Some First-Rate Performances Are Found in Several Categories

The strengths and weaknesses of jazz in the late ‘90s are immediately apparent in this year’s Grammy nominees.

Among the strengths: The contemporary jazz performance category, despite the tendency to minimize this particular genre, is filled with first-rate outings from Pat Metheny, Marcus Miller and the Yellowjackets. George Duke’s “After Hours” is several steps up from his more familiar groove-based performances, and Joe Zawinul’s “World Tour”--perhaps the most musically intriguing of the bunch--is good enough to completely transcend classification.

The Latin jazz grouping is equally impressive, with a richness of choices--albums from Ray Barretto, Paquito D’Rivera, Danilo Perez, Chucho Valdes, David Sanchez and Arturo Sandoval--that is extraordinary, a clear testimony to the creative energy bursting through the genre. Academy voters will have a hard time making a choice from this splendid set of artists.

The individual or group instrumental performance category is almost as good, filled with first-rate performances, strongly oriented toward the piano with solid work from Herbie Hancock, Kenny Barron (with Charlie Haden), Chick Corea (with Gary Burton) and Keith Jarrett (with Gary Peacock and Jack DeJohnette), as well as bassist Dave Holland’s offbeat, but solid “Points of View.”

The large jazz ensemble category, however, leaves a bit more to be desired. Albums from Jon Faddis and the Count Basie Orchestra lean toward the repertory arena, and Bill Holman’s album with the Netherlands Metropole Orchestra doesn’t really reveal his finest compositional strengths. But Gerald Wilson’s “Theme for Monterey” and Jim McNeely’s lively set with the Vanguard Jazz Orchestra sustain the creativity of the big-band style.

Reaching down toward the weaknesses, the instrumental solo category is, once again, a crap shoot. Fine solos by Kenny Barron, Randy Brecker, Chick Corea & Gary Burton, Benny Golson and Dave Liebman deserve recognition, but so do dozens of solos by other artists.

And, reflecting one of the most currently unsubstantial areas of performance, the jazz vocal grouping only offers Shirley Horn as a standout in a grouping that includes run-of-the-mill recordings from Kurt Elling, Nnenna Freelon, Etta Jones and Dianne Reeves.