Bloom Wonderous On ‘Red Quartets’

Jane Ira Bloom “The Red Quartets” Arabesque, ****

Lots of saxophonists play soprano as a second instrument, but for Jane Ira Bloom the soprano is numero uno.

In fact, it’s the only horn the 40-something Bloom plays, and that she devotes her undivided attention to the difficult-to-master soprano is resoundingly evident on this absolutely marvelous new recording.

If Bloom were a tenor player (jazz musicians’ - and perhaps fans’ - favorite instrument); if she recorded for Blue Note or another major label; and regrettably, if she were a he, the critics would be falling all over themselves in praise. Instead she finished sixth in the soprano category in the last Down Beat magazine critics poll (Steve Lacy, Wayne Shorter, Dave Liebman, Bob Wilber, Evan Parker), although, encouragingly, she was named No. 1 by the same group in the also-ran Talent Deserving Wider Recognition listing.

On an instrument pioneered by Sidney Bechet and popularized by John Coltrane, Bloom is a wondrous player. Her sublime sound and imaginative concept are unmatched, and further, she shows on nine songs here that she is a remarkable composer, whose music often deftly combines classical and jazz elements, and runs from deeply romantic (“Climb Inside Her Eyes”) to infectious (“Jax Calypso”) to witty (“It’s a Corrugated World”) to accessibly and rousingly avant (“Emergency”).

Bloom’s mates - equally at home whether being precise or free-wheeling, compositional or improvisational - are pianist Fred Hersch, bassist Mark Dresser and drummer Bobby Previte, a sensitive and adventurous combination.

- Bob Protzman

The Buckinghams “Time & Charges/Portrait” Sundazed, **

Digging deeper into a Top-40 band’s album catalog can be a lot of fun, particularly if the albums have been out of print for 30 years or so, and the bulk of the album cuts are original compositions as opposed to covers.

But there’s never a guarantee that such albums contain forgotten treasures. In the case of the Buckinghams, this estimable Chicago pop-rock band tried very hard to be as consistently creative as their heroes, the Beatles, but fell short. The hit singles - particularly the near-perfect “Don’t You Care,” but also “Mercy, Mercy, Mercy,” “Hey Baby (They’re Playing Our Song)” and “Susan” - stand out dramatically as inspired moments of pop froth compared to the turgid, mannered, “hip” concoctions that surround them on these two 1967 albums.

Jim Holvay, an outside composer, wrote the semi-bubblegum hits; “Portraits” is an effort by the band members to become serious songwriters themselves under Guercio’s experimental guidance. The inevitable collision takes place in the middle of “Susan,” when Guercio inserted 20 seconds of bizarre, “Day In the Life”-type atonal noise. To this day, nobody thinks it worked.

- Rick Shefchik

Lyle Lovett “Live in Texas” MCA/Curb, ****

When people ask me what were the best concerts I’ve ever attended, seeing Lyle Lovett always ranks right up there. Now I can relive that night endlessly.

Recorded in 1995 at shows in San Antonio and Austin, this 14-song collection is a kind of greatest-hits album that features the added attraction of the kind of spontaneity that just doesn’t happen very often in the studio.

The disc kicks off with a hornhappy rendition of “Penguins,” one of the great musical non sequiturs of all time, with its irresistible hook and lyrics that make absolutely no sense at all. I love that song. And then he gets the crowd riled up with “That’s Right (You’re Not From Texas),” but that doesn’t mean you’re not welcome.

One of the great treats of a Lovett show is when he turns the spotlight over to backing singer Francine Reed, who is sterling here on “Wild Women Don’t Get the Blues” as the band turns the arena into a sweaty roadhouse. And, of course, there is “Church,” the hilarious story of a loquacious preacher who runs over into Sunday-afternoon eatin’ time.

That’s all part of what makes Lovett lovable - his steadfast refusal to be categorized (if you’re looking for conventional country music, this ain’t the place to start) has kept the anticipation high for every release. And so far, he hasn’t let us down.

- James M. Tarbox