Pianist Benny Green Back on ‘Right’ Path

A number of qualities make up a great artist--technique, emotion, a dynamic creativity and, perhaps most important, individuality. This current batch of new releases is highlighted by an up-and-coming artist who is finding his way back to his own artistic path and by a veteran singer who seems to be ignoring hers.

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Benny Green

“That’s Right”

Blue Note

While Green’s first album, “Lineage,” signaled a new voice in the jazz world, the splendid pianist’s two follow-up dates, although solid, were overtly bluesy and showy and lacked the distinction and challenge of his debut.

“That’s Right” shows that the artist is back on track, and his singularity is shining. Green, possessor of a generous, user-friendly sound, has not eschewed his natural bluesiness, he is simply discriminating with it, giving even such strictly blues numbers as “Hoagie’s Blues” a sense of newness.

Green and his bandmates--the young bass great Christian McBride and ace drummer Carl Allen--present a bouquet of jazz selections here, from Bud Powell’s comely “Celia,” where the leader’s dazzling technique is at the service of his profound musicality, to a robust version of “Ain’t She Sweet,” done as hot and crisp as a fresh-pressed shirt.

Currently appearing both with his trio and with bassist Ray Brown’s trio, Green is on his way to becoming one of this decade’s most important jazz artists. “That’s Right” will only further that claim.

** 1/2

Nina Simone

“A Single Woman”

Elektra

The singer-pianist’s first album for a major label in a decade is a hit-and-miss affair. Simone scores on the folk and pop material that has long been her strong suit. She seems to be right at home on three Rod McKuen numbers, among them “Lonesome Cities,” arranged in finger-popping style by John Clayton, and the telling title track, which is as much spoken as it is sung.

But when Simone attempts traditional pop standards, such as “The More I See You” or “If I Should Lose You,” she stretches and strains, is out of tune and generally sounds uncomfortable. Simone’s never been a traditional jazz stylist, and she seems to have forgotten that on this recording.

***

Pat Metheny Group

“The Road to You”

Geffen

Captured “live” in several European cities, guitarist Metheny is rarely less than first-rate as he delivers his distinct brand of contemporary jazz. Backed by such longtime partners as Lyle Mays (keyboards) and Steve Rodby (bass), Metheny creates seas of sounds, with percussive barrages unleashed on “Third Wind” and an Argentine concertina flavor dominating “Beat 70.” “Have You Heard” doesn’t start like a steaming blues, but that’s what it becomes, and the title track is slow, luscious and full of feeling.

*** 1/2

Victor Lewis

“Know It Today,

Know It Tomorrow”

Red

Although most of us know Lewis as a dashing drummer for Stan Getz, Woody Shaw and Kenny Barron, he is a first-rate composer as well, and six of the nine selections here are from his pen. The tunes are mostly medium tempos, and they are often lushly melodic. Seamus Blake, a new tenorman on the New York scene, sounds both assured and startling on several crack solos.

Albums are rated on a scale of one star (poor) to four stars (excellent). CRITIC’S CHOICES: Piano whiz Tommy Flanagan, who seems to never run out of fertile, fluid ideas, leads his trio Tuesday through next Sunday at Catalina Bar & Grill . . . Tenorman Doug Webb, who crackles with such excitement you expect sparks to fly from his head, holds forth Mondays for an indefinite stand at Legends of Hollywood.