Indeed, Roney is the highlight of this album. From his patient solo during the hyperspeed album opener, "So What," to his uncanny imitation of Miles himself on "All Blues" (harmon mute and all) Roney clearly is in his element. In part, Roney sounds so good because his open sound leaves plenty of room for the rhythm section to strut its stuff; pianist Hancock, bassist Carter and drummer Williams have never sounded better, tight as all hell and at the same time creatively lyrical. Carter's dazzling clarity, Hancock's chord driven, percussive flair, and Williams' inventive and at the same time remarkably structured use of his drum kits serve as the backbone of the album. The results of their interplay make one wish the three of them would release a piano trio album.

The weakest link throughout is saxophonist Shorter, whose searching, jerky sound is beautiful and haunting when set against a rhythm section that isn't quite so busy itself. In "So What," Shorter quotes liberally from Monk and other Miles tunes, using the fast pace of the composition to build continuity between sparsely connected phrases. At times, the result can be dynamic, as in Shorter's quoting of Monk's "Bemsha Swing" near the beginning of "So What;" in other places, Shorter's decisions seem arbitrary and his thinner, reedier sound falls short next to Roney's full bodied and equally intense lines.

The album ends with a live rendition of the Davis original "All Blues," which, like "So What," begins with Carter eloquently stating the theme before the other musicians fall in behind him. Roney here sounds like a dead ringer for Miles, and everything about this song is amazing. Roney's confidence, Shorter's finally effective and haunting mirror, and Carter, Hancock and Williams pushing and pushing on make it hard for the listener to feel anything but blessed that these five very talented musicians decided to pay tribute to a true source of inspiration.

Dedication

The Cercie Miller Quartet

Stash Records

Local sax master Cercie Miller opens her debut album leading her own quartet with the standard "My Shining Hour;" her energetic rendering of this oft covered classic promises good things to come. Cercie screams her way through the song, as her band--Bruce Katz on piano and organ, Dave Clark on bass and Bob Savine on drums--falls perfectly into place behind her, combining their tight rhythmic sensibility with subtle flourishes. By the time the song fades out to the strains of a still smokin' jam, it is clear that this is a band whose members are comfortable with their own voices.

The rest of the album does not disappoint: Cercie's clear, confidentlines, remarkably rich sound and often gritty playing drives the band on throughout, whether in the organ-accompanied tribute to saxist Stanley Turrentine, "The Blue Note," or when mixing with guest trumpeter Tiger Okoshi on "Fax Your Life" and "New O."

Dedication features six Cercie originals among its eleven songs; these serve as proof that Cercie clearly feels as comfortable writing as she does leading a band. Drummer Savine contributes the whimsical "Mr. Chuckles," and four standards round out the album, with the gorgeous Richard Rogers ballad "If I Loved You" showing how delicately meticulous a player Cercie can be while maintaining her richness. Miller's compositions display an understated maturity and a wonderful sense of both space and texture.

This album is a gem of a debut. Fortunately for us, Cercie and her quartet seem to have a long, locally based career ahead of them, and if they keep releasing music like that featured onDedication, jazz lovers will be all the richer.

Rock Instrumental Classic, Vols. 1-5

Billboard Pop Memories, 1920-1950s, Vols. 1-6

Rhino Records

These two new compilations by therecording industry's re-release standard-bearer,Rhino Records, offer up just what we have come toexpect from Rhino: intelligently structured andselected compilations that highlight an aspect ofAmerican music that has often not been addressedon its own. While the Rock InstrumentalClassics volumes are more satisfying than anyof the Billboard Pop Memories, both arestrong sets that will please anyone who wouldconsider buying them anyway.

The first two instrumental discs, one dealingwith 50s and one with 60s, are good and fun, butnot great. Most of the tracks log in at adisappointingly short two minutes, and some of theselections seem devoid of any musical explorationat all. Still, each disc contains some pearls: theDuane Eddy (with his Twangy Guitar) tracks on the50s disc kick ass (the disc also contains"Tequila" of Pee-Wee's Big Adventure fame), andThe Rebels' "Wild Weekend" from the 60s disc makesyou want to shuffle on down to your local frathouse (or wherever it was that college-types wentto party in the early 60s). The two Lonnie MackSouthern boogie tracks are superb, featuring greatstraight-ahead guitar work.