The group, with Robson, Peter Herbert (bass), Gene Calderazzo (drums), string quartet and, on two tracks, singer Christine Tobin, recorded it soon after. Robson cites Bartók, Ornette Coleman, Hendrix, Malian folk and Americana as inspirations, but this doesn't do justice to the richly inventive writing, nor to the deft way the strings (all of whom can improvise) are incorporated into the musical discourse. In a varied yet surprisingly homogenous album there is much to savour: the brusque astringency of Quick Silver, the diverse lines of Rubber Duck, the unity of the written and improvised on Silver Threadsand The Mook, and above all Robson's skill in using his resources with rare freshness and imaginative purpose. www.babellabel.co.uk
RAY COMISKEY

ULF WAKENIUS
Love Is Real
ACT
***
Setting aside its sad currency, guitarist Ulf Wakenius's salute to the music of Esbjörn Svensson does underline the attractiveness of the late pianist's pieces. In line, harmony and rhythm they're mostly simple tunes, and Wakenius pays them respect. But, acknowledging that more is needed, he uses the radio.string.quartet.vienna on five tracks, adds individual guests Till Brönner and Paolo Fresu (trumpets), Nils Landgren (trombone) and Eric Wakenius (electric guitar) on others, and employs a piano/bass/drums rhythm section. Within its parameters of respect, it works. It's beautifully played and, on Good Morning Susie Soho, When God Created the Coffeebreakand, particularly, the strings dialogue on Tuesday Wonderlandand Eighthundred Streets By Feet, rather more than that. And fans may relish a slightly different perspective on what made EST so successful.
www.actmusic.com
RAY COMISKEY

BEN WEBSTER-STAN TRACEY
Soho Nights Vol 1
ReSteamed
***
Webster, on this previously unreleased late-1960s live recording from Ronnie Scott's, may have been in gentle decline, but he had refined his less-is-more tenor to the ultimate in expressiveness. Personal cliches abound, but nobody could wring as much out of a melody as Webster did; two gorgeous versions of Danny Boyand a glorious Come Sundayepitomise the ethereal yet sensual delicacy of his ballad playing. There's a sprightly grace as well to his lithely swinging Johnny Come Lately, For All We Knowand What Am I Here For?, and only on the faster Sundayand The Jeep Is Jumpingdoes he sound rushed and start to rasp aggressively. Stan Tracey's marvellously quirky piano, with its echoes of Monk and Ellington (not so far apart from each other) is an ideal contrast, and Dave Green (bass) and Tony Crombie (drums) complete a fine rhythm section.  www.resteamed.com
RAY COMISKEY