A Banner Crop of Grammy Nominees

If you were looking for one word to characterize this year’s Grammy jazz nominees, quality would be that word.

With only a few exceptions, the five contenders in each of the five Grammy jazz categories are represented by works that are remarkable first for their considerable artistic integrity, and then for their modernity--their value as examples of the sound and culture of jazz today, not as relics of times long past. The fact that these nominations have a certain capacity to reach a broad number of listeners without aesthetic diminishment is an added plus.

Still, there are those exceptions, among them Miles Davis’ last studio effort, the at-best mediocre “Doo Bop,” from which the track “Fantasy” was nominated as best jazz instrumental solo. “Fantasy” is trite R&B--no; more, no less; it belongs where it has also achieved a nomination, in the R&B; instrumental category.

Alto saxophonist David Sanborn’s “Upfront,” which was entered into the contemporary jazz slot, doesn’t belong there. Like “Doo Bop,” it’s an R&B; and/or pop date by an artist who steadfastly insists he is not, and never has been, a jazz musician.

Carpings aside, with superlative releases by the likes of Stan Getz, Joe Henderson, Shirley Horn, Pat Metheny, the Brecker Brothers, Toshiko Akiyoshi and McCoy Tyner, 1992 has to be seen as a banner jazz Grammy year. The following are The Times’ selections for the artists most deserving of a Grammy and our pick as to who will actually snare the prize. The awards ceremony will be held Wednesday at Shrine Auditorium.

Jazz Vocal

Most deserving: Shirley Horn, “Here’s to Life.” One of two nominated vocal albums outfitted with luxuriant string accompaniment (Jimmy Scott’s “All the Way” is the other), Horn’s ballad collection is a classic. If there’s anything that makes it more worthy than Abbey Lincoln’s first-rate “You Gotta Pay the Band,” it’s the orchestrations by four-time Grammy-winning writer Johnny Mandel. Mandel’s strings and brass surround Horn’s throaty contralto like a cashmere coat, allowing for glowingly intimate, emotional-drenched readings of such tunes as “Where Do You Start” and “A Time for Love.”

Most likely winner: Bobby McFerrin’s spirited look at Monk’s “ ‘Round Midnight,” recorded with pianist Chick Corea, has a splendid flavor, and it’s just a much more solid track than Take 6’s “I’m Always Chasing Rainbows.”

Contemporary Jazz

Most deserving: Michael and Randy Brecker, “Return of the Brecker Brothers.” Competing with David Sanborn’s “Upfront,” muscular efforts by saxophonists Bob Berg (“Back Roads”) and Bob Mintzer (“One Music”), and guitarist Pat Metheny’s multilayered “Secret Story,” “Return of the Brecker Brothers” still stands tall. Mixing complexity, enthusiasm and musicality, the Breckers have produced a state-of-the-art jazz album. This is Jazz 1993: elements from many musical genres--straight-ahead jazz, funk, pop, world beat--ultimately serve a single purpose, to embrace and support the leaders’ compelling improvisatory essays.

Most likely winner: Brecker Brothers.

Jazz Instrumental Solo

Most deserving: This year, the Grammy belongs to Stan Getz, who died in 1991, and whose nominated piece, “Soul Eyes,” is taken from “People Time,” his last recorded project as a leader. He has worthy competition: Joe Henderson’s unaccompanied version of “Lush Life” is also telling, and the Brecker Brothers and Wynton Marsalis are well represented by “Above and Below” and “Blue Interlude,” respectively. Nonetheless, Mal Waldron’s late-’50s now-jazz standard is a perfect vehicle for Getz’s treatment of crushing beauty, as the tenor saxophonist reaches inside us and paints with gentle brush strokes on our hearts.

Most likely winner: Getz.

Jazz Instrumental, Individual or Group

Most deserving: Joe Henderson’s album “Lush Life,” which comes in ahead of Charlie Haden’s “Haunted Heart,” Branford Marsalis’ “I Heard You Twice the First Time,” Eddie Daniels’ and Gary Burton’s “Benny Rides Again” and Arturo Sandoval’s “I Remember Clifford.” The 56-year-old tenor saxophonist has been a jazz journeyman for more than 30 years, but he came to public attention in 1992, mainly through “Lush Life,” which examines 10 compositions by the marvelous Billy Strayhorn. In solo, duo, trio, quartet and quintet configurations, and with the help of such youthful stawarts as Wynton Marsalis, pianist Stephen Scott and bassist Christian McBride, Henderson approaches Ellington’s sidekick’s stuff with the freshness of a new morning--we haven’t heard “ ‘A’ Train” or “Isfahan” quite like this before.

Most likely winner: Branford Marsalis. Again a known commodity like the saxophonist triumphs over less-recognized though deserving figures like Henderson.

Large Jazz Ensemble

Most deserving: Toshiko Akiyoshi, “Carnegie Hall Concert.” Each of the contenders is first-rate: McCoy Tyner’s “The Turning Point” is head-shakingly vital, Rob McConnell’s “Brassy and Sassy” poised and adroit, Benny Carter’s “Harlem Renaissance” classical in its reach and the GRP All-Star Big Band glossy and, indeed, star-studded. Akiyoshi gets the nod, primarily over Tyner, for her utterly distinctive voicing of brass and reeds, her unique blend of bop and Asian elements, and her tenacity--this is her first major-label album in a decade and she’s led her band for 20 years.

Most likely winner: GRP All-Star Big Band.