ALBUM REVIEWS

Will Robert Stewart be the Pharoah Sanders of the 21st century? This quartet date, like “Judgement,” Stewart’s 1995 debut release on World Stage records, recalls Sanders’ spiritual period of the late ‘60s, with its emphasis on droning modal frameworks, long, uncomplicated solos and robust tones. The devotional motif contrasts sharply with that of Stewart’s previous Qwest recording “In the Gutta” and affords less opportunity for technical displays. Drummer Jeff “Tain” Watts is the perfect polyrhythmic foil. “The Force” is a showcase for Stewart’s amazingly rich sound and mature patience but carves out little original territory.

** 1/2 MICHAEL BRECKER, “Two Blocks From the Edge,” Impulse!

Tenor saxophonist Michael Brecker, like alto saxophonist David Sanborn, has launched an army of imitators who covet his varied tone and modern attack. But his writing, often self-consciously indulgent, sometimes detracts from his agile play. Brecker overcomes the problem on his new quintet release by placing three pieces from pianist and co-producer Joey Calderazzo in the center of the eight-song collection. The Calderazzo tunes, which feature their composer’s smart ways at the keyboard, put Brecker in a cleaner, slightly more mainstream context, and he responds with impressive dexterity. Drummer Jeff “Tain” Watts contributes one hard-driving composition that pushes the saxophonist to turn up the heat. But Brecker’s originals, exercises with little true personality, seem like music we’ve heard from him before. The exception is his ballad, “How Long ‘Til the Sun,” in which he writes and plays with genuine emotion.

** 1/2 RON HOLLOWAY, “Groove Update,” Milestone

Tenor saxophonist Ron Holloway sheds historical perspective on the current popularity of “groove,” reminding us that danceable music based on riff and beat wasn’t invented yesterday. He finds grooves in a variety of material, from the obvious, such as Herbie Hancock’s funk anthem “Chameleon,” to the less so, such as Thelonious Monk’s “Epistrophy.” The presence of Gil Scott-Heron, who sings both his “Three Miles Down” and “We Almost Lost Detroit,” recalls the days when groove could carry social and political messages. Holloway’s tenor is especially resourceful on Jimmy Heath’s upbeat “Gingerbread Boy,” soulful in tandem with fluegelhornist Chris Battistone on “East of the Sun (West of the Moon)” and snappy on Horace Silver’s “Psychedelic Sally.” Pianist Larry Willis makes strong contributions through out. Not groundbreaking, but it grooves.

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Albums are rated on a scale of one star (poor), two stars (fair), three stars (good), four stars (excellent).