JAZZ SPOTLIGHT

One of the great joys of jazz singing is the permission it implicitly grants performers to find individual forms of expression. An art that can encompass everything from Jon Hendricks’ spirited vocal gymnastics to the sumptuous elegance of Sarah Vaughan’s contralto is an art that can always be expected to generate something new.

The rush of jazz vocal recordings arriving in the first months of the year has a sprinkling of styles for every taste. Among the numerous releases--from established acts such as Bobby McFerrin and fresh faces such as Kurt Elling--these current CDs demonstrate how first class talents use jazz as a gateway into their own unique musicality.

DIANNE REEVES

“Quiet After the Storm”

Blue Note

* * 1/2

Reeves does so many things so well that her proficiency as a jazz singer has often been overlooked. There are more than a few tracks here--notably a rhapsodic rendering of Joni Mitchell’s “Both Sides Now,” a velvety-smooth middle-groove tour through “Comes Love” and richly atmospheric ballad readings (with superb piano accompaniment by Jacky Terrason) of “Detour Ahead” and “In a Sentimental Mood”--that confirm her credentials, not just as a fine singer, but as a potentially important singer.

The balance of the album drifts too far in the direction of the pop style that is the other side of Reeves’ persona. What is good here is very good, indeed, but Reeves’ next recording should be a no-holds-barred, undiluted jazz outing.

RACHELLE FERRELL

“First Instrument”

Blue Note

* *

Heavily touted as a significant new artist several years ago, Ferrell’s first American album was a pop effort that did not accurately illustrate her jazz facility. “First Instrument” offers a better picture of Ferrell’s ability to produce astounding vocal pyrotechnics across her five octave range, while leaving some unanswered questions about her jazz skills. Too often, her singing comes across as virtuosic rather than expressive--music which is driven rather than experienced.

Ferrell’s near-instrumental approach to pieces such as “Bye Bye Blackbird,” “Inchworm,” “What Is This Thing Called Love” is lighthearted, boppish fun. Her less-convincing interpretations of standards--”You Don’t Know What Love Is,” “Autumn Leaves” and “My Funny Valentine”--even with her occasional Sarah Vaughanesque swoops and yodels--suggest that Ferrell’s music, once past the unquestionably remarkable vocalisms, needs some thoughtful seasoning.

Albums are rated on a scale of one star (poor) to four stars (excellent).