Latest CD releases reviewed

RANDY SANDKE
Outside In Evening Star
****

Trumpeter, composer and arranger Sandke nudges his acclaimed Inside Out nonet to where the writ of the thought police doesn't run. Pushing mainstreamers (Peplowski, Wycliffe Gordon, Dennis Mackrel), mavericks (Ray Anderson, Scott Robinson) and "radicals" (Marty Ehrlich, Uri Caine, Greg Cohen) out there is as much a question of emphasis as concept, however. The writing is dazzling - authoritative, inventive, witty, packed with incident and crisply played, if occasionally salted with ribaldry - and the solos (mostly) work in this many-hued, "outside in" context. With standouts in Ganjam, Tonk, Raising Caine, Hyde Park, and Ehrlich's arrangement of his own Soul in the Wood, there's sustenance enough here for open minds, and if there's also a feel of work-in-progress, it's full of a sense of discovery and anticipation. www.lpb.com/eveningstar

Ray Comiskey

ALAN BARNES
Better Late Than Never Woodville
****

Recorded in 1993 but released only a couple of years ago, this features the virtuoso reedman Barnes on alto, baritone and clarinet in quartet, quintet and sextet settings, and in one duet with pianist Dave Newton. With notable players in trumpeter Martin Shaw, tenors Andy Panayi and Iain Dixon, and bassist Paul Morgan, the band is whipped along by the marvellous Mark Taylor, a perfect drummer for this kind of bop/mainstream jazz. The fact that most of the musicians are little-known doesn't matter. This is vibrant music, played with an exuberant sense of mutual enjoyment. Nothing unconstitutional here, but no reason to campaign for a No vote; quite the reverse, in fact. www.woodvillerecords.com

Ray Comiskey

DAVE HOLLAND
Overtime Dare2
***

Bassist Holland built this award-winning 13-piece band round his core small group players, including Chris Potter (tenor), Steve Nelson (vibes/ marimba) and Billy Kilson (drums). He also wrote and orchestrated all the music, except for one piece by his trombonist, Robin Eubanks. It's superbly played; the soloists acquit themselves well, and the arrangements are craftsmanlike, lucid and professional. There is a "but". The ideas used are basically simple and the arrangements, which are not markedly individual, rely heavily on riffs, often opposed in counterpoint. No problem there, except that they do go on; ideas are gnawed away to the point where they outstay their welcome. Still, fans of shouting big band music will find enough to savour. www.daveholland.com

Ray Comiskey