Latest releases reviewed.

SCOTT HAMILTON Back To New York Concord *****

Does the world need another Scott Hamilton CD? When it's as good as this, yes. Hamilton has now reached a level of maturity in what he does that's granted to comparatively few, but it takes the best setting to make the most of it. Pairing him with pianist Bill Charlap's working trio is just that; moreover, both the Washingtons, bassist Peter and drummer Kenny, have also played with him before. Well chosen standards include a magnificent Fine and Dandy, a magisterial, relaxed I've Just Seen Her and a gorgeous Love Letters taken as a medium slow bossa, while there's a couple of bop warhorses - Blue'n'Boogie and Bouncing With Bud - to season the fare. Charlap is an utterly sympathetic accompanist and a fine match for Hamilton as a soloist, and the rhythm section is inspirational. www.musicconnection.org.uk

Ray Comiskey

ROBERTO MAGRIS EUROPLANE Check-in  Soul Note  *****

The style doesn't matter, it's how well it's done. Idiosyncratic, questing and playful, Magris is a more than capable pianist and his Europlane is two-tenor hard bop at close to its best - not surprising, since one of them is the celebrated Tony Lakatos, who clearly inspired his partner, Michael Erian, and the rhythm section offers driving support from Robert Balzar (bass) and particularly Gabriele Centis (drums). A lengthy, marvellous minor Blues for a Sleeping Baby catches the band at its prime, but it's closely matched by the modal African Mood and What Blues? There isn't a weak performance anywhere, and fans of the idiom will find the sheer, surging invention and potency of the group irresistible. www.harmoniamundi.com

Ray Comiskey

BILL CHARLAP The American Soul Blue Note ****

Charlap's working trio forms the basis for this elegant exposition of the music of George Gershwin, with Phil Woods (alto), Frank Wess (tenor), Nicholas Payton (trumpet) and Slide Hampton (trombone) added on four tracks, and Wess and Woods featured on two more. The extras gild the lily somewhat and the trio performances - especially I Was So Young (You Were So Beautiful) and Who Cares? - generally come off best. The septet arrangements are functional, if a tad old-fashioned, but Payton brightens them with his splendid lead and soloing, with the others never less than interesting. Woods gets more elbow room on a fine Bess, You Is My Woman Now and Wess on How Long Has This Been Going On? It's a bit like a good bottle of wine; the aftertaste lingers increasingly pleasantly on the palate. Ray Comiskey