This release combines the elegant swing of nine-time Grammy-winner Kenny Barron with the first-call Brazilian rhythm section of Trio da Paz, an inspired cross fertilization that enhances both jazz and tropical elements. From the opening "Zumbi," which rolls in like a Carnaval parade, to the infectious closer, "This One," the CD is full of light. Other superb Barron compositions include the languorous "Cloud" and the danceable "Thoughts and Dreams," where his gentle piano solo flows into a lilting bossa. The remaining three tunes are familiar to fans of Trio da Paz from their previous albums. Here, the addition of Barron's thoughtful commentary and the lush, cooling flute of Anne Drummond gives them new dimension.

With haunting, memorable melodies, the combination of writer Haruki Murakami's influence and bassist Fumi Tomita's compositions is a bold statement of Asian-American identity. "The Elephant Vanishes" interprets seven short stories by the Japanese author that draw on themes of despair, loneliness, disconnection, and self-discovery. Equally prominent are the Western pop culture references and magical elements that decorate each story. Along with saxophonist Jason Rigby, guitarist Mike Baggetta, pianist Art Hirahara and drummer Mark Micklethwaite, Tomita reimagines Murakami's literary themes, transforming them into rich musical landscapes. Active in New York City for fifteen years, Tomita is currently on the faculty at the University of Massachusetts, Amherst.

John Abercrombie Quartet: Up and Coming Starting the new year with, if not precisely a bang, a nevertheless unforgettable record whose strength lies in pristine lyricism, nuanced group interplay and writing that capitalizes on the entire quartet's appreciation of subtlety over gymnastics and refined lyricism over angularity, John Abercrombie's Up and Coming—ECM's first release of the year—is also founded strongly on the concept of relationship.

This is a great album, with some great ballads, bebop, Latin and Eugene's unique fusion style. He is a world talent, and certainly the most respected to come out of Hong-Kong. I've been fortunate to see him play live many times, and never been disappointed. Here though some of his best his brought out of him, playing with truly world class musicians.

Electric bassist Jaco Pastorius' Word of Mouth big band made two recordings for Warner Bros. during its short life, of which is this is the superior one. The large ensemble (five trumpets including Randy Brecker, five reeds with solo space for Bobby Mintzer on tenor and soprano, four trombones, two French horns, Toots Thielemans on harmonica, drummer Peter Erskine, percussionist Don Alias, and Othello on steel drum) performs a variety of superior material. Although Pastorius takes his share of solo space, and the sound of a big band backing a bass soloist is rather unusual, he does not excessively dominate the music. Pastorius contributed some of the pieces (most notably "Liberty City"), is showcased on "Amerika," and also plays such tunes as "Invitation," "The Chicken," "Sophisticated Lady," "Giant Steps," and Gil Evans' "Eleven."

As a leader, saxophonist and composer Gary Thomas is wildly ambitious. Throughout the 1980s and into the '90s, Thomas experimented with everything from free jazz and funk to heavy metal and hip-hop. Exile's Gate is another such exercise. There are two distinct bands accompanying him here. One is made up of Thomas on tenor with drummer Jack DeJohnette and guitarist Paul Bollenback with organist Tim Murphy and bassist Ed Howard. The other features the latter two musicians, Marvin Sewell on guitar and drummer Terri Lyne Carrington. The first band plays Thomas' free-spirited and aggressive originals while the second plays standards for the most part. Only Thomas would think of putting the two approaches together on one record on alternate cuts.

Pianist Danilo Perez's second recording as a leader is a real gem. Divided into "Time Past" and "Time Present," Perez performs music utilizing Latin and Afro-Cuban rhythms, complex time signatures, original themes, the influence of bop, and his own very strong technique. The personnel and instrumentation changes from song to song, ranging from a septet with both George Garzone and David Sanchez on saxophones (along with two percussionists playing a wide variety of exotic instruments) to a conventional trio, a duet with drummer Ignacio Berroa, and a pair of solo piano pieces. Bassist Larry Grenadier plays very well, always sounding confident during the very tricky music, while Perez displays a highly original yet logical style.