slower, sinuous, older-and-wiser renewal of Stephen Stills's "Love the One You're With" finds a saxophone soaring over a bedrock of organ and a gospel chorus. Chuck Berry's "No Particular Place to Go" receives an even more radical transformation, into a swinging, seductive, supper-club number for jazz keyboards. The balladry of "I'm Confessin'," "Harlem Nocturne," and "That Lucky Old Sun" goes further in establishing her jazz bona fides, while original fare such as the autobiographical "I Can Laugh About It Now" and "Gotcha" shows her bluesier side. She even takes a stab at country with the classic "Love Hurts." Bramlett receives superb backing throughout from Mr. Groove, a sextet that spotlights sa...  (less)

enough to sound as though they were being played in person only inches from the ear. Throughout the first of these two CDs, Moravec uses his pedals to hold Chopin's tones for so long that they become rhapsodic in their balanced extendedness. A native of Prague, Moravec has eschewed the spotlight, mostly because of his emphasis on teaching and assiduous practice. He's famous for insisting that every aspect of his performance be near-perfect, from his clear command of the work to his intimate knowledge of the instrument on which he'll perform. So it's ideal that he focuses on repertoire fed by perfectionism and elaborately precise pacing--not to mention his penchant for unmistakable contrast. This last trait is most evident in the big energy of Franck's...  (less)

section for saxes. (Includes CD) Songs: Harlem Nocturne  (less)